Attributed to Felrath Hines, it does not have a COA. Medium: oil canvas. Nice abstract multicolors. 26 x 20 inches. Provenance: private owner.

Biography: An artist first and foremost, Felrath Hines (1913-1993) worked to create universal visual idioms from a place of complex personal experience, though known to be “color blind” in his relationships with friends and acquaintances,Hines’s life in 20th century American society was as vibrant as his ever-more-subtle works of art. Hines’s figurative and cubist-style artwork morphed into soft-edged organic abstracts as he grappled with hues in his chosen oil medium. The New York art worldvwas small when he arrived there in the early 1960s, especially for African American artists, who were routinely marginalized by prestigious galleries and museums. Hines’s fellow artist Romare Bearden invited him to join as a founding member of Spiral, a group of African American visual artists who initially met in response to the civil rights movement in the early 1960s. Several Spiral members attended the March on Washington, and they mounted their first and only group exhibition at their Christopher Street studio in 1965. Unconvinced that there existed styles or subjects that could be categorized as exclusively “black art,” Hines continued to pursue his abstract sensibility. His social life, including jazz clubs and art openings, led Hines to the 28th Street apartment of acquaintance Frank Neal, where such luminaries as James Baldwin, Harry Belafonte, Charles Sebree and Billy Strayhorn gathered and discussed creative and social issues, as well as their careers and place in the white dominant world. In addition to his work as an artist, Hines became known for his impeccable conservation work and his accurate and sensitive in-painting, allowing him to open his own private conservation practice in 1964. His client list included the Museum of Modern Art, the Whitney Museum, the Corcoran Gallery of Art and Miss Georgia O’Keeffe, who, as well, became a loyal friend. In 1972 he left NYC for Washington DC to become Chief Conservator of the Smithsonian Institution’s National Portrait Gallery and, later, the Hirshhorn Museum and Sculpture Garden, a job from which he retired in 1984. From that time to his death in 1993, he produced more paintings than during the rest of his career combined.Fellow artist, Erika D. Passantino, wrote in the catalog for a 2002 June Kelly Gallery show, “Hines balanced a universal, almost Platonic, language of reduction with an insistence on the primacy of individual expression – and for Hines, it was abstract by necessity.” Hines knew and was true to his premise that “each person paints out of the life he lives.”

All authorship of items in this catalog are described according to the following terms:

Signed [Artist Name] : In cases in which the signature is legible in the lot, this work is described as-is with no attributions given.

By [Artist Name] : The work is by the artist.

Attributed to [Artist Name] : The work may be ascribed to the artist on the basis of style, but there may be some question as to actual authorship.

In the manner of [Artist Name] : The work was executed by an unknown hand, but was designed deliberately to emulate the style of the artist.

After [Artist Name] : The work was executed by an unknown hand, but is a deliberate copy of a known work by the artist.

Circle of [Artist Name] : A work of the period of the artist showing his influence, closely associated with the artist but not necessarily his pupil.

Follower of [Artist Name]: A work by a pupil or a follower of the artist (not necessarily a pupil).

American, 19th century: This work was executed by an unknown hand, and can only be identified by origin (i.e., region, period).

Mint