{"info": {"total": 8, "parameters": {"skip": 0, "limit": 1000, "african_american_artists": "", "black_american_artists": "", "cia_alumni_artists": "", "select": "accession_number,accession_number_sortable,cover_accession_number,department,gallery,collection,classification_type,department"}}, "data": [{"id": 168133, "accession_number": "2009.7", "share_license_status": "Copyrighted", "tombstone": "Rooftop, 1957. Hughie Lee-Smith (American, 1915\u20131999). Oil on masonite; unframed: 61 x 63.5 cm (24 x 25 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2009.7. \u00a9 Estate of Hughie Lee-Smith / Licensed by VAGA at ARS, NY", "current_location": "228B Cleveland Artists", "title": "Rooftop", "creation_date": "1957", "creation_date_earliest": 1957, "creation_date_latest": 1957, "artists_tags": ["male", "Cleveland Institute of Art (alumni)", "Black American Artists"], "culture": ["America"], "technique": "oil on masonite", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 61 x 63.5 cm (24 x 25 in.)", "dimensions": {"unframed": {"height": 0.61, "width": 0.635}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Estate of Hughie Lee-Smith / Licensed by VAGA at ARS, NY", "inscriptions": [{"inscription": "signed lower right \"Lee-Smith / '57\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 297065, "title": "From the Rooftops: John Sloan and the Art of a New Urban Space", "description": "<i>From the Rooftops: John Sloan and the Art of a New Urban Space</i>. Palmer Museum of Art, University Park, PA (organizer) (February 5-May 12, 2019); The Hyde Collection, Glens Falls, NY (June 16-September 15, 2019).", "opening_date": "2019-02-05T05:00:00"}], "legacy": []}, "provenance": [{"description": "Flea Market (Florida); Private Collector consigning to Swann Galleries, New York [public auction, February 17, 2009]", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hughie Lee-Smith ran track with fellow student Jesse Owens at East Technical High School in Cleveland.", "description": "Trained in Cleveland before launching his mature career in Detroit and New York, Lee-Smith frequently painted isolated\u2014and often solitary\u2014figures amid desolate cityscapes and landscapes. They have pronounced overtones of introspection, which the artist attributed, in part, to his experiences navigating the forces and effects of racism: \"In my case, aloneness, I think, has stemmed from the fact that I\u2019m Black. Unconsciously it has a lot to do with alienation.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480564"], "internet_archive": []}, "citations": [{"citation": "Cole, Mark. \"The Cleveland Gallery.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 49, no. 7 (September 2009): 5-7.", "page_number": "Mentioned: p. 7; Reproduced: p. 5, Cover", "url": "https://archive.org/details/CMAMM2009-07/page/4/mode/2up"}, {"citation": "King-Hammond, Leslie. <em>Hughie Lee-Smith</em>. San Francisco, CA: Pomegranate, 2010.", "page_number": "Mentioned: p. 42-46; Reproduced: p. 45, back cover", "url": null}, {"citation": "Mann, Griffith C. \"Acquisitions 2009.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 50, no. 2 (March/April 2010): 12-27.", "page_number": "Mentioned and reproduced: p. 18", "url": "https://archive.org/details/CMAMM2010-02/page/n17/mode/2up"}, {"citation": "Shearer, Christine Fowler and Steven Litt. <em>Joseph O'Sickey: Unifying Art, Life and Love</em>. Canton, Ohio: Canton Museum of Art, 2013.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Cole, Mark, Amy Sparks, and Rebecca Michaels. <em>African American Art: The Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned and Reproduced: p. 12-13", "url": null}, {"citation": "Freeman, Nigel. <em>A Modern Migration: African-American Art Since the WPA, from the Lee and Barbara Maimon Collection</em>. Exton, PA: Brilliant Graphics, 2014.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Thomas, Adam M.<em> From the Rooftops: John Sloan and the Art of a New Urban Space</em>. University Park, PA; Palmer Museum of Art, 2019.", "page_number": "Mentioned: P. 61, 72", "url": null}, {"citation": "\"Past Masters.\" In <em>Standing on the Shoulders of Giants: Cleveland Arts Prize 2020-2021, </em>edited by Alenka Banco, 19-22. Cleveland: Cleveland Arts Prize, 2020.", "page_number": "Reproduced: p. 21", "url": ""}, {"citation": "Als, Hilton, Lauren Haynes, Leslie King-Hammond, Steve Locke, Kellie Jones, LeRonn P. Brooks, and Reggie Burrows Hodges. <em>Hughie Lee-Smith</em>. New York: Karma Books, 2023.", "page_number": "Reproduced: p. 153", "url": ""}, {"citation": "Porter, Austin. \"Hughie Lee-Smith.\" In <em>150 Stories: Lives of the Artists at the League, </em>edited by Stephanie Cassidy, 366-367. New York, NY: The Art Students League of New York, 2025.", "page_number": "Reproduced: p. 366", "url": ""}], "url": "https://clevelandart.org/art/2009.7", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 168133, "creators": [{"id": 7915, "description": "Hughie Lee-Smith (American, 1915\u20131999)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the most gifted figurative painters of his generation, Hughie Lee-Smith was born in Eustis, Florida. He moved to Cleveland in 1925 with his mother, a singer who recognized her son's talent and enrolled him in Saturday-morning classes at the Cleveland Museum of Art. While in high school, he took life-drawing classes at the Huntington Polytechnic Institute. After attending classes at the Detroit Society of Arts and Crafts, 1933-34, he studied with Carl Gaertner and Rolf Stoll at the Cleveland School of Art, graduating in 1938. During this period Lee-Smith taught drawing at Karamu House, then known as the Playhouse Settlement. For financial reasons he declined a fifth-year scholarship from the Cleveland School of Art in 1938 and began working for the Works Progress Administration's Ohio Art Project, where he learned lithography and etching. He exhibited in the annual May Shows at the Cleveland Museum of Art (1937-41). In 1939 he became a board member of the magazine \"Crossroads\" and later that year received a one-year appointment to teach art at Claflin College in South Carolina. In 1940 he cofounded Karamu Artists Incorporated and served as the organization's president. In the early 1940s he moved to Detroit, the hometown of his new wife. After serving in the navy during World War II, he returned to Detroit and attended Wayne University, where he earned a B. S. in education in 1953. He exhibited steadily throughout the 1940s and 1950s, showing at galleries in Cleveland, Detroit, Chicago, New York, Washington, D.C., and Philadelphia. In 1957 he won the prestigious Emily Lowe Award from the National Academy of Design and soon after moved to New York. In 1967 he was elected a full-member of the National Academy of Design and began teaching there in 1972. In 1988 the Malcolm Brown Gallery in Cleveland mounted a solo exhibition of his work, and later that year the New Jersey State Museum in Trenton organized a retrospective. Lee-Smith lives and works in New Jersey. <br> \"Transformations in Cleveland Art (CMA, 1996), p. 233", "name_in_original_language": null, "birth_year": "1915", "death_year": "1999"}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1957, "date_added_to_oa": null, "date_text": "1957", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2025-12-21 05:57:33.657000"}, {"id": 164836, "accession_number": "2006.202", "share_license_status": "Copyrighted", "tombstone": "Bedtime, 1940. Charles L. Sall\u00e9e (American, 1911\u20132006). Oil on canvas; framed: 86.4 x 66 cm (34 x 26 in.); unframed: 79 x 66.2 cm (31 1/8 x 26 1/16 in.). The Cleveland Museum of Art, Gift of June Sallee Antoine in honor of our parents, Charles Louis Sallee, Sr. and Cora Nell Collier Sallee, 2006.202. \u00a9 The Estate of Charles L. Sall\u00e9e", "current_location": "228B Cleveland Artists", "title": "Bedtime", "creation_date": "1940", "creation_date_earliest": 1940, "creation_date_latest": 1940, "artists_tags": ["male", "Cleveland Institute of Art (alumni)", "Black American Artists", "May Show"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 86.4 x 66 cm (34 x 26 in.); Unframed: 79 x 66.2 cm (31 1/8 x 26 1/16 in.)", "dimensions": {"framed": {"height": 0.864, "width": 0.66}, "unframed": {"height": 0.79, "width": 0.662}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Charles L. Sall\u00e9e", "inscriptions": [{"inscription": "Signed lower left corner: \"Sall\u00e9e\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 230821, "title": "Hardship to Hope: African American Art from the Karamu Workshop", "description": "<i>Hardship to Hope: African American Art from the Karamu Workshop</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (organizer) (September 13-December 31, 2011).", "opening_date": "2011-09-13T00:00:00"}, {"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": [{"description": "<em>Exhibit by Karamu Artists</em>,. Associated American Artists, New York, NY, (January 7-22, 1942).", "opening_date": "1942-01-07T05:00:00Z"}, {"description": "<em>Yet Still We Rise: African American Art in Cleveland, 1920-1970. </em>Cleveland State University, Cleveland, OH, (March 15-April 20, 1996); Butler Institute of American Art, Youngstown, OH (December 22, 1996-January 26, 1997) ; Riffe Gallery, Columbus, OH (April 24-July 12, 1997).", "opening_date": "1996-03-15T00:00:00"}]}, "provenance": [{"description": "June Sallee Antoine (the artist's sister)", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sall\u00e9e worked as an interior designer for many important clients, including the Cleveland Browns.", "description": "After teaching at Karamu House, Charles Sall\u00e9e went on to become the first African American graduate of the Cleveland School (now Institute) of Art, earning his degree in 1938. Initially focused on painting and printmaking, he subsequently launched a distinguished professional career in interior design. <em>Bedtime </em>is the artist\u2019s most famous image, having earned national renown when it was featured in James A. Porter\u2019s groundbreaking survey <em>Modern Negro Art</em>, published in 1943.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480354"], "internet_archive": []}, "citations": [{"citation": "Litt, Steven. \"Cleveland Museum of Art Survey's America's Racial History Through Works by Modern, Contemporary Black Artists,\" <em>Plain Dealer, </em>February 27, 2022.", "page_number": "P. D-2", "url": ""}, {"citation": "Porter, James A. <em>Modern Negro Art</em>. New York, NY: Dryden Press, 1943.", "page_number": "Reproduced: p. 238", "url": null}, {"citation": "Rahn, Zita, and Ursula Korneitchouk. <em>Yet Still We Rise: African American Art in Cleveland, 1920-1970</em>. Cleveland, OH: Cleveland Artists Foundation, 1996.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Cole, Mark \"The Cleveland Gallery.\" <em>Cleveland Art</em>, no. 49 (September 2009):6.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Litt, Steven. \u201cA Sampling of the New Acquisitions on Display in the East Wing.\u201d <em>Cleveland Plain Dealer </em>June 21, 2009, P. H6.", "page_number": null, "url": null}, {"citation": "Bassett, Mark. \"Charles Sallee's Joyous Work.\" <em>Link 11 (</em>Spring, 2012):5.", "page_number": "Mentioned and reproduced: p. 5", "url": null}, {"citation": "Cole, Mark, Amy Sparks, and Rebecca Michaels. <em>African American Art: The Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2013. ..", "page_number": "Reproduced: p. 11; Mentioned: p 20.", "url": null}], "url": "https://clevelandart.org/art/2006.202", "images": {}, "alternate_images": [], "creditline": "Gift of June Sallee Antoine in honor of our parents, Charles Louis Sallee, Sr. and Cora Nell Collier Sallee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "William P. and Amanda C. Madar Gallery", "athena_id": 164836, "creators": [{"id": 7975, "description": "Charles L. Sall\u00e9e (American, 1911\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sall\u00e9e was born in Oberlin, Ohio, but later moved to Sandusky, where his father established a construction contracting company. Sall\u00e9e learned the building trade from his father but decided to pursue a career in art. In 1931 he moved to Cleveland and attended art classes at Karamu House, then known as the Playhouse Settlement. He studied lithography and etching techniques at the Huntington Poly technic Institute, 1932\u201333. He attended the Cleveland School of Art, 1933\u201338, studying with Carl Gaertner, Viktor Schreckengost, Rolf Stoll, and Paul Travis. In 1939 he earned a B.S. in education from Western Reserve College and began teaching art in the Cleveland school system. In 1936 he joined the local chapter of the American Artists\u2019 Congress. Sall\u00e9e worked on several Works Progress Administration projects, 1936 creating prints, then painting murals. His WPA commissions included work for Sunny Acres Hospital, the Outhwaite Homes, and Cleveland Municipal Airport, as well as the Fort Hays Homes in Columbus, Ohio. He exhibited in the May Shows at the Cleveland Museum of Art (1935\u201346), and in group exhibitions at Howard University (1937) and the Library of Congress in Washington, D.C. (1940), the Tanner Art Galleries of Chicago (1940), the Associated American Art Galleries of New York (1941), and Atlanta University (1942). The North Canton Library in Canton, Ohio, organized his first solo exhibition in 1940. He was drafted into the Army Corps of Engineers during World War II and worked as a cartographer and camouflage designer. After the war, he began a career in interior design. For the next four decades, Sall\u00e9e worked for various interior design firms in Cleveland, designing corporate offices, nightclubs, hotels, and restaurants for such clients as Cleveland Trust, Stouffer Hotel, and the Cleveland Browns. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 236", "name_in_original_language": null, "birth_year": "1911", "death_year": "2006"}], "legal_status": "accessioned", "accession_date": "2007-02-26T00:00:00", "sortable_date": 1940, "date_added_to_oa": null, "date_text": "1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2025-12-21 05:57:08.119000"}, {"id": 157419, "accession_number": "1994.274", "share_license_status": "Copyrighted", "tombstone": "Anna, c. 1940. Charles L. Sall\u00e9e (American, 1911\u20132006). Etching and aquatint; plate: 24.5 x 19.8 cm (9 5/8 x 7 13/16 in.); sheet: 30.5 x 25.5 cm (12 x 10 1/16 in.). The Cleveland Museum of Art, Gift of John Puskas, 1994.274. \u00a9 The Estate of Charles L. Sall\u00e9e", "current_location": null, "title": "Anna", "creation_date": "c. 1940", "creation_date_earliest": 1935, "creation_date_latest": 1945, "artists_tags": ["male", "Cleveland Institute of Art (alumni)", "Black American Artists", "May Show"], "culture": ["America"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Plate: 24.5 x 19.8 cm (9 5/8 x 7 13/16 in.); Sheet: 30.5 x 25.5 cm (12 x 10 1/16 in.)", "dimensions": {"plate": {"height": 0.245, "width": 0.198}, "sheet": {"height": 0.305, "width": 0.255}}, "state_of_the_work": null, "edition_of_the_work": "possibly 25 to 50", "copyright": "\u00a9 The Estate of Charles L. Sall\u00e9e", "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: ANNA; lower center margin, in graphite [later hand?]: WPA; lower right margin, in graphite: C. Sall\u00e9e", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (1/26/2014 - 5/18/2014); \"Our Stories: African American Prints and Drawings\"", "opening_date": "2014-01-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Sall\u00e9e also made a print of Anna drawing in a class at Karamu House.", "description": "Here, Charles Sall\u00e9e depicted a fellow artist from Karamu\u2019s studio art program. He described knowing her from classes and admiring her \u201ccurious, inquiring quality.\u201d Sall\u00e9e noted that this print was made through the WPA, or Works Progress Administration, a federally funded program that supported artists during the financial strife of the Great Depression. Sall\u00e9e frequented Cleveland\u2019s WPA graphic arts workshop, where he experimented with aquatint, the technique used for grainy areas of tone in the background and in Anna\u2019s skin and hair. This process was popular at the workshop, with some participants even inventing their own variations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79973678"], "internet_archive": []}, "citations": [{"citation": "Glaubinger, Jane. \"A Salute to Sallee.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 46, no. 6 (March 2006): 8-10.", "page_number": "Reproduced: p. 8", "url": "https://archive.org/details/CMAMM2006-06/page/8/mode/2up"}, {"citation": "Benay, Erin. \"Peripheral Prints: Karamu House and the Rise of African American Art in the Midwest.\" <em>Panorama: Journal of the Association of Historians of American Art </em>10, no. 1 (Spring 2024).", "page_number": "Mentioned and reproduced: fig. 4", "url": "https://journalpanorama.org/article/peripheral-prints/"}, {"citation": "Salsbury, Britany, and Erin E. Benay. <em>Karamu Artists Inc.: Printmaking, Race, and Community</em>. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Reproduced: p. 94, no. 45", "url": ""}], "catalogue_raisonne": "Salsbury, Benay, and Kruse 70 (as Martha)", "url": "https://clevelandart.org/art/1994.274", "images": {}, "alternate_images": [], "creditline": "Gift of John Puskas", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157419, "creators": [{"id": 7975, "description": "Charles L. Sall\u00e9e (American, 1911\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sall\u00e9e was born in Oberlin, Ohio, but later moved to Sandusky, where his father established a construction contracting company. Sall\u00e9e learned the building trade from his father but decided to pursue a career in art. In 1931 he moved to Cleveland and attended art classes at Karamu House, then known as the Playhouse Settlement. He studied lithography and etching techniques at the Huntington Poly technic Institute, 1932\u201333. He attended the Cleveland School of Art, 1933\u201338, studying with Carl Gaertner, Viktor Schreckengost, Rolf Stoll, and Paul Travis. In 1939 he earned a B.S. in education from Western Reserve College and began teaching art in the Cleveland school system. In 1936 he joined the local chapter of the American Artists\u2019 Congress. Sall\u00e9e worked on several Works Progress Administration projects, 1936 creating prints, then painting murals. His WPA commissions included work for Sunny Acres Hospital, the Outhwaite Homes, and Cleveland Municipal Airport, as well as the Fort Hays Homes in Columbus, Ohio. He exhibited in the May Shows at the Cleveland Museum of Art (1935\u201346), and in group exhibitions at Howard University (1937) and the Library of Congress in Washington, D.C. (1940), the Tanner Art Galleries of Chicago (1940), the Associated American Art Galleries of New York (1941), and Atlanta University (1942). The North Canton Library in Canton, Ohio, organized his first solo exhibition in 1940. He was drafted into the Army Corps of Engineers during World War II and worked as a cartographer and camouflage designer. After the war, he began a career in interior design. For the next four decades, Sall\u00e9e worked for various interior design firms in Cleveland, designing corporate offices, nightclubs, hotels, and restaurants for such clients as Cleveland Trust, Stouffer Hotel, and the Cleveland Browns. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 236", "name_in_original_language": null, "birth_year": "1911", "death_year": "2006"}], "legal_status": "accessioned", "accession_date": "1994-12-06T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "c. 1940", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Martha"], "is_highlight": false, "updated_at": "2025-12-21 05:56:17.101000"}, {"id": 157418, "accession_number": "1994.273", "share_license_status": "Copyrighted", "tombstone": "Bertha, c. 1938. Charles L. Sall\u00e9e (American, 1911\u20132006), Works Progress Administration / Federal Art Project. Etching and aquatint; plate: 23.8 x 17.6 cm (9 3/8 x 6 15/16 in.); sheet: 28.7 x 22.2 cm (11 5/16 x 8 3/4 in.). The Cleveland Museum of Art, Gift of John Puskas, 1994.273. \u00a9 The Estate of Charles L. Sall\u00e9e", "current_location": null, "title": "Bertha", "creation_date": "c. 1938", "creation_date_earliest": 1935, "creation_date_latest": 1939, "artists_tags": ["male", "May Show", "Cleveland Institute of Art (alumni)", "Black American Artists", "gender unknown"], "culture": ["America"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Plate: 23.8 x 17.6 cm (9 3/8 x 6 15/16 in.); Sheet: 28.7 x 22.2 cm (11 5/16 x 8 3/4 in.)", "dimensions": {"plate": {"height": 0.238, "width": 0.176}, "sheet": {"height": 0.287, "width": 0.222}}, "state_of_the_work": null, "edition_of_the_work": "25 to 50", "copyright": "\u00a9 The Estate of Charles L. Sall\u00e9e", "inscriptions": [{"inscription": "inscribed, lower left margin, in graphite: Bertha; lower right margin, in graphite: C. Sall\u00e9e", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 667699, "title": "Karamu Artists Inc.: Printmaking, Race, and Community", "description": "<i>Karamu Artists Inc.: Printmaking, Race, and Community</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-August 17, 2025).", "opening_date": "2025-03-23T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Sall\u00e9e and his fellow artist Fred Carlo both praised Bertha\u2019s ability as a model to find natural yet dynamic poses.", "description": "Although members of Karamu Artists Inc. worked closely together, each had distinctive styles and favored different subject matter. Charles Sall\u00e9e was known for portraits, inspired by his years spent teaching portraiture at Karamu through a scholarship from the Gilpin Players, the institution\u2019s internationally renowned theater troupe. Bertha, seen here, was a dancer and regular model at Karamu and was also portrayed by Fred Carlo. This print uses Sall\u00e9e\u2019s preferred format, closely cropping the image around his subject\u2019s head and focusing intently on their expression. Taken together, such portraits document the individuals who frequented the studio art program during his time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79973675"], "internet_archive": []}, "citations": [{"citation": "Salsbury, Britany. \"Karamu Artists Inc. and Printmaking in the WPA Era.\" In <em>Karamu Artists Inc.: Printmaking, Race, and Community, </em>Britany Salsbury and Erin Benay, 16-55. Cleveland, OH: Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 28-29, no. 6", "url": ""}], "catalogue_raisonne": "Salsbury, Benay, and Kruse 63", "url": "https://clevelandart.org/art/1994.273", "images": {}, "alternate_images": [], "creditline": "Gift of John Puskas", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157418, "creators": [{"id": 7975, "description": "Charles L. Sall\u00e9e (American, 1911\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sall\u00e9e was born in Oberlin, Ohio, but later moved to Sandusky, where his father established a construction contracting company. Sall\u00e9e learned the building trade from his father but decided to pursue a career in art. In 1931 he moved to Cleveland and attended art classes at Karamu House, then known as the Playhouse Settlement. He studied lithography and etching techniques at the Huntington Poly technic Institute, 1932\u201333. He attended the Cleveland School of Art, 1933\u201338, studying with Carl Gaertner, Viktor Schreckengost, Rolf Stoll, and Paul Travis. In 1939 he earned a B.S. in education from Western Reserve College and began teaching art in the Cleveland school system. In 1936 he joined the local chapter of the American Artists\u2019 Congress. Sall\u00e9e worked on several Works Progress Administration projects, 1936 creating prints, then painting murals. His WPA commissions included work for Sunny Acres Hospital, the Outhwaite Homes, and Cleveland Municipal Airport, as well as the Fort Hays Homes in Columbus, Ohio. He exhibited in the May Shows at the Cleveland Museum of Art (1935\u201346), and in group exhibitions at Howard University (1937) and the Library of Congress in Washington, D.C. (1940), the Tanner Art Galleries of Chicago (1940), the Associated American Art Galleries of New York (1941), and Atlanta University (1942). The North Canton Library in Canton, Ohio, organized his first solo exhibition in 1940. He was drafted into the Army Corps of Engineers during World War II and worked as a cartographer and camouflage designer. After the war, he began a career in interior design. For the next four decades, Sall\u00e9e worked for various interior design firms in Cleveland, designing corporate offices, nightclubs, hotels, and restaurants for such clients as Cleveland Trust, Stouffer Hotel, and the Cleveland Browns. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 236", "name_in_original_language": null, "birth_year": "1911", "death_year": "2006"}, {"id": 47688, "description": "Works Progress Administration / Federal Art Project", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null}], "legal_status": "accessioned", "accession_date": "1994-12-06T00:00:00", "sortable_date": 1935, "date_added_to_oa": null, "date_text": "c. 1938", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2025-12-21 05:56:17.096000"}, {"id": 454848, "accession_number": "2022.54", "share_license_status": "Copyrighted", "tombstone": "Landscape No. 1, c. 1939. Hughie Lee-Smith (American, 1915\u20131999). Linocut; image: 22.8 x 26.2 cm (9 x 10 5/16 in.); sheet: 30.5 x 40.6 cm (12 x 16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2022.54", "current_location": null, "title": "Landscape No. 1", "creation_date": "c. 1939", "creation_date_earliest": 1925, "creation_date_latest": 1949, "artists_tags": ["male", "Black American Artists", "Cleveland Institute of Art (alumni)"], "culture": [], "technique": "linocut", "support_materials": [], "department": "Prints", "collection": "PR - Linocut", "type": "Print", "measurements": "Image: 22.8 x 26.2 cm (9 x 10 5/16 in.); Sheet: 30.5 x 40.6 cm (12 x 16 in.)", "dimensions": {"sheet": {"height": 0.305, "width": 0.406}, "image": {"height": 0.228, "width": 0.262}}, "state_of_the_work": null, "edition_of_the_work": "25 or 50", "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, margin, in graphite: \u201cLandscape No. 1.\u201d; lower right margin, in graphite: Hughie Lee Smith 8/50", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Typed on sheet attached to original mount: LANDSCAPE #1 / I had watched the Central Avenue area rapidly deteriorating; its houses fall- / ing down, and too many of its people going to pieces as well. It depressed me / beyond words. I could only express my feeling about it all by drawing, not that / the drawing was altogether realistic. The way I felt about it got blended with / the way it actually looked. / Hughie Lee-Smith", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Exhibit by Karamu Artists</em>. Associated American Artists Galleries, New York (January 7\u201322, 1942); Temple University, Philadelphia (February 2\u201316, 1942).", "opening_date": "1942-01-01T00:00:00"}]}, "provenance": [{"description": "(Lusenhop Fine Art, Cleveland Heights, OH), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 6, 2022-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was included in a 1942 exhibition of Karamu House artists organized at New York\u2019s Associated American Artists Galleries and sponsored by a committee including cultural figures such as Langston Hughes, Alain Locke, and Carl Van Vechten. The show traveled to Philadelphia\u2019s Temple University and brought national attention to the Karamu House printmaking workshop.", "description": "This linocut was created by Hughie Lee-Smith while he was involved in the printmaking workshop at Karamu House, a community art center founded in 1915 that is still active in Cleveland today. Created by carving into a smooth linoleum block, linocut is an accessible technique that was favored at Karamu for its accessibility and democracy. Lee-Smith used it to evocatively depict the lives of Black Clevelanders\u2014here, as he described, \u201cthe Central Avenue area rapidly deteriorating; its houses falling down, and too many of its people going to pieces as well. It depressed me beyond words. I could only express my feeling about it all by drawing.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247188"], "internet_archive": []}, "citations": [{"citation": "<em>Exhibit by Karamu Artists</em>. Exh. Cat. New York: Associated American Artists, 1942.", "page_number": "", "url": ""}], "catalogue_raisonne": "Salsbury, Benay, and Kruse 53", "url": "https://clevelandart.org/art/2022.54", "images": {}, "alternate_images": [], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 454848, "creators": [{"id": 7915, "description": "Hughie Lee-Smith (American, 1915\u20131999)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the most gifted figurative painters of his generation, Hughie Lee-Smith was born in Eustis, Florida. He moved to Cleveland in 1925 with his mother, a singer who recognized her son's talent and enrolled him in Saturday-morning classes at the Cleveland Museum of Art. While in high school, he took life-drawing classes at the Huntington Polytechnic Institute. After attending classes at the Detroit Society of Arts and Crafts, 1933-34, he studied with Carl Gaertner and Rolf Stoll at the Cleveland School of Art, graduating in 1938. During this period Lee-Smith taught drawing at Karamu House, then known as the Playhouse Settlement. For financial reasons he declined a fifth-year scholarship from the Cleveland School of Art in 1938 and began working for the Works Progress Administration's Ohio Art Project, where he learned lithography and etching. He exhibited in the annual May Shows at the Cleveland Museum of Art (1937-41). In 1939 he became a board member of the magazine \"Crossroads\" and later that year received a one-year appointment to teach art at Claflin College in South Carolina. In 1940 he cofounded Karamu Artists Incorporated and served as the organization's president. In the early 1940s he moved to Detroit, the hometown of his new wife. After serving in the navy during World War II, he returned to Detroit and attended Wayne University, where he earned a B. S. in education in 1953. He exhibited steadily throughout the 1940s and 1950s, showing at galleries in Cleveland, Detroit, Chicago, New York, Washington, D.C., and Philadelphia. In 1957 he won the prestigious Emily Lowe Award from the National Academy of Design and soon after moved to New York. In 1967 he was elected a full-member of the National Academy of Design and began teaching there in 1972. In 1988 the Malcolm Brown Gallery in Cleveland mounted a solo exhibition of his work, and later that year the New Jersey State Museum in Trenton organized a retrospective. Lee-Smith lives and works in New Jersey. <br> \"Transformations in Cleveland Art (CMA, 1996), p. 233", "name_in_original_language": null, "birth_year": "1915", "death_year": "1999"}], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1925, "date_added_to_oa": null, "date_text": "c. 1939", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-01-02 16:38:41.981000"}, {"id": 375083, "accession_number": "2020.97", "share_license_status": "Copyrighted", "tombstone": "Bare Arms: The Practice #2, 2019. Darius Steward (American, b. 1984). Drypoint on aluminum on Twinrocker All Purpose paper; plate: 29.8 x 29.8 cm (11 3/4 x 11 3/4 in.); sheet: 35.6 x 35.6 cm (14 x 14 in.). The Cleveland Museum of Art, Gift of Thomas French in honor of Robert Getscher, PhD, 2020.97. \u00a9 Darius Steward", "current_location": null, "title": "The Practice #2", "series": "Bare Arms", "creation_date": "2019", "creation_date_earliest": 2019, "creation_date_latest": 2019, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "male", "Black American Artists"], "culture": ["America"], "technique": "drypoint on aluminum on Twinrocker All Purpose paper", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Plate: 29.8 x 29.8 cm (11 3/4 x 11 3/4 in.); Sheet: 35.6 x 35.6 cm (14 x 14 in.)", "dimensions": {"plate": {"height": 0.298, "width": 0.298}, "sheet": {"height": 0.356, "width": 0.356}, "with frame": {"height": 0.635, "width": 0.476}}, "state_of_the_work": null, "edition_of_the_work": "1 of 4 AP", "copyright": "\u00a9 Darius Steward", "inscriptions": [], "exhibitions": {"current": [{"id": 443702, "title": "Currents and Constellations: Black Art in Focus", "description": "<i>Currents and Constellations: Black Art in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-June 26, 2022).", "opening_date": "2022-02-20T05:00:00"}], "legacy": []}, "provenance": [{"description": "Darius Steward [1984-] (the artist), Cleveland, OH", "citations": [], "footnotes": null, "date": "2019", "sortorder": 1}, {"description": "Thomas French Fine Art LLC, Fairlawn, OH", "citations": [], "footnotes": null, "date": "2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 2, 2020", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print portrays the artist\u2019s children.", "description": "<em>Bare Arms (The Practice #2)</em>, one of a pair of drypoints by Darius Steward in the CMA\u2019s collection, forms part of the artist\u2019s ongoing exploration of his childhood in East Cleveland in juxtaposition to that of his own children, whom the work represents. He writes: \u201cMy portrayal of my children now borders on appropriation of many personal moments and memories. I recognize what they are experiencing and make connections between what I experienced some 30 years ago versus what I missed out on in East Cleveland. I have greater aspirations for a better life for my children and all people.\u201d In <em>Bare Arms (The Practice</em> <em>#1)</em> Steward\u2019s skilled draftsmanship and unusual, cropped composition conveys physical struggle in the guise of play.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244194"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.97", "images": {}, "alternate_images": [], "creditline": "Gift of Thomas French in honor of Robert Getscher, PhD", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375083, "creators": [{"id": 375078, "description": "Darius Steward (American, b. 1984)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1984"}, {"id": 6860, "description": "Thomas French Fine Art", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null}, {"id": 58773, "description": "Rebekah A. Wilhelm", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1986"}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 2019, "date_added_to_oa": null, "date_text": "2019", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2025-12-28 21:31:57.930000"}, {"id": 375080, "accession_number": "2020.96", "share_license_status": "Copyrighted", "tombstone": "Bare Arms: The Practice #1, 2019. Darius Steward (American, b. 1984). Drypoint on aluminum on Twinrocker All Purpose paper. The Cleveland Museum of Art, Gift of Thomas French in honor of Robert Getscher, PhD, 2020.96. \u00a9 Darius Steward", "current_location": null, "title": "The Practice #1", "series": "Bare Arms", "creation_date": "2019", "creation_date_earliest": 2019, "creation_date_latest": 2019, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "male", "Black American Artists"], "culture": ["America"], "technique": "drypoint on aluminum on Twinrocker All Purpose paper", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": "1 of 4 AP", "copyright": "\u00a9 Darius Steward", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Darius Steward [1984-] (the artist), Cleveland, OH", "citations": [], "footnotes": null, "date": "2019", "sortorder": 1}, {"description": "Thomas French Fine Art LLC, Fairlawn, OH", "citations": [], "footnotes": null, "date": "2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 2, 2020", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print portrays the artist\u2019s children.", "description": "<em>Bare Arms (The Practice #1)</em>, one of a pair of drypoints by Darius Steward in the CMA\u2019s collection, forms part of the artist\u2019s ongoing exploration of his childhood in East Cleveland in juxtaposition to that of his own children, whom the work represents. He writes: \u201cMy portrayal of my children now borders on appropriation of many personal moments and memories. I recognize what they are experiencing and make connections between what I experienced some 30 years ago versus what I missed out on in East Cleveland. I have greater aspirations for a better life for my children and all people.\u201d In <em>Bare Arms (The Practice</em> <em>#1)</em> Steward\u2019s skilled draftsmanship and unusual, cropped composition conveys physical struggle in the guise of play.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244193"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2020.96", "images": {}, "alternate_images": [], "creditline": "Gift of Thomas French in honor of Robert Getscher, PhD", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375080, "creators": [{"id": 375078, "description": "Darius Steward (American, b. 1984)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1984"}, {"id": 6860, "description": "Thomas French Fine Art", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null}, {"id": 58773, "description": "Rebekah A. Wilhelm", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1986"}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 2019, "date_added_to_oa": null, "date_text": "2019", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2025-12-28 21:31:57.922000"}, {"id": 166484, "accession_number": "2008.22", "share_license_status": "Copyrighted", "tombstone": "Cheryl, 1952. Charles L. Sall\u00e9e (American, 1911\u20132006). Brown chalk; sheet: 45.9 x 30.4 cm (18 1/16 x 11 15/16 in.). The Cleveland Museum of Art, Gift of June Sallee Antoine in honor of her brother, Charles Louis Sall\u00e9e Jr., 2008.22. \u00a9 The Estate of Charles L. Sall\u00e9e", "current_location": null, "title": "Cheryl", "creation_date": "1952", "creation_date_earliest": 1952, "creation_date_latest": 1952, "artists_tags": ["May Show", "Cleveland Institute of Art (alumni)", "male", "Black American Artists"], "culture": ["America"], "technique": "brown chalk", "support_materials": [], "department": "Drawings", "collection": "DR - American 20th Century", "type": "Drawing", "measurements": "Sheet: 45.9 x 30.4 cm (18 1/16 x 11 15/16 in.)", "dimensions": {"sheet": {"height": 0.459, "width": 0.304}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 The Estate of Charles L. Sall\u00e9e", "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996787"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2008.22", "images": {}, "alternate_images": [], "creditline": "Gift of June Sallee Antoine in honor of her brother, Charles Louis Sall\u00e9e Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166484, "creators": [{"id": 7975, "description": "Charles L. Sall\u00e9e (American, 1911\u20132006)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Sall\u00e9e was born in Oberlin, Ohio, but later moved to Sandusky, where his father established a construction contracting company. Sall\u00e9e learned the building trade from his father but decided to pursue a career in art. In 1931 he moved to Cleveland and attended art classes at Karamu House, then known as the Playhouse Settlement. He studied lithography and etching techniques at the Huntington Poly technic Institute, 1932\u201333. He attended the Cleveland School of Art, 1933\u201338, studying with Carl Gaertner, Viktor Schreckengost, Rolf Stoll, and Paul Travis. In 1939 he earned a B.S. in education from Western Reserve College and began teaching art in the Cleveland school system. In 1936 he joined the local chapter of the American Artists\u2019 Congress. Sall\u00e9e worked on several Works Progress Administration projects, 1936 creating prints, then painting murals. His WPA commissions included work for Sunny Acres Hospital, the Outhwaite Homes, and Cleveland Municipal Airport, as well as the Fort Hays Homes in Columbus, Ohio. He exhibited in the May Shows at the Cleveland Museum of Art (1935\u201346), and in group exhibitions at Howard University (1937) and the Library of Congress in Washington, D.C. (1940), the Tanner Art Galleries of Chicago (1940), the Associated American Art Galleries of New York (1941), and Atlanta University (1942). The North Canton Library in Canton, Ohio, organized his first solo exhibition in 1940. He was drafted into the Army Corps of Engineers during World War II and worked as a cartographer and camouflage designer. After the war, he began a career in interior design. For the next four decades, Sall\u00e9e worked for various interior design firms in Cleveland, designing corporate offices, nightclubs, hotels, and restaurants for such clients as Cleveland Trust, Stouffer Hotel, and the Cleveland Browns. <br><em>Transformations in Cleveland Art.</em> (CMA, 1996), p. 236", "name_in_original_language": null, "birth_year": "1911", "death_year": "2006"}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1952, "date_added_to_oa": null, "date_text": "1952", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2025-12-28 21:30:54.537000"}]}