Pond, 1962
Oil on canvas
36 x 24 inches
Frame: 42 1/2 x 30 1/4 inches
Signed lower right
Signed, titled, and dated on the verso
Floating Rectangle, 1984
Oil on canvas
26 x 39 inches
Signed
Untitled, 1978
Oil on canvas
18 x 22 inches
Signed
Pyramid, 1983
Oil on canvas
48 x 50 inches
Signed
Untitled, 1984
Oil on canvas
18 x 22 inches
Signed on the verso
Mahler, 1992
Oil on canvas
58 x 64 inches
Signed
Tropic Night, 1989
Oil on canvas
26 x 26 inches
Still Life, 1948
Oil on canvas
36 x 24 inches
Storm, 1986
Oil on canvas
40 x 54 inches
Signed
Red Painting, 1968
Oil on canvas
36 x 24 inches
Signed on the verso
Mahler, 1992
Oil on canvas
58 x 64 inches
Western Landscape (Red & Ochre), 1979
Oil on canvas
60 x 48 inches
Untitled (Large Grays), 1971
Oil on canvas
66 x 78 inches
Landscape, 1953
Oil on canvas
10 x 14 inches
Signed
Three Figures, 1947
Oil on canvas
36 x 30 inches
Signed and dated lower right
Hieroglyphic, 1985
Oil on canvas
40 x 52 inches
Totem, 1950
Oil on canvas
30 x 24 inches
Signed and dated lower right
Rocks, 1950
Oil on canvas
20 x 24 inches
Red Hill, 1953
Oil on canvas
12 x 15 inches
Signed lower left
Untitled, 1954
Oil on canvas
14 x 18 inches
Flowers, 1961
Oil on canvas
20 x 24 inches
Untitled, 1962
Oil on canvas
15 x 18 inches
Orange with Green, 1963
Oil on canvas
13 x 16 inches
Landscape, 1965
Oil on canvas
60 x 60 inches
Beige Green, 1968
Oil on canvas
36 x 48 inches
Untitled (Sketch), 1969
Oil on canvas
14 x 15 inches
Untitled (Sketch), 1969
Oil on canvas
12 x 14 inches
Signed
Untitled, 1970s
Oil on canvas
26 x 40 inches
Untitled #2, 1978
Oil on canvas
46 x 48 inches
Untitled, 1979
Oil on canvas
24 x 20 inches
Accent,1985
Oil on canvas
30 x 36 inches
Untitled, 1981
Oil on canvas
48 x 60 inches
Untitled Monotype, 1984
Oil on paper
18 x 24 inches
Signed and dated lower right
Flurries, 1984
Oil on paper
18 x 24 inches
Signed and dated lower right
Over the Hill, 1984
Oil on paper
18 x 24 inches
Signed and dated upper right
Black Verticals with Red Monotype, 1984
Oil on paper
18 x 24 inches
Signed and dated lower right
Prayer Rug, 1982
Monotype
18 x 24 inches
Signed on the verso by the Estate of Felrath Hines
Secrets #3, 1983
Monotype
24 x 18 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1981
Monotype
18 x 24 inches
Sepia Image, 1982
Monotype
18 x 24 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1982
Monotype
18 x 24 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1982
Monotype
18 x 24 inches
Untitled, 1982
Monotype
18 x 24 inches
Untitled, 1982
Monotype
19 1/2 x 24 inches
Untitled, 1982
Monotype
18 x 24 inches
Untitled, 1982
Monotype
24 x 18 inches
Untitled, 1982
Monotype
18 x 24 inches
Holiday, 1984
Monotype
18 x 24 inches
Untitled,1989
Pastel
30 x 22 inches
Signed on the verso by the Estate of Felrath Hines
Untitled (Boats), 1952
Watercolor and ink
20 x 26 1/2 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1980s
Watercolor on paper
9 x 12 inches
Untitled, 1980s
Watercolor on paper
9 x 12 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1980s
Watercolor on paper
10 x 14 1/4 inches
Signed on the verso by the Estate of Felrath Hines
Untitled
Watercolor on paper
7 3/4 x 5 3/4 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1980s
Watercolor on paper
10 x 14 1/4 inches
Untitled, 1980
Watercolor on paper
7 3/4 x 6 inches
Untitled, 1980
Watercolor on paper
7 3/4 x 6 inches
Untitled, 1980s
Watercolor on paper
9 x 12 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1980
Watercolor on paper
7 3/4 x 6 inches
Untitled, 1980
Watercolor on paper
5 x 7 inches
Untitled, 1980s
Watercolor on paper
9 x 12 inches
Signed on the verso by the Estate of Felrath Hines
Untitled, 1980s
Watercolor on paper
10 x 14 1/4 inches
Untitled, 1980
Watercolor on paper
7 x 5 inches
Untitled, 1977
Ink on paper
6 1/2 x 5 inches
Untitled, 1977
Ink on paper
5 x 6 1/2 inches
Untitled, 1977
Ink on paper
5 x 6 1/2 inches
Untitled,1977
Ink on paper
5 x 9 3/4 inches
Untitled, 1977
Ink on paper
5 x 6 1/2 inches
Untitled, 1977
Ink on paper
5 x 6 1/2 inches
Untitled, 1980s
Watercolor on paper
10 x 14 1/4 inches
Signed on the verso by the Estate of Felrath Hines
SOLD
Abstract, 1965
Oil on canvas
12 x 16 inches
SOLD
An artist first and foremost, Felrath Hines, born in 1913, 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 world was 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 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 dominant white 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 also 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.