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KARA WALKER (1969 - )
Harper’s Pictorial History of the Civil War (Annotated)
.
15 offset lithographs and screenprints on Somerset textured paper, 2005. Each 610x889 mm; 24x35
(and inverse) inches, full margins. Each signed, dated and numbered 3/35 in pencil, lower right.
Printed and published by the LeRoy Neiman Center for Print Studies, Columbia University, New
York. Superb impressions with very dark, richly printed blacks.
Scene of McPherson’s Death * Buzzard’s Roost Pass * Exodus of Confederates from Atlanta * Occupation
of Alexandria * Cotton Hoards in Southern Swamp * Confederate Prisoners Being Conducted from
Jonesborough to Atlanta * Banks’s Army Leaving Simmsport * Crest of Pine Mountain,Where General Polk
Fell * Alabama Loyalists Greeting the Federal Gun-Boats * Pack-Mules in the Mountains * Deadbrook
After the Battle of Ezra’s Church * Foote’s Gun-Boats Ascending to Attack Fort Henry * Lost Mountain at
Sunrise * Signal Station, Summit of Maryland Heights * An Army Train
.
Alfred H. Guernsey’s and Henry M.Alden’s 1866
Harper’s Pictorial History of the CivilWar
, based on
images from
Harper’s Weekly
, serves as the framework for this monumental portfolio depicting the
history of the Civil War. Kara Walker uses these original illustrations as the framework for her
interpretation, on which she overlays her signature black cut silhouettes. While her cut images
reference history, particularly that which related to slavery and the Civil War, this was the first time
in whichWalker directly juxtaposed her own historical images with ones from the period. “These
prints,”Walker explains, “are the landscapes that I imagine exist in the back of my somewhat more
austere wall pieces.”
[75,000/100,000]