Notes on Selected Paintings
Note: New information added regularly.
This is not a catalogue raisonné. This is a collection of my notes on works by Edward Bannister that are primarily mentioned in my Annotated Bibliography on Edward and Christiana Bannister. Because many of Edward Bannister’s paintings were untitled and were given descriptive titles, there may be some duplication. All untitled works appear under untitled and are then arranged alphabetically by their descriptive names. No attempt has been made to establish provenance.
The Frederick Douglass Museum of African Art was the original home to many of these paintings. The Frederick Douglass Museum of African Art opened in 1964 under the direction of Warren Robbins, a retired State Department official, and was the first museum of its kind in the United States. It was located in the Frederick Douglass House on Capitol Hill. The museum became part of the Smithsonian Institution in 1979 and was renamed the National Museum of African Art in 1981. In 1987, the museum moved to the National Mall.
The information contained on this page is the result of my best effort using information available at the time. While every effort was made to keep the information current and correct, there are no representations or warranties, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the information contained on this page for any purpose. If the reader does happen upon an error, I would be grateful if you sent me a note so I can make corrections.
I am especially grateful to art historian and Providence Art Club Archivist Nancy Whipple Grinnell for her incredible generosity in sharing her wealth of knowledge about Edward and Christiana Bannister. I am also extremely grateful to Edward Shein and Nick Bruno for their encyclopedic knowledge of Bannister's work.
A Concert
n.d., George M. Carpenter.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned in The Boston Evening Transcript, November 7, 1891. Mentioned in “Studio and Gallery Notes” The Boston Evening Transcript, November 21, 1891. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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A Cool Place
n.d., Robert P. Brown.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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A Golden Afternoon
n.d.
Mentioned in the July 25, 1892 Providence Journal on page 1 as having a “very effective combination of color.”
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A Hillside at Knightsville
n.d., Mrs. Jennie F. Cole
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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A Marsh
n.d., Isaac C. Bates
Providence Art Club, Catalogue of Pictures to benefit Robert E. Hallworth's Children, December 21, 1882. According to the Providence Morning Star on December 23, 1882 the painting sold for $11.00.
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A Midsummer Day
n.d., Robert P. Brown
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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A New England Hillside
n.d.
Exhibited at Massachusetts Charitable Mechanics Association, 15th Exhibition, 1884, for sale for $800, listed as #189 and won a silver medal. On January 7, 1885 The Evening News reported on Bannister's exhibition at his studio. "Foremostly in size and masterly work is the canvas entitled, A New England Hillside, that took a medal at the recent fair at the Mechanic's Association, in Boston. It is a grand piece of work and will forever stamp Mr. Bannister as one of the greatest of American Landscape painters." The painting was mentioned in the October 21, 1888 Providence Journal on page 6. Painting was sold to the owner of the Everett House in New York when he saw it hanging at the Ocean House in Newport. Mentioned on page 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 195 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in “The Massachusetts Charitable Mechanic’s Association, The Triennial Exhibition, A Glance About the Building, The Art Department” The Boston Evening Transcript, September 10, 1884.
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A New England Pasture
n.d.
Exhibited at Gill’s 12th Annual art Gallery, Springfield. MA in 1859. Listed for sale for $150.00. Exhibited at Cotton Centennial, New Orleans, 1885. However, according to the February 21, 1885 issue of the Washington Bee, Edward’s painting, along with Edmonia Lewis’ “Wooing of Hiawatha” and Henry Ossawa Tanner’s “The Battle of Life” were displayed in the Colored People’s Department rather than the Fine Arts Gallery. Exhibited at Gill’s 41st Annual art Gallery, Springfield. MA in 1918. Listed for sale for $150.00. Mentioned on page 213 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 1130 in Men of Mark by William J. Simmons.
Mentioned in the Springfield Republican, 01/10/1889. "James D. Gill is now in New York selecting paintings for his annual exhibition. He has already made his selection in Boston and Providence...From Providence there will be represented E.C. Leavitt, E.L. Smythe, and E.M. Bannister." Th.is would be Gill's 12th Annual Exhibition. Listed in the catalogue are...A New England Landscape for sale for $150.00. The February 2, 1889 issue of the Springfield Republican, describes the painting as a "rocky and uneven field, amid whose course grasses and ferns cattle are feeding. A group of great beeches at the right, where the fence corners, attracts the eye and leads it along to the left, where on the slope of an opposite hill-side farm buildings are seen. Snowy clouds float in the blue skies and the sense of moral peace and beauty is perfect." Mentioned in Springfield Republican, "Pictures Sold at Gill's," 02/21/1918, refers to A New England Landscape as "so akin in spirit and tenic to Wyant. Mr. Bannister possessed more than a spark of genius; he felt his pulse beat with the pulse of nature and saw the earth with the eye of a lover and poet, and his death robbed our art of a painter of rare quality."
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A Pasture
1880
Exhibited at Providence Art Club, First Exhibition, on May 11, 1880. Mentioned in “Art and Artists” The Boston Evening Transcript, April 2, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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A Portrait of Garrison
c. 1869.
Exhibited at The Studios of Providence, Upper Story, Ward Room, Benefit Street, Providence, RI. October in 1869.
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A Providence Dock
n.d.
Exhibited at Providence Art Club, 3d Annual Exhibition, April 17, 1882. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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A Rugged Path
n.d.
Mentioned in The Providence Evening Press on February 21, 1883 as a, “beautiful little view of our lovely Pawtuxet River.”
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A Southeaster on the Coast
n.d.
Exhibited at Providence Art Club, Autumn Exhibition, November 17, 1886. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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A Spring Day
n.d.; Allen M. Peck.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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A Spring Morning
n.d.
The March, 1885 Noyes and Blakeslee Catalogue of Valuable Paintings listed #20, "Spring Morning." Mentioned in “Mr. Bannister’s Exhibition” The Providence Journal, April 13, 1887.
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A Study
n.d.
Exhibited at Providence Art Club, 3d Annual Exhibition, April 17, 1882. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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A Summer in Pawtuxet Valley
1887
Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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A Winter’s Morning
n.d.
Described in the January 22, 1884 Providence Evening Press as, “a picture more in keeping with this cold, wintery weather…A long stretch of road is covered with snow; a cottage stands by the roadside; the trees are gaunt and bare, and the cold, wintery, blue sky, the immense perspective of snow-covered country and the crisp atmosphere of winter are admirably depicted.”
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Across Country
1883
Mentioned in the 03/19/1883 Providence Journal on page 9. Picture is described as “a landscape, displaying a large sweep of country, with distant blue hills, a sun-lighted valley in the middle distance, and a fine group of trees at the left of the foreground, which is broken by a winding road.” Exhibited at Providence Art Club, Fourth Annual Exhibition, March 14, 1883, listed for sale for $500. Mentioned in the April 29, 1883 Providence Journal on page 6 as being in the Providence Art Club’s spring exhibition. Mentioned in “Art Club Exhibition” The Providence Journal, March 19, 1888. Mentioned in “Art Gossip - Spring Exhibition of the Providence Art Club - Sale of Robinson’s Pictures” The Providence Journal, April 29, 1888. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Across the Marsh
1878
Won a bronze medal in Boston Charitable Mechanics Association Exhibit. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in “Boston. The New Fair-Building and the Exhibits. American Artists in the Art Annex” The Chicago Daily Tribune, September 22, 1878.
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Across Narragansett Bay from Warwick
c. 1891
Mentioned in the May 24, 1891 Providence Journal as having been painted for a New Yorker. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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After the Bath
c. 1891, oil on canvas, 25 ½ x 39 ½ in.; Mr. Buffum to Dr. and Mrs. Harmon Kelley, Promised gift to the San Antonio Museum of Art.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by the artist. Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio Museum of Art, 1994 (San Antonio venue). After the Bath "uses strong oppositions of light and dark to present a more intimate rustic scene, animated by the unobtrusive interaction of the human figures and the parading geese." - exhibition catalogue. Image appears on page 7 of The Harmon and Harriet Kelley Collection of African American Art catalogue. Mentioned by George W. Whitaker in his eulogy on Bannister as owned by Mr. Buffman. Mentioned in “Memorial Meeting.” Providence Journal, November 24, 1901, page 4.
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After the Battle - Evening
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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After a Shower
n.d.
Exhibited at Providence Art Club, November 15, 1881.
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After the Masquerade
n.d.
Exhibited at the First Exhibition, Providence Art Club on May 11, 1880, listed as not for sale, Exhibited at Providence Art Club, Exhibition November 4 - 18, 1891, Exhibited at the Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition Collection of George W. Whitaker, May 1901. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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After the Shower
c. 1883-1887, oil on board, 9 x 10 in., G. William Miller to Smithsonian.
Exhibited at Edward Mitchell Bannister: Memorial Exhibition, Providence Art Club in May 1901, Collection of Austin H. King. Mentioned in the "Bulletin of the Rhode Island School of Design," Vol. 10, No.2, 1922 as a bequest to RISD by Austin H. King. Mentioned in the March 12, 1922 Providence Journal on page 100 as part of a bequest from the Austin King collection. Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist on March 23 -April 3, 1966, Museum of Art, Rhode Island School of Design, from the Miller Collection. Exhibited at American Art in the Barbizon Mood, Smithsonian American Art Museum, on January 23 - April 20, 1975. "Bannister was at his most exciting in smaller sketches, such as After the Shower a vigorously expressive summary that, in the broadest sense of the term, is truly an impressionistic painting." - exhibition catalogue. Exhibited at Selections of Nineteenth-Century Afro-American Art. in 1976, Smithsonian American Art Museum. Mentioned by George W. Whitaker in his 1901 eulogy on Bannister owned by Austin H. King. Image appears on page 126 in American Art in the Barbizon Mood by Peter Birmingham. Mentioned on page 126 in American Art in the Barbizon Mood by Peter Birmingham. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933. Mentioned in “Memorial Meeting.” Providence Journal, November 24, 1901, page 4.
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Afternoon
n.d.
Mentioned in the July 25, 1893 Providence Journal on page 1. “In the foreground are cows feeding in the deep grass, and in the distance are towering trees. There is an admirable effect of cloudy sky.”
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Afternoon on the Seekonk
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by the artist. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Afternoon Pond
c. 1895, oil on canvas, 15¼ x 28¾ in.; Harmon and Harriet Kelley Collection.
Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio: San Antonio Museum of Art, 1994.
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Along the Hudson
n.d., oil on canvas. 23 ¾ x 35 ¾ in.; Sold by James D. Julia Auctioneers, Fairfield, CT on 22 Aug 2012.
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Along the Palmer River
n.d., oil on canvas, 10 x 14 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Among the Pines
1879, oil on canvas; Samuel Ames
Exhibited at Boston Art Club on January 15 - February 8, 1879. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Listed in The Boston Art Club Exhibition Record 1873-1909.
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An October Day
n.d.
Mentioned in the Boston Evening Transcript on April 13, 1883 under Sale of Paintings as having sold for $42.50.
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Anglers
1880
Exhibited at Providence Art Club on December 2, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Apple Trees in a Meadow
c. 1890, oil on canvas, 20 x 24 in.; Roger King Fine Arts, Newport, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Approaching Storm
c. 1886, oil on canvas, 40 x 60 in., G. William Miller to Smithsonian.
Exhibited at Providence Art Club, Edward Mitchel Bannister: Memorial Exhibition in May 1901, owned by Hugo Bruel. Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist, Museum of Art, Rhode Island School of Design, on March 23 -April 3, 1966; Exhibited at Smithsonian American Art Museum, 1985. Number 41 in Driskell, David. Two Centuries of Black American Art. Mentioned on page 41 in Dissertation “Afro-American Artists” by Sara Hollis. Mentioned on pages 90 and 97 in Edward Mitchell Bannister and the Aesthetics of Idealism by Traci Costa. Mentioned on page 16 in Ronald Neperud’s article “Ethnic Aesthetics: Blacks’ and Nonblacks’ Aesthetic Perception of Paintings by Blacks.” in Studies in Art Education 23, no. 2 (1982). Mentioned in “Mr. Bannister’s Exhibition” The Providence Journal, April 13, 1887. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned by Murray Whyte in “A deeper look at Edward Mitchell Bannister, the Black painter who changed Providence” The Boston Globe, February 4, 2021.
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Arlington Avenue
c. 1888, oil on artist board, 12 x 20 in.; Rhode Island College, Providence, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
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At Canonicut
1891; George Buffam
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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At Narragansett Pier
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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At the Brook
1884
Exhibited at Providence Art Club, Autumn Exhibition, November 5, 1884, listed for sale for $150. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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At the Oakside Beach
Late 1870s, oil on canvas, 8 ½ x 12 ½ in.; Museum of Art, Rhode Island School of Design, Providence; Bequest of Isaac C. Bates
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Image appears on page 36 in Kenkeleba catalogue. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, Control Number: 47480021.
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At the Pawtuxet (By the Brook)
c. 1895, oil on canvas, 15 x 18 in.; Providence Art Club, Gift of Mrs. James Elgan.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018.
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $1,000.
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At the Wharves
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. Alice Ely, May 1901.
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At Smith's Place, Narragansett Bay
1881, oil on canvas, 22 x 30 in.; Acquired by Anson and France Viets, Springfield, MA (c. 1920s).
Exhibited at the Twenty-third Exhibition of the Boston Art Club, Boston, MA on January 29 - February 9, 1881; sold on October 19, 2023 by Swann Auction Galleries in New York for $137,000. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Autumn
1882, oil on board, 11 x 12 in., Isaac Bates
Exhibited at Providence Art Club, Catalogue of Pictures to benefit Robert E. Hallworth's Children, December 21, 1882, owned by Isaac. C. Bates. According to the Providence Morning Star on December 23, 1882 the painting sold for $15.00. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Barnyard and Figure
n.d., oil on canvas, 30.5 x 45.7 cm; Sold at auction on February 23, 2019.
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Barringtown
n.d., Joseph C. Ely.
Exhibited at Providence Art Club, Summer Exhibition, 1892. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Bath Road Cliff, Newport
c. 1889, oil on canvas, 28 x 46 in.; Collection of Frederick G. and Marion E. Emerson.
Exhibited at Providence Art Club, Edward Mitchell Bannister Memorial Exhibition, Collection of George N. Bliss, May 1901. Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Mentioned on page 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 52 in Kenkeleba catalogue. Mentioned on page 196 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Beach, Near Saugus
n.d.; Miss S. E. Usher.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Black Trees
n.d., 10¼ x 16¼, oil
Listed in catalog as #23 in American Nineteenth Century Paintings from the Collection of Douglas B. Collins, Hyannis Port, MA: Richard A. Bourne, Aug. 18, 1972. Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, control number: 62160205.
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Blue Hill, (near Boston)
n.d.; Edward S. Bowen.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Boys Fishing
1881, oil on canvas, 30 x 50 in., Al Jennings to Ed Shein to Bill Cosby.
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Bridgeport Landing
Mentioned in the November 13, 1885 issue of the The Providence Journal which describes it as "No. 11, a warm summer day, with a sky of heavy white summer clouds, a stream of water at the right, and in the distance a delightful stretch of hazy hillside, all fairly hot with the warm breath of August."
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Bright Scene of Cattle Near Stream
n.d.; oil on canvas, 22 ¼ x 36 ¼ in.
Smithsonian American Art Museum, Ed Shein to Melvin and H. Alan Frank from the Frank Family Collection to the Smithsonian.
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By the Lake
c. 1897, oil on canvas, 10 x 12 in.
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Blow, High, Blow
n.d.
Mentioned in the October 21, 1888 Providence Journal on page 6 as being “an order for an interpretation on canvas of one of the familiar lines in one of the interludes of Tennyson’s Princess ‘Blow, High, Blow, set the wild echoes flying.’”
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Boats Becalmed
n.d.; Martin W. Kern.
Exhibition at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Bowers Cove
n.d., watercolor and crayon on paper
Exhibited at the First Exhibition, Providence Art Club on May 11, 1880, listed as not for sale. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Benton’s Cove, Newport, RI
c. 1887
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Boat on Sea
n.d., oil on canvas, 5 1⁄8 x 8 in., J. Wesley Johnson to Smithsonian American Art Museum.
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Bridgeport Landing
n.d.
Described in the November 13, 1885 Providence Journal on page 8 as “a warm summer day with a sky of heavy white summer clouds, a stream of water at the right, and in the distance a delightful stretch of hazy hillside, all fairly hot with the warm breath of August.” Exhibited at Providence Art Club, Autumn Exhibition, November 11, 1885, listed for sale. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Bright Scene of Cattle Near Stream
n.d., oil on canvas, 22 1⁄4 x 36 1⁄4 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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Buttonwood Cove
n.d., watercolor on paper, 7 x 10¾ in.; Providence Athenaeum, Rhode Island.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Canton Marshes
n.d.
Exhibited at Providence Art Club, Annual Exhibition, January 3 - January 15, 1898, listed for sale for $20.
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Cattle
n.d., (black and white); Joseph C. Ely
Exhibited at Providence Art Club, Summer Exhibition, 1892. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cattle and Oaks
1891; charcoal; Whitaker
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cattle at Evening
n.d.; George Whitaker.
Exhibited at Providence Art Club, Summer Exhibition, 1892. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cattle Grazing
c. 1895, oil on canvas, 14 x 24 in.; University Club, Providence, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Cattle Through the Trees
1878, oil on canvas, 23 x 28 in.
Sold at auction by Eldred’s Auction on 15 July 2021 for $22,500.
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Charlestown Navy-Yard
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Child with Birds and Dog
1882, oil on canvas, 44 3⁄8 x 34 1⁄4 in., J. Wesley Johnson to Smithsonian
Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Christ Healing the Sick
n.d., oil on canvas.
Donated by Edward to the Aged Colored Women’s Home in 1890. The Manufacturers and Farmers Journal, on April 17, 1890 said that “Christ Healing the Sick” was one of several paintings contributed to the shelter. It goes on to say that the painting is, "singularly in consonance with the spirit of the beneficence itself. It was painted a score of years ago. Christ stands with hands spread over a sick man that has been brought to his feet, and at his left is a woman holding appealingly toward him her dead babe. Scoffing Sadducees are in the background, and a lame and feeble patriarch is being helped to the savior by a strong arm." Mentioned in “Home given by Mrs. T.P. Shepard to Rhode Island Colored Women Dedicated” The Evening Bulletin, April 16, 1890.
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Christ in the Garden of Gethsemane
Mentioned on page 202 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Christiana Carteaux Bannister
n.d., oil on canvas, 25½ x 28 in.; Bannister Nursing Care Center.
Image appears on page 16 of Kenkeleba catalogue and is mentioned on page in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 43 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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City at Twilight
n.d.; Judge Carpenter.
Exhibited at Providence Art Club, Summer Exhibition, 1892. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cleopatra Waiting to Receive Mare Antony
Whereabouts unknown. Mentioned on page 22 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 217 in The Black Man, His Genius and His Achievements by Wiliam Wells Brown.
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Cliff Walk, Narragansett
n.d.; William B. Pearce.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Close of the Season
c. 1887
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cloudy Afternoon
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cloudy Day
n.d., chalk.
Exhibited at the Providence Art Club, December 2, 1880, appears under the category Watercolors. Mentioned in The Providence Journal, May 24, 1896 as a small study. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Coal Dock, East Providence
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Coastal Scene
n.d., oil on canvas tacked to a board, 4½ x 6⅜ in.
Sold by Grogan & Company, Boston, MA on May 01, 2022.
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Coggeshall’s Ledge, Newport, in Storm of 1888
n.d.; Robert P. Brown.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Color Study
n.d.
Exhibited at Providence Art Club, December 2, 1880 under the category Watercolors.
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Coming Home
n.d., oil on canvas, 17 x 21 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Exhibited at Masters for the First Family, May - June, 2009, Parish Gallery. Mentioned in April 21, 2009 correspondence between Norman Parish and Mona Sutphen discussing First Family exposition. Mentioned in April 22, 2009 memorandum between Corrine Jennings and Parish Gallery listing price as $110,000. Mentioned in May 8, 2009 Consignment Agreement between Norman Parish and Kenkeleba Gallery listing sales price of $110,000 and commission of $33,000.
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Coming Through the Laurel Brake
n.d., oil on canvas, 17 x 21 in.
On January 7, 1885 The Evening News reported on Bannister's exhibition at his studio. In referring to this piece, the writer declares, “that the artist is equally facile with figure painting as shown by the painting ‘Coming Through the Laurel Brake,’ that won so many encomiums at the fall exhibition of the Art Club.”
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Country Landscape
n.d., on canvas, 5 x 9 in.
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Country landscape with a wood bridge over stream
n.d., oil on board, 12 ½ x 21 in.; Sold at auction by William Smith Auctions, Plainfield, NH on November 15, 2023.
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Country Landscape with Man Fishing at a Pond
n.d., oil on canvas, 18 x 26 in.
Sold at auction by Pook & Pook, Downington on 23 November 2002 for $23,000.
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Cove at Sunset
n.d., 10⅝ × 12 15/16 in.; Private collection, Rhode Island. Anthony Artis Collection, Flint, Michigan. [ACA Galleries, New York], sold; to Harvard Art Museums, 2022
Celebrating Future Minded: New Works in the Collection: A Day of Spotlight Tours, Harvard Art Museum, Special Exhibitions Gallery, April 25, 2024.
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Cove, Back of Fort Adams
n.d. oil on board, 10⅝ × 12 15/16 in.; Robert P. Brown.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cows
n.d., oil on canvas, 18 x 30¼, Edward Shein to James and Shirley Gordon to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Cows at a Watering Hole
n.d., oil on canvas, 16 x 24 in.
Sold by Grogan & Company, Boston, MA on May 01, 2022.
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Cows at the Watering Hole
n.d., oil on canvas, 26 x 35 ½ in.
Thomas Lawrence Carty and Catherine G. Carty, Pawtucket, Rhode Island thence by descent to private Estate in Malibu, California.
Sold at auction by Grogan and Company on 01 May 2022 for $20,000; Sold at auction by Bonhams, New York, NY on 25 May 2023 for $40,960.
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Cows by a Stream
c. 1891, oil on canvas, 10 x 14 in.
Sold at Auction on June 9, 2013 by Freeman’s for $6,250.
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Cows in a Landscape
n.d., oil on canvas, 10 x 12 in.
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Cows in a Pasture
c. 1893, oil on canvas, 24 x 36 in.
Sold at Christie's, New York on 15 September 2005 for $54,000.
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Cows in a Summer Landscape
n.d., oil on panel, 6 x 13 ¼ in.
Sold at auction by Trinity International Auctions on 06 November 2021 for $5,000.
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Cows in Meadow
n.d., oil, 12 x 19 in.; Bannister House
Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape. Rhode Island College, 1978
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Cows in the Forest
1879, charcoal and chalk on paper mounted on paperboard, 15⅛ x 21⅞, Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum .
Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Cows in the Marsh
1879
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Crossing the Bridge Before Sunset
c. 1893, oil on linen canvas, 16 x 26 in.; Ex-collection Benjamin E. Perry.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
Sold by Swann Auction Galleries, New York, NY on October 07, 2021 for $112,500..
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Crushed
n.d., pencil on paper, 21 x 32 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Dandelion Pickers
n.d.; Judge Carpenter
Exhibited at Providence Art Club, Summer Exhibition, 1892. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Docks at Dusk
C. late 1870s, oil on thin wood panel, 7½ x 10 in., Frank Tolles Chamberlin. Swann Auction Galleries, Sale 2664 - Lot 1, April 4, 2024.
"Frank Tolles Chamberlin (1873 - 1961) was a landscape painter, and sculptor who lived and worked in California. His wife was Catherine Beecher Stetson, the only daughter of Rhode Island painter Charles Walter Stetson, a close friend and colleague of Bannister's. Stetson and Bannister were part of a small group of artists who founded the Providence Art Club in 1880.
This oil sketch is a wonderful scene of moored ships in what appears to be the harbor of 1870s Providence - the buildings and smoke stacks looming in the background are similar to contemporaneous images. Bannister would paint such small plein air studies on board, sometimes to develop into larger paintings in the studio. A similar docks scene is found in his oil painting, Providence River (1881)." From Swann Auction Galleries.
Sold at auction on 04 April 2024 for $7,500 through Swann Auction Galleries, Gramercy Park, NY.
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Dorchester
c. 1860, oil on canvas, 36 x 28 in.; Museum of Art, Rhode Island School of Design.
Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape. Rhode Island College, 1978; Kenkeleba House, New York; Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992; Exhibited at Newport Art Museum, 1992-2015; Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister,” Gilbert Stuart Museum, Saunderstown, RI, 2018. Mentioned in Driskell, David. Two Centuries of Black American Art, p. 46.
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Dorchester 1856
1856, oil on canvas, 14⅛ x 20⅛; Dr. Charles Mandell to Smithsonian
Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, control number: 61022318.
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Doryman
c. 1880, oil on canvas, 23 x 36 in.; Kenkeleba Gallery, New York.
Exhibited at African Americans: Seeing and Seen, 1766-1916. New York: Babcock Galleries in 2010. Image appears on page35.
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Dr. John V. DeGrasse
c. 1854, oil on canvas, 23 x 19 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. in 2001. Mentioned on page 63 in “Landscapes of Labor by Gwendolyn DuBois Shaw in the volume Post-Bellum, Pre-Harlem: African American Literature and Culture. Mentioned on pages 37 and 89 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Driving Home the Cows
1881, oil on canvas, 32 x 50 in.; Smithsonian American Art Museum, Gift of G. William Miller
Exhibited at Edward Mitchel Bannister: Memorial Exhibition Providence Art Club in May 1901 owned by George H. Ames; exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist on March 23 - April 3, 1966, Museum of Art, Rhode Island School of Design, Miller Collection; exhibited at The Metropolitan Museum of Art. Selections of Nineteenth-Century Afro-American Art. in 1976. Exhibited at Edward Mitchell Bannister; The Barbizon School in Providence, Olney Street Baptist Church, Providence, August 1-15, 1965. Number 39 in Driskell, David. Two Centuries of Black American Art. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Driving Home the Cows
c.1885, oil on canvas, 21 x 29 ½ in.; The Harmon and Harriet Kelley Collection.
Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio Museum of Art in 1994 (San Antonio venue).
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Drying the Nets
n.d.; Collection of Walter A. Peck
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Dutch Cow and Girl
n.d.; Bliss & Gardner
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933.
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Early Autumn
According to The Providence Journal, May 24, 1896, “A large canvas, “Early Autumn,” represents a picturesque landscape, rich in autumnal coloring.”
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Early Morning
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in “Mr. Bannister’s Exhibition” The Providence Journal, April 13, 1887.
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East Hancock Harbor
c. 1885, oil on canvas, 8 x 12 in.
Exhibited at Encore, Bill Hodges Gallery, NY, Aug 14-Sep 6, 2014 . Image appears on page 36 in Norman W. Lewis, et al., Bill Hodges Gallery catalogue, 2017.
Sold at auction by Bill Hodges Gallery, NY.
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East Meadow
n.d., oil on canvas, 10 x 14 in.; Roger King Fine Arts, Newport, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
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Edge of the Woods
n.d.; Collection of George W. Whitaker
Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Evening
1880, oil; Mrs. Alice Ely, Mrs. William J. Danielson.
Exhibited at Providence Art Club, December 2, 1880, listed as for sale; Exhibited at Providence Art Club, November 15, 1881; Exhibited at Boston Art Club, Twenty-Third Exhibition of the Boston Art Club, in 1882, listed for sale for $100; Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891; Exhibited at Providence Art Club, 100th Exhibition, March 4 - March 25, 1896, listed as on loan; Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned in “Art and Artists” The Boston Evening Transcript, April 2, 1880, page 6. Mentioned in “The Monument Fair, The Art Exhibition” The Portland Daily Press, June 6, 1884. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Listed in The Boston Art Club Exhibition Record 1873-1909.
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Eventide
n.d.; Eliza G. Radeke
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Exchange Place on a November Day
1889
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Expansive Landscape
1880s watercolor on board, 7½ x 10¾ in.
Sold at auction by Black Art Auction, Thom Pegg, Tyler Fine Art, Saint Louis on 22 May 2021, Lot 81 for $13,750.
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Fagot Gatherers
n.d.; William R. Walker.
Referenced in the Boston Evening Transcript on February 26, 1867 as a contribution by Bannister to the Wheelock Fund on exhibit and sale at Williams and Everett. Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Farm Scene
n.d.; William B. Pearce
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Farmer Green's Meadow
1886, oil on canvas, 15 x 21 in.; George H. Ames.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Image appears on page 47 in Kenkeleba catalogue.
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Fisherman Becalmed, Narragansett Bay
n.d.
Providence Art Club, Fourth Annual Exhibition, March 14, 1883. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Fisherman by Water
1886, oil on paperboard, 8 x 11 3⁄4 in., Smithsonian American Art Museum, Gift of Robert Culbertson
Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Fisherman's Return
1884; Robert P. Brown.
Exhibited at Artists' Exhibition, Hartford, Connecticut, 1883. Described in the January 22, 1884 Providence Evening Press as “one of the loveliest pictures” in Edward’s studio exhibition. The painting, “describes a small inlet rendered dark and somber by the overhanging trees and bushes and the coming twilight, in rich contrast with the flood of golden splendors lighting up the uplands in the distance. The fisherman, drawing in his boat, with his red jacket adds an effective bit of color to the scene. So faithfully is the feeling of twilight rendered that to look at the picture causes that calm peaceful feeling that invariably comes with the closing of day and the rest from wearisome labor.” Mentioned in the January 22, 1884 Providence Journal. The article says the painting “ exhibits more clearly than any other…the artist’s appreciation of the poetry there is in nature. It is charming in its sentiment, full of rich color, a breathable atmosphere and subtle qualities.” Exhibited at Providence Art Club, Edward Mitchel Bannister: memorial exhibition, May 1901. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Fishing
1881, oil on canvas, 30 x 50 in.; Abram Mendenhall; collection of Edward Shein to Bill and Camille Olivia Cosby in 1980.
Exhibited at Providence Art Club,, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 20 in Driskell, D. C., Cosby, B., Hanks, R. The Other Side of Color: African American Art in the Collection of Camille O. and William H. Cosby. Mentioned in “Four from Providence: Black Artists in the Rhode Island Social Landscape” by Lawrence F. Sykes in 4 from Providence exhibition catalogue. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Fishing Folk, King Philip Rock, Mount Hope
c. 1892, oil on canvas, 18 x 24 in.; Sold at auction by Grogan & Company, Boston on December 07, 2009.
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Fishing Oil
n.d., 30 x 50 in.
Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape. Rhode Island College, 1978.
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Fishing Shacks
ca. 1877-1885, oil on wood, 10 5⁄8 x 13 7⁄8 in.; Edward Shein to Howard S. and Dorothy Lampal to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in March 9, 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $600. Listed as damaged.
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Five Cows in a Pasture
c. 1882-1884, oil on canvas, 40 x 60 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, Smithsonian American Art Museum, in 1985. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Forest Scene, Fallen Tree
1873, National Museum of American Art
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Fort Dumpling, Jamestown
n.d., oil on canvas, 16 x 24 in.; Eric J.M. Godfrey.
Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966. Godfrey, Museum of Art, Rhode Island School of Design. Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992, Collection of Mr. and Mrs. Eric J.M. Godfrey; Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. Mentioned on page 29 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 40 in Kenkeleba catalogue. Mentioned on page 66 in “Landscapes of Labor by Gwendolyn DuBois Shaw in the volume Post-Bellum, Pre-Harlem: African American Literature and Culture. Mentioned on page 189 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Forest Interior
n.d., oil on board, 10 x 16 in.
Sold by Bonhams, New York on 19 Nov 2014.
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Four Cows in a Meadow
1883, oil on canvas, 12 x 19 in.; Newport At Museum on loan from Bannister Nursing Care Center.
Exhibited at York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Exhibited at Barbizon to Impressionism, Rhode Island Painters of the Late Nineteenth Century, Newport Art Museum, Newport, RI, October 27, 2007-January 27, 2008. Image appears on page 51 in Kenkeleba catalogue. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Gathering Chestnuts
1888
Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Gathering Clouds
1881, oil on canvas, 9 x 12 in.
Exhibited at Christie's, 19th and 20th Century American Paintings, Drawings, Watercolors and Sculpture in 1989.
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Glenn
n.d., (black and white).
Exhibited at Providence Art Club, Summer Exhibition, 1892, owned by Eli. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Glimpse of the Charles
n.d.; George W. Whitaker.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Golden Light
n.d.; Nicholas Sheldon
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933.
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Governor Sprague's White Horse
1869, oil on canvas, 23 x 30 in.; Manton Hoard to C.H. Perkins to Rhode Island Historical Society, Providence
Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape, Rhode Island College, Providence in 1978. Exhibited at Edward Mitchell Bannister, 1828–1901, New York: Kenkeleba House in 1992. Exhibited at “My Greatest Successes Have Come Through Her;” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, in 2018.
Mentioned in the August 16, 1903, Providence Journal on page 8. Describes the painting as a "spirited one, portraying the horse as he is being shod. Also lists the first owner as Manton Hoard and then C.H. Perkins after Hoard's death. Image appears on page 20 of Kenkeleba catalogue and is mentioned on page 27 and 28 of Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned in “Four from Providence: Black Artists in the Rhode Island Social Landscape” by Lawrence F. Sykes in 4 from Providence exhibition catalogue. Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, Control Number: 47510147.
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Grain Fields
n.d.; Mrs. Alice Ely
Mentioned in the April 14, 1886 Providence Journal on page 10 as “very effective in composition, with its brilliant foreground of the waving wheat, its distant hills and the vigorous sky-painting. It is characterized by an unusual attention to detail.” Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Grazing in Tall Grass
c. 1895, oil on canvas, 12 x 18 in.; Roger King Fine Arts, Newport, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Grazing Sheep
1881, oil on canvas, 22 ¼ x 30 ¼ in.; Nicholas Bruno.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Exhibited at Source of Light, The Hearne Collection, UCA Baum Gallery, January, 2023.
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Grove at Smith’s Castle
Mentioned in “Exhibition of Paintings by Local and Foreign Artists Opens Thursday, April 19, at Stillman’s Art Gallery, 267 Westminster St., and Continues Five Days.” The Providence Journal, April 23, 1888.
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Harbor View
n.d., oil on canvas, 8 x 12 in.
Sold at auction by Christie’s on 28 September 2010 for $7,500. Sold at auction by Christie’s on 27 September 2011 for $8,750.
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Harvest
c. 1884, oil on canvas, 30 x 22 in.; Herbert Weinberg, New York, NY; to Estate of Herbert Weinberg, New York, NY; (Christie’s, New York, NY), September 29, 1999, sale 8283, lot 64 (as Farmer Pushing a Wheelbarrow); purchased by Michael Rosenfeld and halley k harrisburg, New York, NY; (Michael Rosenfeld Gallery, New York, NY); given to Crystal Bridges Museum of American Art, Bentonville, AR, 2014
Sold at auction by Christie's, East on 29 September 1999 for $25,300. Exhibited at African American art: 200 years: 40 distinctive voices reveal the breadth of nineteenth and twentieth century art. New York, NY: Michael Rosenfeld Gallery on January 11 - March 15, 2020.
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Harvest Time
Mentioned in The Boston Evening Transcript, April 27, 1866, page 2.
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Hauling Seaweed
n.d.; Robert P. Brown.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned in “Mr. Bannister’s Exhibition” The Providence Journal, April 13, 1887.
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Hay Gatherers
c. 1893, oil on canvas, 14 x 19 ⅞ in.; Ed Shein to Norbert Fleisig to Nick Bruno in 2024 to Worcester Art Museum.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992; Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018. Number 49 in Driskell, David. Two Centuries of Black American Art.
Corrine Jennings, in her introduction to the Kenkeleba catalogue argues that a deeper meaning may be found in some of Bannister’s paintings. On page 13, she says, “The terrain of the Hay Gatherers suggests that it was painted in South County, the birthplace of Bannister’s wife and the seat of Rhode Island’s largest plantations Close examination reveals that even small school-age children are involved in the laborious efforts.” Mentioned on page 53 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 55 in Kenkeleba catalogue. Mentioned on page 59 in “Landscapes of Labor by Gwendolyn DuBois Shaw in the volume Post-Bellum, Pre-Harlem: African American Literature and Culture. Mentioned on pages 90 and 96 in Edward MItchell Bannister and the Aesthetics of Idealism by Traci Costa. Black and white image appears on page 91 in Edward MItchell Bannister and the Aesthetics of Idealism by Traci Costa. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned by Murray Whyte in “A deeper look at Edward Mitchell Bannister, the Black painter who changed Providence” The Boston Globe, February 4, 2021. Mentioned on page 54 in Anna Arabindan-Kesson’s book Black Bodies White Gold.
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Heading Home from Haymaking
1880, oil on board; The Collection of Dr. Dianne Whitfield-Locke and Dr. Carnell Locke, Maryland
Sold by Black Art Auction, Saint Louis, MO on 16 May 2020 for $8,125.
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Herding the Cattle
n.d., oil on canvas, 16 ¼ x 22 ¼ in.; Robert P. Brown.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Mentioned on page 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
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Herdsman with Cows
1869, Oil on canvas, 31 ¼ x 51 ½ in.; Edward Shein to Harry Leven to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Image appears on page 23 of the Kenkeleba catalogue and is mentioned on page 27, 28, and 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 201 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned by Murray Whyte in “A deeper look at Edward Mitchell Bannister, the Black painter who changed Providence” The Boston Globe, February 4, 2021.
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $2,800.
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Hillside
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891.
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Hillside Late-Afternoon
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Hillside Oaks
n.d.; John W. Keefe
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Hillside Pasture
n.d., oil on canvas, 14 x 20 in.; George C. Darling, G. William Miller to Smithsonian..
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901; Exhibited at Museum of Art, Rhode Island School of Design. Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Hillside Pasture
1881, oil on canvas mounted on board, 20 x 30 in.; Smithsonian American Art Museum, Gift of Louis Glaser, Dennis H. Sheahan
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992; Exhibited at the Massachusetts Charitable Mechanic Association, Catalogue of the Department of Fine Arts, Fourteenth Exhibition, Boston, 1881. Won a silver medal. Mentioned in “The Exhibition at the Mechanic’s Fair” Boston Evening Transcript, September 25, 1881. Appears as #150 in the Mechanic’s Fair catalog which also says that the painting won a "medal, Centennial. 1876" and a "Medal, Boston, 1878."
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Hillside, Seekonk River
1891; Ely
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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His First Water Color
n.d.; Christiana Bannister.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Hollyhocks Along a Fence
n.d., oil on artist's board, 12 x 9 in.
Sold by Northeast Auctions, Portsmouth on 09 Mar 2013.
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Home Among the Trees
n.d., oil on board, 11 ⅝ x 19 in.
Sold by Shannon's, Milford, CT on 17 September 2020 for $9,375.
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Homestead
1883, oil on canvas, 34 x 44 in.
Mentioned on page 20 in Driskell, D. C., Cosby, B., Hanks, R. The Other Side of Color: African American Art in the Collection of Camille O. and William H. Cosby.
Sold by Roland Auctions, Glen Cove, NY on June 03, 2023.
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Homeward
n.d., oil on panel, 8 x 14.
Sold at auction by Bonhams Skinner, Marlborough, MA on 13 April, 2020, lot 216 for $8,125.
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Homeward
c. 1895, oil on canvas, 9 x 14 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned in the April 29, 1888 Providence Journal on page 6 as being in the Providence Art Club’s spring exhibition. Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Walter B. Vincent, May 1901; Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution, 1985; Mentioned by George W. Whitaker in his eulogy to Edward as owned by Mr. Vincent. Mentioned in “Memorial Meeting.” Providence Journal, November 24, 1901, page 4. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Homeward Cattle
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891.
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Hunter on Bank of Pond
n.d., oil on canvas, 27 x 22; Providence Art Club
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $1,500.
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Immaculate Conception
Mentioned in The Providence Morning Star, May 8, 1873.
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In Blackstone Park
1891; Ely
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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In the Woods
n.d.; Isaac C. Bates
Exhibited at Providence Art Club, Catalogue of Pictures to benefit Robert E. Hallworth's Children, December 21, 1882. According to the Providence Morning Star on December 23, 1882 the painting sold for $10.00.
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Interior
n.d.; Joseph C. Ely
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Invitation and Promise
n.d.
An article titled, "Elmwood Avenue Free Baptist Church." in The Providence Journal on December 21, 1896, page 3 offers this announcement, "Directly behind the pulpit was a picture of Christ, entitled, 'Invitation and Promise,' It was painted by E. M. Bannister of this city and was exhibited yesterday for the first time since its completion."
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Jamestown, Rhode Island
c.1887, oil on canvas, 13 x 23 ½ in.; Harmon and Harriet Kelley Collection.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio Museum of Art in 1994 (San Antonio venue). Exhibited at 100 Works for 100 Years: A Centennial Celebration, Montclair Art Museum, 2014. Exhibited at Alexandre Gallery at The American Art Fair 2017. Image appears on page 41 in Kenkeleba catalogue. Mentioned on page 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
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Jamestown Harbor at Sunset
c. 1895, oil on canvas; Jamestown Historical Society.
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Jesus Led to Caiaphas
n.d.; Mrs. Walter Vincent
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. According to Juanita Marie Holland, sometime before 1869 Bannister and Carpenter met in New York or Boston. Bannister showed him his Jesus Led to Caiaphas which Francis Bicknell Carpenter praised, urging Bannister to devote himself to painting. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933. Mentioned in The Boston Evening Transcript, November 7, 1891. Mentioned in “Studio and Gallery Notes” The Boston Evening Transcript, November 21, 1891.
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Judith
n.d., oil on board, 22¾ x 16 ⅞ in.; Collection of George W. Whitaker
Exhibited at Metropolitan Museum of Art. Selections of Nineteenth-Century Afro-American Art. 1976. Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $750.
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June Day in the Woods
1869
Exhibited at The Studios of Providence, Upper Story, Ward Room, Benefit Street, Providence, RI. in October 1869.
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Kellyville, NH
n.d., oil on canvas
Exhibited at Boston Art Club Exposition on May 2 - 26, 1877, listed for sale.
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Kid's Road
1880s, oil on canvas, 5 x 8 in.; Collection of Warren and Charlynn Goins.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Mentioned on page 34 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 37 in Kenkeleba catalogue. Mentioned on pages 193, 201 and 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Knoll, Roger Williams Park
n.d.; George C. Kilton
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Lady with a Bouquet
c. 1885, oil on canvas, 32 x 24 in.
Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist on March 23 -April 3, 1966, Museum of Art, Rhode Island School of Design, lent by Providence Art Club.
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Landscape
n.d., oil on board, 8⅜ x 11 in.
Sold by Shannon's, Milford, CT on 19 November 2020 for $6,500.
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Landscape
n.d.
Exhibited at Providence Art Club, Catalogue of Pictures to benefit Robert E. Hallworth's Children, December 21, 1882, Isaac. C. Bates. According to the Providence Morning Star on December 23, 1882, the painting sold for $18.00.
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Landscape
n.d.; Christiana Bannister
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Landscape
1880; Isaac C. Bates
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Exhibited at the Infantry Fair, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Landscape
n.d.; William C. Dart.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Landscape
1878, oil on canvas, 7.9 x 12.9 in., Rhode Island School of Design, bequest of Isaac C. Bates.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992.
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Landscape
1879, oil on canvas, 5 ½ x 10½ in., Barnett Aden Gallery.
Exhibited at Amistad II: Afro-American Art, The Department of Art, Fisk University in 1975.
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Landscape
1882, oil on panel, 12 x 16.
Sold at auction by Black Art Auction on 04 December 2021 for $33,750. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Landscape
1883, oil on canvas, 20 x 24 in.
Sold at auction by Swann Auction Galleries, New York, NY on June 08, 2010 for $21,600.
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Landscape
c. 1897, oil on canvas, 21 x 25 in.; Savannah College of Art and Design.
Color image appears as plate 5 on on page 72 in Brownlee, Andrea Barnwell. "The Walter O. Evans Collection of African American Art." Seattle : Walter O. Evans Foundation for Art and Literature, 1999. Image appears on page 72 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 14 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 30 in A Way Out of No Way by Kirsten P. Buick in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell.
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Landscape
c. 1899, oil on canvas, 14 x 20 in.; Smithsonian American Art Museum, Transfer from the National Museum of American History, Smithsonian Institution.
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Landscape and Boat
c.1880, oil on canvas, 17½ x 29 ¼ in.; Collection of Harmon and Harriet Kelley.
Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio: San Antonio Museum of Art, 1994. "In Landscape and Boat, Bannister explores the massing of shapes, created through sharp contrasts of light and shade." - Exhibition catalogue. Image appears on page 6 of The Harmon and Harriet Kelley Collection of African American Art catalogue.
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Landscape, Clouds
1880s, oil on canvas, 5 x 8 in., Collection of Warren and Charlynn Goins.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 199. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Mentioned on pages 193 and 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Landscape, Field and Woods
1885, watercolor and pencil on thin wove paper, 4 x 7 in.; Petrucci Family Foundation, 2024; Sold at auction on February 14, 2013 by Swann Galleries, New York.
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Landscape Figures and Cows
c. 1889, oil on canvas, 24 x 36 in.; Francine and Marilyn Arob.
Exhibited at Hidden heritage : Afro-American art, 1800-1950. San Francisco: The Art Museum Association of America, 1985, #17. Mentioned on page 21 in Hidden heritage : Afro-American art, 1800-1950 by David Driskell.
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Landscape with Five Cows
c. 1895, charcoal on paper, 5 ½ x 9 ½ in.; Museum of the National Center of Afro-American Artists, Boston.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Landscape Near Newport, Rhode Island
c. 1877-1878, oil on canvas, 15⅛ x 25 ⅞ in., Edward Shein to Ronald E. Deal to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution in 1985. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Landscape with Cow and Female Figure
c. 1881, watercolor on cream wove paper, 13 ¼ x 19 ¼ in.
Exhibited at Two Centuries of Black American Art, Los Angeles County Museum of Art on September 30 - November 21, 1976. Exhibited at Edward M. Bannister 1928-1901: A Centennial Retrospective, Roger King Gallery, Newport, RI on October 21 - November 30, 2001, and Kenkeleba House, New York, NY on December 12, 2001 - February 9, 2002.
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Landscape with Man on a Horse
c. 1884, oil on canvas, 26 x 40 ⅛ in.; Edward Shein to Irwin M. Sparr to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution in 1985. Image appears on page 32 of Kenkeleba catalogue. Mentioned on page 34 and 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on pages 199 and 201 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $1,800. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Landscape with Marsh
n.d., pencil on paper mounted on paper, sheet: 3 1⁄2 x 5 1⁄4 in., Edward Shein to Abraham and Faye Adler to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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Landscape with Path through Forest
After 1870, chalk and charcoal on paper mounted on paperboard, sheet: 17 1⁄4 x 11 1⁄4 in., Edward Shein to Abraham and Faye Adler to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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Landscape with Three Cows
n.d., chalk and charcoal on paper, sheet: 13 3⁄4 x 19 1⁄2 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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Landscape with Sailboat
c. 1895, oil on canvas, 11 ¾ x 17 ½ in.; Edward S. Hope.
Exhibited at Ten Afro-American Artists of the Nineteenth Century, February 3 - March 30, 1967, The Gallery of Art, Howard University, Lent by Dr. and Mrs. Edward S. Hope of Washington, D.C. Image appears on page 16 of catalogue.
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Landscape with a Stream
c. 1880, oil on academy board, 17½ x 8 in.; Sold at auction by Black Art Auction, Thom Pegg, Tyler Fine Art, Saint Louis on March 12, 2022.
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Landscape, Woodland Scene
n.d., chalk on paper, sheet: 16 1⁄8 x 21 3⁄4 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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Landscape, Worcester County
n.d.
Exhibited at Gill’s 12th Annual art Gallery, Springfield. MA in 1859. Listed for sale for $125.00.
Mentioned in the Springfield Republican, 01/10/1889. "James D. Gill is now in New York selecting paintings for his annual exhibition. He has already made his selection in Boston and Providence...From Providence there will be represented E.C. Leavitt, E.L. Smythe, and E.M. Bannister." This would be Gill's 12th Annual Exhibition. Listed in the catalogue are Landscape, Worcester County for sale for $125. The Springfield Republican on February 2, 1889 describes the painting as "deep and rich in tone, most harmonious, and producing the rare effect of sunrise. The clouds that overhang the sky are reddened by auroral hues, which also light the wooded hill seen over the middle distance. The ground descends from the front and through the hollow a brook flows. The forest begins before the lower vale is reached, and at its edge the obscurity of night has not yet given way to the light which touches the pasture slope on the hither side. One seldom sees a more subtly beautiful rendering of this phase of light and shade."
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Landscape (Trees)
n.d., oil on canvas, 14 x 16⅛ in.; G. William Miller to Smithsonian American Art Museum.
Mentioned on page 307 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Landscape with Trees
n.d., charcoal on paper mounted on paperboard, 8 1⁄4 x 14 1⁄2 in., Smithsonian American Art Museum, Gift of Abraham and Faye Adler
__________
Landscape with Trees and Pond
1882, oil on board, 12 x 15 ½ in.
Sold by Shannon's, Milford, CT on 19 November 2020 for $3,438.
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Landscape with Two People Walking
c. 1889, oil on canvas
__________
Landscape with Woman Walking on Path
1879, oil on wood panel, 6¼ x 10 in., Michael Rosenfeld Gallery.
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Last Glow
1881, oil on burlap, 28 ¼ x 36 in.; The Schomburg Center for Research in Black Culture, Art and Artifacts Division; The New York Public Library, Astor, Lenox, and Tilden Foundation
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Late Afternoon
n.d.; Collection of Mrs. George L. Vose
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
__________
Leaving the Gallery
n.d.; Collection of Scott A. Smith
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Ledge Off Baily's Beach
c. 1890 Water Color, 7½ x 10 in.; Walter O. Evans Collection. Image appears on page 70 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell.
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Leucothea Rescuing Ulysses
c. 1891, oil on canvas, 9 x12 in.; Newport Hospital, Rhode Island. Commissioned by Judge Carpenter.
Described in the September 21, 1890 Providence Journal on page 10 as "this painting which is six or seven feet high, is Leucothea rescuing Ulysses from the raft... Ulysses, clinging to the raft fast breaking up in a grim loneliness of sea, invokes the help of Leucothea. A vague mysterious darkness is over the tossing water, almost concealing thew sinking ship, whose queer figured prow is lifted as if in the supreme endeavor of a human to prolong a little the last sight of earth and life. The composing and grouping of the work conspires to good effect. The sturdy King of Ithaca, one hand grasping the separating planks gazes up at the sudden apparition of Leucothea with a passive awe. Both figures are admirably drawn and tinted. It is doubtless one of the most essential things Mr. Bannister has painted. There is something more to be done to the painting before it is turned over to its owner, Judge Carpenter." Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992; Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018. Image appears on page 26 of Kenkeleba catalogue and is mentioned on page 29 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Lily Pond
c. 1887
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Little Compton, Rhode Island
c.1880, oil on mahogany panel, 17½ x 13½ in.; Harmon and Harriet Kelley Collection.
Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio Museum of Art in 1994 (San Antonio venue).
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Load of Hay
n.d.; Dr. Harris.
Exhibited at Providence Art Club, Summer Exhibition, 1892. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Looking East from Homeopathic Hospital
n.d.; Collection of Robert P. Brown
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
__________
Lowlands
n.d.; Collection of Mrs. Alice Ely
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May1901.
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Lucretia Cordelia DeGrasse
After 1852, pastel on paper, 15 ¼ x 12 ¼ in.; Kenkeleba House, New York.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. Exhibited at African Americans: Seeing and Seen, 1766-1916. New York: Babcock Galleries, 2010. Described by Tess Sol Schwab in catalogue on page 34 as "beautiful, thoughtful, lively and introspective." Mentioned on page 89 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Maiden of the Sea
n.d., oil on canvas, 14 x 10 ½ in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Maine Coast
n.d., oil on board, 11 x 15
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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Marine
1892; Ely
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Marsh Haying
n.d.
Mentioned in the April 24, 1886 Providence Journal on page 10 as “one of the simple, quiet subjects in which this artist delights, and is treated with the utmost sincerity and directness. The color is subtle and harmonious, and throughout there is a pervading feeling of the hot atmosphere of midsummer; the mountainous banks of sluggish summer clouds piling up in a magnificence of aerial perspective, ar painted with a largeness and at the same time a delicacy of feeling that are wholly admirable.” Exhibited at Providence Art Club, Spring Exhibition, April 21, 1886. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Midday Rest
n.d.; Collection of Robert P. Brown
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
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Migration at Sunset
c. 1880 Oil on canvas; Chrysler Museum of Art.
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Mill at Knightsville
c. 1896, oil on canvas, 9 x 12 in.; Charles and Jean Coelho to Joseph K. Ott.
Sold at auction on 02 May 2024 for $25,400 through Shannon’s in Milford, CT. Sold at auction on 17 November 2012 for $4,130 through Bourgeault-Horan Antiquarian, Portsmouth, NH.
Exhibited at Edward Mitchell Bannister; The Barbizon School in Providence, Olney Street Baptist Church, Providence, August 1-15, 1965. Exhibited at Museum of Art, Rhode Island School of Design. Edward Mitchell Bannister, 1828-1901, Providence Artist, Lent by Mr. and Mrs. Joseph K. Ott,March 23 -April 3, 1966; Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape, Rhode Island College, 1978; Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901, New York: Kenkeleba House, 1992; Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018.
Corrine Jennings, in her introduction to the Kenkeleba catalogue argues that a deeper meaning may be found in some of Bannister’s paintings. On page 13, she says that the mill “most likely a textile mill, would have been supplied with raw materials - that most exasperating crop, cotton from what Maya Angelo called the ‘remains of slavery’s plantations’ in the south. Also mentioned on page 29 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 44 in Kenkeleba catalogue. Mentioned on page 189 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 54 in Anna Arabindan-Kesson’s book Black Bodies White Gold.
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Moonlight off Bailey's Beach, Newport, R. I.
c. 1885; J. Harwood and Louise B. Cochrane Fund for American Art.
Exhibited at the Autumn Exhibition, Providence Art Club on November 11, 1885, listed for sale. Described in the November 13, 1885 Providence Journal on page 8 as “decidedly cold and unpleasant in color, though the water is painted with considerable movement, and pours over the rocks with a realistic sweep and rush.” Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Morning Charcoal Study
1880
Exhibited at Providence Art Club on December 2, 1880, listed as for sale under the category Watercolors. Mentioned in The Providence Journal, May 24, 1896 as a small study. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Morning in the Stone Quarries
Mentioned in “A Half-Seen Forest Sprite” The Boston Daily Globe, September 9, 1888: “E.M. Bannister, “Morning in the Stone Quarries,” which shows a great improvement in his work during the last year. It is well-drawn, strongly painted, and the morning shadows in the background are admirably handled.”
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Morning on the River, Providence, RI
c. 1890, oil on linen canvas, 20 x 30 in.; Collection Charles and Jean Coelho.
Exhibited at Boston Art Club, January 17 - February 14, 1891; Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister,” Gilbert Stuart Museum, Saunderstown, RI, 2018; The Providence School, Gritting, Imaginative and Enduring, Bert Gallery, Providence, July 11 - August 24, 2019; Listed in The Boston Art Club Exhibition Record 1873-1909.
Sold at auction by Swann Galleries, New York on 04 June 2020 for $25,000.
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Morning on the Shore
c. 1892, watercolor on paper, 9 x 14 in.; Smithsonian American Art Museum, Miller Collection.
Exhibited at Museum of Art, Rhode Island School of Design. Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Mount Tug, Kellyville, NH
1877
Exhibited at the Boston Art Club Exposition #75, on May 2 - 26, 1877 and mentioned in a biographical sketch by George W. Forbes. Mentioned on page 299 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Listed in The Boston Art Club Exhibition Record 1873-1909.
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Mountain Laurel
1884; Collection of Miss S.E. Usher
Exhibited at Providence Art Club, Autumn Exhibition, November 5, 1884, for sale for $200; Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Mountain Stream
c. 1882, charcoal
Mentioned in “Fine Arts - The Black and White Exhibition, The National Academy of Design” The New York Herald, December 18, 1882.
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Narragansett Pier
c. 1884, watercolor on paper, 8 x 12 in.; Roger King Fine Arts, Newport, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
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Nature in Repose
1885
Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in “Mr. Bannister’s Annual Art Exhibition” The Evening Bulletin, January 10, 1885,
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Near Vue de L’eau, R.I.
The Boston Morning Journal on November 23, 1876, printed a list of paintings that were sold at an art sale by Noyes & Blakeslee which included “Near Vue de L’eau, R.I.” by Edward Bannister which sold for $20. Vue de l'eau was a popular summer resort in the mid to late 1800s within the Riverside neighborhood of the city of East Providence with resort hotels, namely the elegant Vue de L’Eau Hotel, sited “on a bluff high above the water as well as an amusement park.
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Neutakonkanut
c. 1891, watercolor on paper, 5 x 7 in.; Edward Shein to Abraham and Faye Adler to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum. Neutakonkanut Hill is the highest point in Providence and served as the northwest boundary of the land agreement between Roger Williams, the founder of Rhode Island, and the Narragansett Indians.
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New England Coast
n.d., oil on canvas, 14 ⅛ x 24 in.
Christie's, Important American Paintings, Drawings and Sculpture of the 19th and 20th Centuries. 1983.
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Newport
c. 1877, oil on waxed canvas, 17 x 28 7⁄8 in., Edward Shein to Gerald Scher to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum. .
Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Newport, from above the Swamp, Jamestown, R. I.
n.d.
Exhibited at Providence Art Club, Autumn Exhibition, October 10, 1883, listed for sale.
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Newport, Rhode Island
1880s, graphite on paper, 13.97 x21. 59 cm., Amistad Research Center, New Orleans, LA.
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Newport, Rhode Island
c. 1890, oil on canvas, 181/8 x 26 in.; Pennsylvania Academy of the Fine Arts.
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Newport Scene
ca. 1880-1889, watercolor and pencil on paper mounted on paperboard, 13 1⁄8 x 19 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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November Day
Exhibited at Providence Art Club, December 2, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Oaks
n.d.; Ely
Exhibited at First Exhibition, Providence Art Club, May 11, 1880, listed as not for sale; Exhibited at Providence Art Club, Summer Exhibition in 1892, owned by Ely. Mentioned in “Art and Artists” The Boston Evening Transcript, April 2, 1880. Mentioned in “Exhibition of Paintings by Local and Foreign Artists Opens Thursday, April 19, at Stillman’s Art Gallery, 267 Westminster St., and Continues Five Days.” The Providence Journal, April 23, 1888. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Oaks and Cattle
n.d.; George W. Whitaker.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by George W. Whitaker. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Oak Trees
c.1876, oil on canvas, 33 7⁄8 x 60 1⁄4 in. , Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Color photo in Driskell, David. Two Centuries of Black American Art, p. 85, number 38 in same publication. Mentioned in Driskell, David C. Hidden heritage : Afro-American art, 1800-1950. San Francisco: The Art Museum Association of America, 1985. Includes color photograph. Mentioned on pages 103 and 109 in Dissertation “Afro-American Artists” by Sara Hollis.
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Ocean Cliffs
1881, oil on canvas, 10 x 16 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition in May 1901, Collection of Mrs. George H. Corliss. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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October on the Pawtuxet, RI
c. 1896, oil on linen canvas, 15 x 28 in.
Sold at auction by Swann Auctions on 06 April 2017 for $10,000.
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Old North Bridge
n.d., watercolor on paper, 19 ½ x 29 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. The Old North Bridge, is a historic site in Concord, Massachusetts, spanning the Concord River. In 1837, Ralph Waldo Emerson famously described the first shot of the battle of Concord as the “shot heard 'round the world” which immortalized the bridge.
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On the Bay
Mentioned in The Evening Bulletin, February 20, 1890 as #120 in an exhibition by Tilden, Thurber & Co.
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On the John Brown Farm
n.d.; Alfred Stone
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Alfred Stone, May 1901. John Brown was a prominent leader in the American abolitionist movement. His farm is located on John Brown Road in the town of North Elba where he moved in 1849 to teach farming to African Americans.
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On the Marsh
Listed as #69 in the 1887 Massachusetts Charitable Mechanic’s Fair catalog.
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On the Pawtuxett River
1878, oil on canvas.
Exhibited at the Boston Art Club Exposition #108, on April 17 - May 4, 1878, listed for sale and mentioned in a biographical sketch by George W. Forbes. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Listed in The Boston Art Club Exhibition Record 1873-1909.
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On the Plains
Exhibited at Providence Art Club, 3d Annual Exhibition, April 17, 1882. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. .
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On the Palmer River, Rehoboth, Mass.
n.d.; John Grimshaw, Esq.
Exhibited at Providence Art Club, Spring Exhibition, April 26, 1889, for sale for $100; Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by John Grimshaw, Esq.
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On the Seekonk
c. 1892, oil on canvas, 9 ¼ x 14 in.; George Buffum, Edward Shein to Lloyd Granoff to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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On to Gethsemane
n.d.; Collection of Edward S. Bowen
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Edward S. Bowen, May 1901.
__________
On Warwick Neck
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by the artist. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Ovens at Mount Desert
1891; Ely
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. The Ovens at Mount Desert are located in Bar Harbor, ME. The location is known because of the strange geological formations caused by the ocean's tide and waves. The tide has carved caves into the rock that resemble ovens.
__________
Ox and Cows in a Landscape
c.1885, oil on canvas, 20 x 24 in.; Harmon and Harriet Kelley Collection.
Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio Museum of Art in 1994 (San Antonio venue).
__________
Oxen
n.d.; Ely, Mrs. H.A. Tillinghast
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. H.A. Tillinghast, May 1901. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Oyster Raking, Hudson River
1882, charcoal on paper, 9 x 5 ½ in.; Roger King Fine Arts, Newport, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
__________
Palmer River
1885, oil on canvas, 24⅛ x 34 1/16 in.; Collection of Daniel Mechnig, to National Gallery of Art, Washington, D.C.
Exhibited at Edward Mitchel Bannister: memorial exhibition in May 1901, Providence Art Club; Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist on March 23 -April 3, 1966. Exhibited at Edward Mitchell Bannister, 1828–1901, New York: Kenkeleba House in 1992; Exhibited at Hidden heritage : Afro-American art, 1800-1950. San Francisco: The Art Museum Association of America, 1985, catalogue contains B&W photo; Exhibited at Edward M. Bannister: A Centennial Retrospective, Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Exhibited at Barbizon to Impressionism, Rhode Island Painters of the Late Nineteenth Century, Newport Art Museum, Newport, RI, October 27, 2007-January 27, 2008. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister,” Gilbert Stuart Museum, Saunderstown, RI, 2018. Image appears on page 31 of Kenkeleba catalogue and is mentioned on page 34 and 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on pages 193 and 196 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 21 in Hidden heritage : Afro-American art, 1800-1950 by David Driskell.
Sold at auction by Sotheby’s on 19 May 2021 for $277,200.
__________
Paradise
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by the artist. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Passed Storm
ca. 1880, oil on artist board, 6 ¼ × 8 ¼ in.; Montclair Art Museum.
Exhibited at 100 Works for 100 Years: A Centennial Celebration, Montclair Art Museum, 2014. Exhibited at Alexandre Gallery at The American Art Fair 2017.
__________
Pastoral
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Isaac C. Bates, May 1901.
__________
Pastoral Landscape
1881, oil on canvas, 51.8 x 76½ in.
Mentioned on page 14 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
Sold at auction by Sotheby's, New York, Art of the Americas Lot 28, on 18 January 2023 for $75,600.
__________
Pasture at Knightsville
n.d.
Mentioned in the September 7, 1897 Providence Journal on page 10 as being on display at the State Fair.
__________
Pasture Near Worcester Mass.
1888
Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Pastures New
n.d.; Collection of Edgar T. Knowles.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Edgar T. Knowles, May 1901.
__________
Path to the Sea
c. 1885-89, oil on linen canvas, 11x18 in.
Exhibited at Bert Gallery, Providence, RI in 2010
Sold at auction by Swann Auction Galleries, New York, NY, on 08 October 2019 for $17,500.
__________
People Near Boat
c. 1893, oil on canvas, 14 x 19 ⅞ in.; Edward Shein to Harvey Golden to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 50 in Kenkeleba catalogue. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Pleasant Pastures
1887, oil on canvas, 16⅛ x 24 in.; Smithsonian American Art Museum, Gift of G. William Miller
Shown at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition in May 1901, Collection of Walter L. Munro; Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist, Museum of Art, Rhode Island School of Design, on March 23 -April 3, 1966. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Plow in the Field
1897
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Pool
n.d.; Collection of Isaac C. Bates
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Isaac C. Bates, May 1901.
__________
Portrait of Col. Shaw
Exhibited at Mercantile Hall, Boston, referenced in Letter from Mrs. Child, The Liberator, November 18, 1864 as donated by Bannister for a raffle. Mentioned on page 25 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 219 in Dissertation “Visualizing Equality: African American Abolitionist Champions of Race, Rights, and Visual Culture, 1830-1880” by Aston Gonzalez. Mentioned Boston Evening Transcript, October 19, 1864, page 4. Mentioned on page 20 in Hidden heritage : Afro-American art, 1800-1950 by David Driskell. Mentioned by Murray Whyte in “A deeper look at Edward Mitchell Bannister, the Black painter who changed Providence” The Boston Globe, February 4, 2021.
__________
Portrait of Judith
n.d., oil on board, 17 ½ x 11 ¾ in.
Providence Art Club, Gift of Maxwell Mays. Stolen from Providence Art Club, 1990s, location unknown.
__________
Potter's Cove
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891.
__________
Salome Receiving the Head of John the Baptist
c. 1890, oil on paper, mounted on paperboard, 9¾ x 13½ in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901, Collection of Gustine L. Hurd.
__________
Providence Harbor
1881, oil on canvas, 14 ¼ x 20 ¼ in.; Mr. & Mrs. David E. Leven.
Exhibited at Hidden heritage : Afro-American art, 1800-1950. San Francisco: The Art Museum Association of America, 1985. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Exhibited at “My Greatest Successes Have Come Through Her;” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, in 2018. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 21 in Hidden heritage : Afro-American art, 1800-1950 by David Driskell.
__________
Providence Harbor
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891.
__________
Providence River
c. 1880, watercolor on paper, 7¾ x 11½ in.
Exhibited by 100 Works for 100 Years: A Centennial Celebration, Montclair Art Museum, 2014. Exhibited by Alexandre Gallery at The American Art Fair 2017.
__________
Prudence Nelson Bell
1864, oil on canvas, 25 x 2 in.; Mrs. Charles W. Johnson, Jr.
Exhibited at Edward Mitchell Bannister, 1828–1901, New York: Kenkeleba House in 1992. Image appears on page 19 of Kenkeleba catalogue. Mentioned on page 25 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 91 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Reverend Robert Johnson and Evelina Johnson were Black activists and friends of William Lloyd Garrison. They commissioned Bannister to do a memorial portrait of Evalina's mother, Prudence Nelson Bell.
__________
Quiet Nook
Mentioned in “Noyes & Blakeslee’s Sale Collection” The Boston Evening Transcript, April 4, 1885.
__________
Reclining Cow
c. 1895, oil on canvas mounted on wood panel, 9 ¾ x 16 in.
At auction by Swann Auction Galleries on 17 February 2011. Estimated at $8,000 - $12,000. Not sold.
__________
Rehoboth Woods
n.d.; Edward Mitchell Bannister scrapbook, 1866-1901. Archives of American Art, Smithsonian Institution.
Mentioned in “The Art Institute. One of the finest Exhibitions Ever Seen in Rhode Island. Loaned by Well-known People” The Providence News, October 30, 1891.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Walter B. Vincent, May 1901.
__________
Repose
n.d. oil on board, 6 1⁄2 x 5 1⁄4 in.; Smithsonian American Art Museum, Gift of G. William Miller.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of John Arnold,, May 1901. Exhibited at Edward Mitchell Bannister; The Barbizon School in Providence, Olney Street Baptist Church, Providence, August 1-15, 1965. Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966, Miller Collection, Museum of Art, Rhode Island School of Design. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933.
__________
Retrospection
n.d.
Mentioned in the May 16, 1897 Providence Journal on page 15 which says, “Mr. Bannister’s large picture, ‘Retrospection,’ is soon to be placed on exhibition at the Tilden-Thurber Company art gallery.”
__________
Return of the Herd
1880
Exhibited at First Exhibition of the Providence Art Club on May 11, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Rhode Island
n.d., oil, 20 x 30.
Sold at auction by William A. Smith on July 01, 2024 for $475.00
__________
Rhode Island Coast
n.d., watercolor on paper, 12 x 17 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
__________
Rhode Island Landscape
n.d., oil on canvas, 12 x 20 in.’ Dr. Harmon & Harriet Kelly.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
__________
Rhode Island Landscape
1886. Oil on burlap linen canvas, 12 x 16 in; Norton Museum of Art
In the smaller work from 1886, we find ourselves before a cluster of deep green trees rising over a path that leads to an open field adjacent to a body of water. The blue and white strokes upon the water reflect a sky dense with clouds; their color and the gestural brushstrokes that describe them suggest the threat of a storm. In contrast to the earlier painting, where summer greens and yellows are warmed by the brown under painting, this work is painted in cooler, blue tones characteristic of its subject. Both views exhibit Bannister’s enthusiasm for the pastoral paintings of the French Barbizon painters Camille Corot and François Millet. They also reveal Bannister’s colorful palette and the expressive brushwork he developed prior to the rise of Impressionism in the United States. By Glenn Tomlinson, William Randolph Hearst Curator of Education, Norton Museum of Art.
__________
River at Dusk
n.d., Oil on canvas, 17¾ x 29¾ in.
__________
River Landscape at Sunset
1883, oil on canvas laid on masonite, 27 x 36 in.; Sold by Grogan & Company, Dedham on 30 Sep 2012.
__________
River Scene
1883, oil on canvas; Honolulu Museum of Art.
__________
Road Near the Friend's School
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Road to a House with Red Roof
c. 1889, oil on canvas, 16½ x 24 in.; RI Black Heritage Society in trust of Bannister house, to Museum of Art , Rhode Island School of Design.
Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992,. Exhibited at Barbizon to Impressionism, Rhode Island Painters of the Late Nineteenth Century, Newport Art Museum, Newport, RI, October 27, 2007-January 27, 2008. Mentioned on page 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
__________
Road to the Valley
c. 1891, oil on canvas, 40 x 60 in.; Walter L. Munro to Edward Shein to H. Alan and Melvin Frank to Smithsonian American Art Museum.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Walter L. Munro, May 1901, mentioned by George W. Whitaker in his eulogy on Bannister. Mentioned in “Memorial Meeting.” Providence Journal, November 24, 1901, page 4.
__________
Rocks at Newport
1891; Whitaker
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Rocks at Quincy, MA
C. 1887
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Rocks Near Newport
ca. 1877-1885, oil on canvas, 12 x 18⅛ in.; Edward Shein to Louis Glaser and Dennis H. Sheahan to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Edward Mitchel Bannister: memorial exhibition, Providence Art Club in May 1901.
__________
Rocky Creek
n.d.; Collection of Mrs. Alice Ely
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. Alice Ely. May 1901.
__________
Rocky Farm, Newport
c. 1891, oil on canvas, 10 ¼ x 16 ¼ in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George C. Kilton, May 1901. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Rocky Farm, Newport
n.d.
Described in the October 4, 1896 Providence Journal on page 14. "Gray masses of rock loom in the background and in the meadow in the foreground a man and oxen are at work plowing. The scene is exceedingly lifelike, the artist having caught the team in action.” This description does not match the painting owned by the Smithsonian.
__________
Rowboat in a Storm
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Roses
c. 1895, oil on canvas, 12 x 18 in.; Kenkeleba Gallery, New York.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
__________
Sabin's Point
c. 1885, oil on canvas, 37 ¼ x 64 ¼ in.; Brown University, Gardner House, Bequest of Dr. and Mrs. George Warren Gardner.
Mentioned in the November 26, 1885 Providence Journal on page 5 as being offered at auction by F. J. Sheldon at 127 Westminster Street in Providence. Exhibited at Providence Art Club, Spring Exhibition, April 14, 1885, listed for sale for $500. Exhibited at The Eden of America: Rhode Island Landscapes, 1820-1920. Rhode Island School of Design, Museum of Art in 1986. Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Exhibited at Barbizon to Impressionism, Rhode Island Painters of the Late Nineteenth Century, Newport Art Museum, Newport, RI, October 27, 2007-January 27, 2008. Listed in Brown University’s May 23, 1991 Historical Collections Survey. Image appears on page 30 of Kenkeleba catalogue. Mentioned on page 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on pages 196 and 214 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sad Memories
1882, charcoal mounted on paper, 8⅞ x 6 in.; Smithsonian American Art Museum, Gift of G. William Miller.
Exhibited at Olney Street Baptist Church Memorial Exhibition, August 1, 1965; Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist on March 23 -April 3, 1966, Miller Collection, Museum of Art, Rhode Island School of Design. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sailboat on a River
1876, oil on board, 11 5⁄8 x 18 1⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 193 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Salute
c. 1895, oil on canvas, 14 x 19¼ in.; Edward Shein to Dr. Charles Mandell to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Scene Along the Connecticut River, Westmoreland
c. 1870, Oil on canvas, 20 x 30 in.; Harvard Musical Association, Boston
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned in “Sale of Paintings” The Boston Evening Transcript, February 27, 1885.
__________
Seaconnet River, Tiverton, Rhode Island
n.d., oil on canvas, 12 x 20 in.
Sold at auction by Grogan & Company, Boston on December 07, 2009.
__________
Seaweed Gatherers
c. 1898, oil on canvas, 25⅞ x 19⅞ in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Miss Lizzie Early, May 1901; Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution, 1985; Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 15 of Kenkeleba catalogue and is mentioned on page 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 8 in Farris Parker’s essay Establishing Roots: African-American Images, Past and Present.
__________
September Afternoon
n.d.
Referenced in the December 18, 1868 edition of the Evening Post which it describes as a study of elm trees.
__________
September on the Palmer River
c. 1891; Detroit Museum of Art
Listed in “The Providence Art Institute.” The Collector 3, no. 2, page 24. Mentioned in “The Art Institute. One of the finest Exhibitions Ever Seen in Rhode Island. Loaned by Well-known People” The Providence News, October 30, 1891. Mentioned in the May 24, 1891 Providence Journal. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sheep
n.d.; Collection of Mrs. Alice Ely
Exhibited at First Exhibition, Providence Art Club , May 11, 1880, listed as not for sale; Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. Alice Ely, May 1901. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sheep and Cattle
n.d.; Collection of Allen M. Peck
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Allen M. Peck, May 1901.
__________
Sheep Pasture at the Dumplings, Jamestown, R. I.
n.d.; Collection of Mrs. George H. Corliss
Exhibited at Providence Art Club, Autumn Exhibition, October 10, 1883, listed for sale. Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. George H. Corliss, May 1901. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. The location of the first permanent fortification at the southeastern end of Jamestown went atop odd-shaped outcroppings, called the Dumplings. Fort Dumpling, a defensive installation, built here in 1799-1800, was a round, Martell-style, fortified tower. Its purpose was to support Fort Adams blocking enemy ships from entering Newport Harbor.
__________
Shore and Figure
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Shore at Canonicut
1891; Whitaker
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Shoreline with Boats, Rhode Island
c. 1880, oil on canvas, 20 x 30 in.
Sold at auction by Black Art Auction, Thom Pegg, Tyler Fine Art, Saint Louis on 12 March 2022 for $23,750. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sketch at Canton, Mass.
n.d., watercolor on paper
Exhibited at Providence Art Club on December 2, 1880, under the category WaterColors; Exhibited at Providence Art Club, November 15, 1881, under the category WaterColors. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sketch, Crawford Bridge
1889
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. The Crawford Street Bridge was a concrete and steel bridge over the Providence River in downtown Providence, Rhode Island. It was originally built from 1873 to 1904 and then rebuilt starting in 1930.
__________
Sketch, Providence River
n.d., watercolor on paper, , 7 ¾ x 11 ½ in.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George F. Hall, May 1901. Providence Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Exhibited at 100 Works for 100 Years: A Centennial Celebration, Montclair Art Museum in 2014. 100 Works for 100 Years: A Centennial Celebration, Montclair Art Museum Alexandre Gallery at The American Art Fair 2017, Alexander Gallery.
__________
Sketch, Sabin’s Point
Mentioned in “Providence Art Club” Providence Journal, April 15, 1885.
__________
Snow Scene
1891; Ely
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Sowing Tares
n.d., drawing
Mentioned on page 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
__________
Springtime
c.1885, oil on canvas.
On January 7, 1885 The Evening News reported on Bannister's exhibition at his studio. "Foremostly in size and masterly work is the canvas entitled, Springtime. It is indeed truly representative of spring. The canvas depicts a wide woodland interior, with broad dashes of sunlight and shadow, and rich in purple distances. A lady with a basket as if gathering spring flowers gives the desired bit of life to the picture. It is a beautiful scene, full of atmosphere, painted in a broad, vigorous manner, yet losing none of the tender grace and delicacy of springtime.”
__________
Squall, Brenton Light (Boat in Storm, Lighthouse in Background)
n.d., oil on paperboard mounted on wood, 9 7⁄8 x 15 3⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
St. Luke
c. 1869-1873, oil on canvas, 24 1⁄4 x 18 1⁄8 in.; Edward Shein to Alan M. Gilstein and William J. Piccerelli to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 189 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Staircase with Figure
1892; S.A. Smith
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Still Life
n.d., oil on board, 12 x 11 3⁄4 in. Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Stormcase and Figure
n.d.; S.A. Smith.
Exhibited at Providence Art Club, Summer Exhibition, 1892, S. A. Smith.
__________
Stormy Sunset
n.d.; Collection of Mrs. H.A. Tillinghast
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. H.A. Tillinghast, May 1901.
__________
Streamside
c. 1870, Oil on canvas, 14x21in.; Walter O. Evans Collection.
Image appears on page 69 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 29 in A Way Out of No Way by Kirsten P. Buick in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell.
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Study From Life
1880.; Collection of James Chase
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of James H. Chase, May 1901. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Study of Cow
n.d.; Collection of Isaac C. Bates
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Isaac C. Bates, May 1901.
__________
Summer
n.d., watercolor on paper.
Exhibited at Providence Art Club, Water Color Exhibition, December 6, 1883, for sale for $25.
__________
Summer
n.d.
Exhibited at Boston Art Club, January 15 - February 13, 1886, oil for sale for $150. Listed in The Boston Art Club Exhibition Record 1873-1909.
__________
Summer Afternoon
1872,
Won award at 1872 Rhode Island State Fair. Mentioned in the 12/08/1870 Providence Journal as a contribution to the Great Union Bazar held in Howard Hall and valued at $50.00. The Providence Art Club, 100th Exhibition, March 4 - March 25, 1896, for sale for $100; Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George H. Ames, May 1901. Mentioned on page 29 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned in “Exhibition at Howard Hall, Fourth Day” The Providence Journal, September 21, 1872, page 2. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Summer Day
n.d., 15 x 22
The April, 1884 Noyes and Blakeslee Catalogue of Costly and Valuable Paintings listed #100, "A Summer Day."
__________
Summer Evening
n.d.; George F. Hall
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George F. Hall, May 1901.
__________
Summer Meadow
1883, Oil on canvas, 9 x 12 in.; Collection of Dr. Gregory Wells and Dr. Sheila Allison-Wells.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Summer Twilight
c. 1899, oil on canvas, 14 x 19 ½ in.; Museum of Art, Savannah College of Art and Design.
Color image appears as plate 6 on page 73 in Brownlee, Andrea Barnwell. "The Walter O. Evans Collection of African American Art." Seattle : Walter O. Evans Foundation for Art and Literature, 1999. Image appears on page 73 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 29 in A Way Out of No Way by Kirsten P. Buick in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell.
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Sunny Landscape
c. 1870, oil on canvas, 22 x 36 in.; Bomani Gallery, San Francisco
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Number 47 in Driskell, David. Two Centuries of Black American Art. Image appears on page 12 of Kenkeleba catalogue.
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Sunset
c. 1875-80, oil on canvas, 20 1/4 x 28 1/8 in.; Edward Shein to Elliot and Rhoda Liffland to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution in 1985. Image appears on page 33 of Kenkeleba catalogue and is mentioned on page 35 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $1,800. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Sunset
1883, oil on canvas, 16 x 24 in.; G. William Miller to Smithsonian.
Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist on March 23 -April 3, 1966; exhibited at American Art in the Barbizon Mood, Smithsonian American Art Museum, on January 23 - April 20, 1975. Exhibited at Selections of Nineteenth-Century Afro-American Art, The Metropolitan Museum of Art in 1976. Image appears on page 127 in American Art in the Barbizon Mood by Peter Birmingham.
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Sunset
n.d.; Allen M. Peck
Described in the April 15, 1885 Providence Journal on page 8 as “full of dreaminess and quiet, with charming atmospheric effects.” Exhibited at Providence Art Club, Spring Exhibition, April 14, 1885, for sale; Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Allen M. Peck., May 1901.
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Sunset
n.d.; Nicholas Sheldon
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Nicholas Sheldon, May 1901.
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Sunset
n.d.; George L. Vose.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. George L. Vose, May 1901.
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Sunset After a Storm
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by the artist. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Sunset, Newport Harbor
n.d.; George A. Buffum
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George A. Buffum, May 1901.
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Sunset Over the Marsh
c. 1891, oil on canvas, 13½ x 21½ in.; Sold at auction by Grogan & Company, Boston on December 07, 2009.
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Sunset Scene
ca. 1875-1885, oil on wood, 10 3⁄4 x 18 7⁄8 in., Dr. Charles Mandell to Smithsonian American Art Museum.
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Sunshine and Shadow
n.d.; Mary C. Dart
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. Mary C. Dart, May 1901.
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Sunrise
n.d., oil on canvas , 14 ¼ x 20 in.
Exhibited at Edward Mitchell Bannister; The Barbizon School in Providence, Olney Street Baptist Church, Providence, August 1-15, 1965.Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966, Miller Collection, Museum of Art, Rhode Island School of Design; Exhibited at American Art in the Barbizon Mood, National Collection of Fine Arts, Smithsonian Institution, January 23 - April 20, 1975, Smithsonian American Art Museum, Gift of G. William Miller; Museum of African Art, Washington, D.C. Image appears on page 127 in American Art in the Barbizon Mood by Peter Birmingham.
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Surf at Coggeshall Ledge, Newport
n.d.; Robert Brown
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by Robert P. Brown, Esq. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
Squall, Brenton Light (Boat in storm, lighthouse in background)
n.d., oil on canvas, 9¾ x15¼ in., Smithsonian American Art Museum.
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Swale Land
c. 1898, oil on canvas, 31 x 46 ⅛ in.; Smithsonian American Art Museum, Gift of G. William Miller.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of John W. Keefe, May 1901, Exhibited at Museum of Art, Rhode Island School of Design. Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966; The Metropolitan Museum of Art. Selections of Nineteenth-Century Afro-American Art. 1976. Mentioned on page 41 in Dissertation “Afro-American Artists” by Sara Hollis.
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The Coming Storm
n.d.
Exhibited at Providence Art Club, Spring Exhibition, April 26, 1889, for sale for $200. Mentioned in “Exhibition of Paintings by Local and Foreign Artists Opens Thursday, April 19, at Stillman’s Art Gallery, 267 Westminster St., and Continues Five Days.” The Providence Journal, April 23, 1888.
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The Drinking-Pool (Three women at Water)
c. 1894, oil on canvas, 16 x 12 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Miss S.E. Usher, May 1901; Exhibited at Edward Mitchell Bannister; The Barbizon School in Providence, Olney Street Baptist Church, Providence, August 1-15, 1965. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Drinking-Pool (Man in Cart with Oxen at Pool)
c. 1895, oil on canvas, 16 x 24 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Providence Art Club, Edward Mitchell Bannister Memorial Exhibition, Collection of Waldo Stewart, May 1901. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Drinking Pool
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Walter B. Vincent, May 1901. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Drover
1880
Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in “Art and Artists” The Boston Evening Transcript, April 2, 1880.
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The Dumplings
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George A. Buffum, May 1901.
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The Evening Track
1883, oil on canvas, 9 x 13 in.; Collection of Dr. Gregory Wells and Dr. Sheila Allison-Wells.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue and on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Farm Landing
c. 1892, oil on canvas, 30 ¼ x 40 ¼ in.; The White House., Washington, D.C.
An article in the Wall Street Journal on May 22, 2009 says that of the 450 piece permanent collection in the White House only "five works by black artists" are included. The Farm Landing was purchased in 2006 with donations.
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The Hay Wagon
n.d., oil on paper, laid on panel 8 x 15 in.
Exhibited at Decades of Acquisitions: Works on Paper from the Collection, 2022, Bill Hodges Gallery.
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The Hillside
n.d., watercolor
Listed in the 1883 Boston Art Club 28th Exhibition, Watercolors, #87 on sale for $75.00. Listed in The Boston Art Club Exhibition Record 1873-1909.
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The Ferry Landing, Jamestown, R.I.
n.d.
Exhibited at Providence Art Club, Autumn Exhibition, November 5, 1884, for sale for $50. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Grain Field
n.d.
Exhibited at Providence Art Club, Spring Exhibition, April 21, 1886. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned in the April 24, 1886 Providence Journal on page 10.
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The Grove
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of George N. Bliss, May 1901.
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The Groundskeeper
n.d.; oil on canvas, 20 ½ x 30 ½ in. Collection of the Art Fund, Inc. at the Birmingham Museum of Art.
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The Herd
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Abram Mendenhall, May 1901.
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The Heat of the Day
1894
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Milkmaid
1882
Mentioned on pages 37 and 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Newspaper Boy
1869, oil on canvas, 30 ⅛ x 25 ⅛ in.; Donald Webster to Edward Shein via Adam A. Weschler & Son 1975 auction to Jack Hafif and Frederick Weingeroff to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at The Studios of Providence, Upper Story, Ward Room, Benefit Street, Providence, RI. October, 1869. Exhibited at the Providence Art Club, Exhibition on November 4 - 18, 1891. Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution in 1985. Discussed in Driskell, David. Two Centuries of Black American Art, p. 46, with image. Mentioned on page 27 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 40 in Dissertation “Afro-American Artists” by Sara Hollis. Mentioned in The Boston Evening Transcript, November 7, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, control number: 62170567.
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The Night March
n.d., pencil on paper, sheet: 5 7⁄8 x 8 3⁄4 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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The Old Ferry
c. 1889, oil on canvas, 12 ½ x 10 ⅜ in.; Edward S. Hope.
The Gallery of Art, Howard University, Ten Afro-American Artists of the Nineteenth Century, February 3 - March 30, 1967, lent by Dr. and Mrs. Edward S. Hope of Washington, D.C. Mentioned on page 16 of catalogue.
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The Old Home
c. 1899 oil on canvas, 18 x 24 in.; Providence Art Club, Gift of Anne Ott.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Walter L. Munro, May 1901; Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape, Rhode Island College, 1978; Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018. Mentioned on page 53 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 54 in Kenkeleba catalogue. Mentioned on page 204 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Old Homestead
n.d., oil on canvas, 9 x 12 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Dennis H. Sheahan, May 1901. Exhibited at Edward Mitchell Bannister; The Barbizon School in Providence, Olney Street Baptist Church, Providence, August 1-15, 1965
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The Old Homestead
c. 1895, oil on canvas, 36½ x 56½ in.; Walter O. Evans Collection.
Image appears on page 71 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 14 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 30 in A Way Out of No Way by Kirsten P. Buick in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell.
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The Oxen Wagon
c. 1885, oil on canvas, 16 x 24 in.
Exhibited at African American art: 200 years: 40 distinctive voices reveal the breadth of nineteenth and twentieth century art, New York, NY: Michael Rosenfeld Gallery on January 11 - March 15, 2008. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, control number: 60940312.
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The Palmer River, Rehoboth, Massachusetts
1877, oil on fiberboard, 14 15/16 x 10 ⅛ in., Museum of Art, Rhode Island School of Design, Providence; Bequest of Isaac C. Bates.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992.
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The Path Home
n.d., oil on canvas, 24 x 36 in., Kenkeleba Gallery, New York.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
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The Plow
c. 1897, oil on canvas 11½ x 17½ in.; The Harmon and Harriet Kelley Collection.
Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio: San Antonio Museum of Art, 1994.
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The Salute
1895, oil on canvas, 14 x 19 1⁄4 in., Edward Shein to Dr. Charles Mandell to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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The Shepherd
1884
Exhibited at Providence Art Club, Fifth Annual Exhibition, March 12, 1884, for sale for $150. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Ship Outward Bound
1854, oil on canvas, Dr. John V. DeGrasse.
In 1854, Edward received his first commission by Dr. John V. DeGrasse, “The Ship Outward Bound”. In an article in the Liberator that same year titled “Colored Genius,” William Cooper Nell described a visit to Dr. DeGrasse’s study where he saw the painting. He describes The Ship Outward Bound as having a fidelity in design, coloring and shade. Nell also writes on page 316 of The Colored Patriots of the Revolution published in 1855, "In the Doctor's study hangs his diploma, and a beautiful painting, ("The Ship Outward Bound,") executed by a young colored artist, Mr. EDWARD BANNISTER, which is enclosed in an elaborate gilt frame, the work of a young mechanic, Mr. JACOB ANDREWS,--the whole being a joint presentation to their professional friend. Such tributes of genius and skill harmonize well with every worthy effort for the elevation of those in this land with whom the donors are identified, by complexion and condition. Mentioned in Driskell, David. Two Centuries of Black American Art, p. 46. Mentioned on page 18 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on pages 38, 40, and 55 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 164 in dissertation Cultural Influences on the Art and Crafts of Early Black American Artisans (1649-1865)Towards Implications for Art Education by Phillip Lindsay Mason. Mentioned on page 5 in Rosalyn Delores Elder’s article "Creative Breakthrough: Battling Racism to be an Artist." in Historic New England, Fall 2020.
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The Storm
1881, oil on canvas, 4 x 8 in.; Edward Shein to J. Wesley Johnson to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Turning Lane
n.d., oil on linen canvas, 19 x 13 ½ in.; Sold by Swann Galleries, New York on 09 Oct 2014.
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The Wagoner
n.d.
Exhibited at Providence Art Club on December 2, 1880 under the category WaterColors.
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The Watering Place - Evening
n.d.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891, lent by the artist. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Woodsman
1885, Graphite on paper, 20 ½ x 14 ¼ in.; Providence Art Club bequest of Ruth Ely.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992; exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Exhibited at Barbizon to Impressionism, Rhode Island Painters of the Late Nineteenth Century, Newport Art Museum, Newport, RI, October 27, 2007-January 27, 2008. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister,” Gilbert Stuart Museum, Saunderstown, RI, 2018. Image appears on page 61 in Kenkeleba catalogue. Mentioned on page 302 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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The Young Shepherdess
n.d., oil, 22 x 29¾
Sotheby Parke Bernet Inc, Sale Cat. 4180, 11/78 Lot. 537, Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, control number: 61519623.
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Through Autumn Woods
1891
Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Towboat in a Storm
Mentioned in “Studio and Gallery Notes” The Boston Evening Transcript, November 21, 1891. Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891.
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Train
c. 1875-80, oil on canvas, 61⁄8 x 8¼ in.; Edward Shein to Frederick and Joan Slatsky to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Image appears on page 43 in Kenkeleba catalogue. Mentioned on page 299 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Tree Landscape
c. 1877, oil on canvas, 20 1⁄8 x 29 7⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Trees and Lake
c. 1886, oil on canvas 18 x 12 in.
Sold by World Auction Gallery, East Meadow, NY on September 18, 2022 for $3,500.
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Trees Near River
c. 1891, oil on canvas, 22 x 30 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Twilight
n.d., oil on academy board, 9" x 12".
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. Alice Ely, May 1901; Sold at Eldred's, July 28, 2023, East Dennis, MA.
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Twilight
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Charles G. Calder, May 1901.
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Ulysses
n.d.
Exhibited at Providence Art Club, Summer Exhibition, 1892, lent by Judge Carpenter. Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Under the Oaks
c. 1876, oil on canvas, 48 x 78 in., John Duff to Sibbel A. Duff Bullard and William C. Bullard to Andrew Brabner Wallace. Current location unknown.
On March 21, 1876, The Providence Morning Star published a detailed description of “Under the Oaks” as follows, “The picture is six and a half by four feet, and enclosed in a rich and heavy gilt frame 8x51/2 feet. It represents a grove of oaks with a flock of sheep in the foreground, and the shepherd resting under the trees. Beyond the oaks are one or two quiet lakes, and in the extreme distance, looking across the plains, is a range of hills. Though simple in subject, the work is broad and comprehensive in treatment. It has such strength, repose and realism that there is a sort of magnetic influence which seems to make one a part of the scene itself instead of a mere spectator.” On April 4, 1876, the Boston Evening Transcript wrote an article about the paintings to be exhibited at the Centennial Exhibition in Philadelphia and which were on display at Boylston Street. The article says this about Edward’s "Under the Oaks," “One of the most notable landscapes in the collection hangs on the left wall of the larger gallery in the art club building. In the catalogue it appears as #25, “Under the Oaks,” and was painted by E. M. Bannister of Providence. The grouping of the trees in the foreground is admirable, while the effects of light and shade are such as none but a thorough student and lover of nature could have managed. The sky and distance are especially good.” The Massachusetts Artists’ Centennial Album compiled by J.R. Osgood & Co. and published in April of 1876 on page vi describes Under the Oaks as A simple composition, and a picture quiet in color and low in tone, but with strong oppositions. The dark mass of a clump of great oak-trees fills the middle of the picture, and is seen in silhouette against-a light sky and the meadows beyond. Under the trees is a flock of sheep in the care of a shepherd and in the immediate foreground a pool of water. The general tone of the picture is gray. Size 48 by 78 inches." Also described in the April 15, 1876 edition of the Chicago Tribune on page 8.
Mentioned on page 29 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 126 in American Art in the Barbizon Mood by Peter Birmingham. Mentioned on page 13 in The Walter O. Evans Collection of African American Art by Andrea D. Barnwell. Mentioned on page 69 in “Landscapes of Labor by Gwendolyn DuBois Shaw in the volume Post-Bellum, Pre-Harlem: African American Literature and Culture. Mentioned in 4 from Providence catalogue. Mentioned on pages 7 and 40 in Dissertation “Afro-American Artists” by Sara Hollis. Mentioned on page 190 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 165 in dissertation Cultural Influences on the Art and Crafts of Early Black American Artisans (1649-1865)Towards Implications for Art Education by Phillip Lindsay Mason. Mentioned on page 248 in John Brown’s article "Edward Mitchell Bannister," in The Crisis, November, 1933. Mentioned on page 5 in Rosalyn Delores Elder’s article "Creative Breakthrough: Battling Racism to be an Artist." in Historic New England, Fall 2020. Mentioned in An Appraisal of the Art of Edward Mitchell Bannister by David Driskell, Undated, Archives of American Art.
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Untitled
n.d., oil on canvas, 9 x 13, Pennsylvania Academy of the Fine Arts.
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Untitled
c. 1880, oil on cardstock board, 6¼ x 8¼ in.; private Connecticut collection.
Sold at Swann Galleries, New York on 06 February 2007 for $24,000.
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Untitled
1884, oil on wood, 4¼ x 11 in.; Edward Shein to John A. Hofheins to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Untitled
c.1888, oil on canvas, 16 x 24 in.; Kenkeleba House, New York.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001. Image appears on page 38 in Kenkeleba catalogue. Mentioned on page 196 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled
c. 1893, watercolor on stiff wove paper, 4¾ x 11 ½ in.
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Untitled
1893, oil on canvas, 12½ x 17½ in
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Untitled #1
1880s, pastel on paper, 9¾ x 13.
Mentioned in African-American artists - III. New York : Bill Hodges Gallery, 2002. "It is my learned of more than 25 years of selling works of art, that the works appearing on this page [page 9] of the catalogue and again I make the careful distinction of in my 'opinion' that these works are the very rare and unknown works of Edward Bannister."
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Untitled #2
1880s, pastel on paper, 10¼ x 13¼.
Mentioned in African-American artists - III. New York : Bill Hodges Gallery, 2002. "It is my learned of more than 25 years of selling works of art, that the works appearing on this page [page 9] of the catalogue and again I make the careful distinction of in my 'opinion' that these works are the very rare and unknown works of Edward Bannister."
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Untitled #3
1880s, pastel on paper, 10 x 13¼.
Mentioned in African-American artists - III. New York : Bill Hodges Gallery, 2002. "It is my learned of more than 25 years of selling works of art, that the works appearing on this page [page 9] of the catalogue and again I make the careful distinction of in my 'opinion' that these works are the very rare and unknown works of Edward Bannister."
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Untitled #4
1880s, pastel on paper, 10 x 13¾.
Mentioned in African-American artists - III. New York : Bill Hodges Gallery, 2002. "It is my learned of more than 25 years of selling works of art, that the works appearing on this page [page 9] of the catalogue and again I make the careful distinction of in my 'opinion' that these works are the very rare and unknown works of Edward Bannister."
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Untitled (Autumn Landscape)
1888, oil on canvas board, 16 ¼ x 21 in.
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Untitled (Bass Rock)
n.d., oil on canvas, 10 x 14 in. Kenkeleba Gallery, New York.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992; Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. Image appears on page 8 of Kenkeleba catalogue.
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(Untitled) Beach Scene
n.d., Ink wash on paper, 7 x 9 ¾; The Providence Athenaeum.
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Untitled (Boat Moored Near Stream, Man Walking in Foreground)
1879, oil on canvas, 14 x 20, Edward Shein to Joseph Sinclair to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Boat on Sea)
n.d., oil on canvas, 15 x 18 in.; Smithsonian American Art Museum.
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Boy and Man with Oxen)
c. 1891, oil on canvas, 40 ⅛ x 60 ¼ in. Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 48 in Kenkeleba catalogue.
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Untitled (Bridgewater, NH)
circa 1880s, watercolor on thin wove paper, 7 x 10½ in.
Sold by Swann Auction Galleries on October 29, 20023 from a private collection in Florida.
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Untitled (Cattle Near River with Sailboat in Distance)
n.d., oil on canvas, 14 1⁄8 x 20 1⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Untitled (Clouds Passing Over a Field)
n.d., oil on panel, 4 ¼ x 7 ½ in.
Sold by Clars Auctions in California on October 13, 2023.
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Untitled (Cove with House)
n.d., watercolor on paper, 6 x 9 ½ in., Amistad Research Center, Tulane University, New Orleans.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Mentioned on page 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 195 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Cow Herd in Pastoral Landscape)
1877, oil on linen canvas, 27.99 x 47.99 in.
Sold at auction by Swann Auction Galleries, Oct 06, 2016 - Sale 2424. Harry DeGrummond, Salado, Texas; private collection, Texas (1980); thence by descent to the current owner, private collection, Oklahoma.
This painting was found in the contents of Twelve Oaks, a historic two-story stone mansion in Salado, Texas, when it was purchased with the DeGrummond estate in 1980.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992.
This impressive scene of a herd of cows in a Rhode Island landscape is a large and significant mid-career painting by Edward Mitchell Bannister. The pastoral scene is rendered in rich harmonious tonalities captured in the light at dawn. The herdsman at the center of the horizon brings the viewer into a composition that shows Bannister's affinities with the Barbizon masters Jean-François Millet and Camille Corot. Upon closer inspection, Bannister's impastoed brush strokes and palette knife application in the foreground also show the influence of Gustave Courbet. - description by Swann Auction Galleries.
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Untitled (Cows Descending Hillside)
1881, oil on burlap, 11 ⅛ x 15 in.; Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 34 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Cows Heading Back to the Barn)
n.d., il on board, 13 ⅛ x 17 ⅛ in.
__________
Untitled (Cows in Pasture, Near a Stream)
1900, oil on canvas. 10 x 14 in.
Sold at Auction on 19 February 2008 estimated price $$20,00 - $30,00 unsold by Swann Auction Galleries.
__________
Untitled (Cows on Path in Forest)
1883, oil on canvas, 8 x 10 in., Dr. Charles Mandell to Smithsonian.
Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Dirt Trail Through the Forest with Figures Seated in the Shade)
c. 1890, oil on canvas, 6 x 8 in.
__________
Untitled (Dock and Water)
n.d., watercolor on paper, 6 x 9½ in., Amistad Research Center, Tulane University, New Orleans.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 63 in Kenkeleba catalogue.
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Untitled (Dock, Sea, and Beach)
n.d., watercolor on- paper, 6 x 9½ in., Amistad Research Center, Tulane University, New Orleans.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992.
__________
Untitled (Dockyard Scene)
1870, conté crayon and pastels on beige wove paper, 20.3 x 27.3 in.; sold at auction on February 17, 2011.
__________
Untitled (Drawing of Ships at Sea)
Mentioned on page 38 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Fall Landscape)
c. 1895, oil on linen canvas, 10 x 14 in.
Sold at auction by Swann auction galleries on 09 October 2014 for $21,250.
__________
Untitled (Figure on a Path)
n.d., watercolor, 5 x 7 in.
__________
Untitled (Figure on a Pier at Edge of Lake)
n.d., oil on canvas 20 ¼ x 30 ¼ in.; Alice Ely.
Exhibited at Edward Mitchell Bannister: Memorial Exhibition, May, 1901.
Sold by Bonhams New York, NY on 17 November 2022 for $48,255; Sold by Freeman's, Philadelphia, 07 December 2003, lot 123.
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Untitled (Five Cows Grazing with Trees and River in Background)
n.d., oil on canvas, 10 x 14 in., Smithsonian American Art Museum, Gift of Norbert Fleisig
__________
Untitled (Floral Still Life)
n..d., oil on canvas, 29 7⁄8 x 25 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Edward Mitchell Bannister, 1828-1901, Providence Artist, March 23 -April 3, 1966 lent by Mr. Bradford F. Swan, Museum of Art, Rhode Island; School of Design; Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 24 of Kenkeleba catalogue and is mentioned on page 29 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 188 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Forest Scene)
c. 1893, oil on canvas, 14 x 20 in.; Edward Shein to Michael Marks to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992.
__________
Untitled (Forest Scene)
n.d., charcoal and chalk on paper, Smithsonian American Art Museum, Gift of Louis Glaser
__________
Untitled (Forest Scene, Fallen Tree in Foreground and House in Background)
1873, oil on paperboard, 10 5⁄8 x 16 3⁄4, Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Forest Scene with Bridge, Cows in Stream in Foreground)
1897, oil on canvas, 36 1⁄8 x 48 in., Edward Shein to Louis J. Shatkin to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum .
__________
Untitled (Four Cows Wading in a Pond)
n.d., oil on canvas, 16 x 22 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum .
__________
Untitled (Five Cows at Waterhole)
n.d., graphite on paper, 4 ½ x 7 ¼ in., The Museum of the National Center of Afro-American Artists, Boston.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992.
__________
Untitled (Girl in a Meadow)
1884, oil on canvas, 18 x 26 in.; Collection of Francis and Patricia Scola.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992.
"Another motif found often in Bannister's paintings — among others, Untitled (Woodcutter on a Path) (1879), The Evening Track (1883), Untitled (Girl in a Meadow) (1884), Road to a House with Red Roof ( 1 880) — is the winding road through the landscape, with the human traveler positioned as observer, one who passes through God's handiwork. Bannister identifies the artist's duty to represent "the beautiful phenomena of the heavens above, or the earth beneath them. . . . reading the great three leaved book of nature . . . land, and Sky, and water . . . reverently and lovingly. . . Bannister's intellectual bent and deep religious principles created the philosophical underpinnings of his approach to the landscape. He was part of the tradition of artist-thinkers, among them Washington Allston and Asher B. Durand, who worked to clarify and verbalize their vision and practice of art." from Reaching Through the Veil: African-American Artist Edward Mitchell Bannister by Juanita Marie Holland.
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Untitled (Homestead Landscape with Boat on Pond at Sunset)
c. 1897, oil on canvas, 25 ¾ x 40 ½ in.
Sold at Auction Gallery of the Palm Beaches, West Palm Beach, FL on May 06, 2023.
__________
Untitled (Horse and Cart)
n.d. graphite on paper, 6 x 9 ½ in., Amistad Research Center, Tulane University, New Orleans.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992.
__________
Untitled (House in Trees)
n.d., oil on canvas, 7 x 10 in.
Sold by Direct Auction Galleries, Inc., Chicago, IL on February 18, 2023.
__________
Untitled (Houses and Trees)
1898, oil on canvas, 14 1⁄8 x 20 1⁄4 in., Smithsonian American Art Museum, Gift of Joseph Agostinelli
__________
Untitled (House in Woods Near Lake)
1895, oil on canvas, 12 1⁄4 x 14 1⁄8 in., Louis V. Marshall to Smithsonian American Art Museum.
__________
Untitled (Landscape)
n.d.; Mrs. Gustine L. Hurd
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
__________
Untitled (Landscape)
n.d., William B. Weeden
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901.
__________
Untitled (Landscape)
n.d.
Sold by Shannon's, Milford, CT on November 19, 2020.
__________
Untitled (Landscape and Cloud Study)
c. 1895, oil on cardstock board, 7¼ x 8 ¼ in.
__________
Untitled (Landscape, Boat Moored Near Bank with Man Walking)
1896, oil on canvas, 9 1⁄8 x 14 in. Edward Shein to James and Shirley Gordon to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape, Cloudy Sky)
n.d. oil on canvas, 15 x 19⅛ in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape, Cows, Field, Ocean)
c. 1895, oil on canvas 16 ¼ x 24 ⅛ in.; Newport Historical Society, Newport, RI.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
__________
Untitled (Landscape, Fields with Rocks and Trees)
1893, oil on canvas, 16 x 26, Edward Shein to James and Shirley Gordon to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape, House and Sea)
n.d., watercolor on paper, 4 x 6 in.; Museum of the National Center of Afro-American Artists, Boston.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
__________
Untitled (Landscape of a Marsh and Cows Through a Forest)
1883, pastel and gouache on paper.
Sold by Roland Auctions, Glen Cove, NY on June 03, 2023.
__________
Untitled (Landscape, Riverbank, Three Cows)
n.d., oil on canvas, 8 x 10 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with a Boat)
c. 1898, oil on canvas, 6 x 9¼ in.; Bill Hodges Gallery.
Exhibited at African-American artists: Bannister to Mitchell: February 6-April 3, 1999. New York: Bill Hodges Gallery, 1999; Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York.
__________
Untitled (Landscape with Brats)
n.d.
Exhibited at Providence Art Club, Summer Exhibition, 1892.
__________
Untitled (Landscape with Bridge)
c. 1890, oil on linen canvas, 9 x 7 in.
Sold by Swann Auction Galleries, New York, NY on April 06, 2023. Mentioned on page 195 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Landscape with Bridge)
n.d., watercolor on paper, 19 x 29½ in., Kenkeleba Gallery, New York.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 35 in Kenkeleba catalogue. Mentioned on page 45 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
__________
Untitled (Landscape with Cattle)
n.d.; Collection of Mrs. George H. Corliss.
Exhibited at Providence Art Club, Exhibition, November 4 - 18, 1891; Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, May 1901. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Landscape with Cattle Grazing)
1897, oil on canvas, 12 x 16 1⁄8 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Cows)
1880s Watercolor on paper, 6¾ x 10 in.
Exhibited at Narratives of African American Art and Identity: The David C. Driskell Collection. San Francisco: Pomegranate in 1998.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992; Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
__________
Untitled (Landscape with Cows)
n.d., graphite and pastel on paper, 4½ x 7¼ in., The Museum of the National Center of Afro-American Artists, Boston. Image appears on page 64 in Kenkeleba catalogue.
__________
Untitled (Landscape with Cows and Trees)
1881, oil on canvas, 5 1⁄2 x 8 1⁄4 in. David Leven to Smithsonian American Art Museum.
__________
Untitled (Landscape with Cows Grazing, Hills)
1891, oil on canvas, 12 1⁄8 x 18 1⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 305 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Landscape with Cows at Pond, Two Figures)
n.d., graphite on paper, 8 7⁄8 x 11 1⁄2 in. , Smithsonian American Art Museum, Gift of Abraham and Faye Adler.
__________
Untitled (Landscape with Cows and Figures Moving Through Pasture)
n.d.; graphite on paper, 11 x 14 in., Smithsonian American Art Museum.
__________
Untitled (Landscape with Cows Grazing Near River)
1891, oil on canvas mounted on plywood, 14 x 19 7⁄8 in., David Leven to Smithsonian American Art Museum.
__________
Untitled (Landscape with Cows in Foreground)
n.d.; graphite on paper, 14 x 11 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Cows in Stream Near Trees)
1882, oil on canvas, 36 x 48 in.; Edward Shein to Ronald E. Deal to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $2,500. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Landscape with a Fast Running Brook)
c. 1886, oil on canvas, 16 x 20 in.
Sold by Trinity International Auctions & Appraisals, LLC, Avon, CT on 12 November 2022 for $9,500.
__________
Untitled (Landscape with a House in the Background)
n.d., 9 x 12 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape with Houses and Trees)
n.d., watercolor on paper, 10 x 7, in., Collection of Mr. and Mrs. David C. Driskell.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992.
__________
Untitled (landscape with man plowing fields)
n.d., oil on paperboard, 10 x 15 1⁄4 in., Edward Shein to Francis Scola to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (landscape with Meadow and Trees)
n.d., oil on canvas, 9 x 12 in. Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape with Moored Boat)
1879, oil on canvas, 14 x 20 in., Edward Shein to Joseph Sinclair to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992.
__________
Untitled: (Landscape with Oxen and Haycart Crossing Bridge)
n.d., oil on canvas, 35⅞ x 50⅞ in.; Edward Shein to H. Alan and Melvin Frank to Smithsonian American Art Museum.
__________
Untitled (Landscape with a Pond)
c.1876, oil on canvas, 7¾ x 11¾ in.
Exhibited at Narratives of African American Art and Identity: The David C. Driskell Collection. San Francisco: Pomegranate in 1998.
__________
Untitled (Landscape with Path)
Aft. 1870, chalk, charcoal, National Museum of American Art
Mentioned on page 299 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Landscape with Pier)
n.d., oil on canvas, 12 1⁄4 x 20 1⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Road Near Stream and Trees)
n.d., oil on canvas, 10 7⁄8 x 14 in., David Leven to Smithsonian American Art Museum.
__________
Untitled (Landscape with Rock in Foreground and Roof with Steeple, Lake in Background)
n.d., oil on canvas, 9 3⁄8 x 14 3⁄8 in., J. Wesley Johnson to Smithsonian.
__________
Untitled (Landscape with Rocks)
1898, oil on canvas, 9 x 15 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Rocks, Man and Sailboats)
1895, oil on canvas, 16 1⁄8 x 24 1⁄4 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape with Stream)
n.d., oil on board, 12½ x 21 in. Sold by William Smith Auctions.
__________
Untitled (Landscape with Trees)
n.d., oil on canvas, 22 1⁄4 x 32 1⁄8 in., Edward Shein to Irwin M. Sparr to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Trees)
n.d., watercolor on board, 13¼ x 165/8
Sold at auction by Shannon’s on 30 April 2020 for $2,500.
__________
Untitled (Landscape with Trees)
c. 1891, oil on canvas, 20 x 30 in.
Sold by Shannon's, Milford, CT on 17 September 2020 for $22,500.
__________
Untitled (Landscape with Trees and Two Cows in Meadow)
1895, oil on canvas, 14 x 20 1⁄8 in. J. Wesley Johnson to Smithsonian.
__________
Untitled (Landscape with Trees and Woman)
1894, oil on canvas, 15 1⁄8 x 18 1⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape, Trees by Water)
c. 1897, Watercolor with graphite on textured paper, 13 x 17¾ in.; Sold at auction by Swann Galleries, New York on 13 Feb 2014.
__________
Untitled (Landscape with Two Cows)
1898, oil on canvas, 10 x 14 3⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Two Women Reclining on Rocks)
n.d., oil on canvas, Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Landscape with Water and Sailboat),
n.d., oil on canvas, 16 x 24 in., Pennsylvania Academy of the Fine Arts.
__________
Untitled (Landscape with Waterfall)
1880s Oil on canvas, 24 x 36 in.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Landscape - Woman Carrying Wood)
n.d., oil on canvas, 8 x 12⅛ in., Edward Shein to Donald Shein to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
__________
Untitled (Landscape with Woman Seated by a Stone Wall)
1881, oil on linen canvas, 16 x 22 in.; Norton Museum of Art, Palm Beach
Edward Mitchell Bannister’s two landscapes in the Norton Museum of Art collection present the New England countryside at its most contemplative. In the earlier work from 1881, a woman sits in the shadows of great trees whose trunks and branches frame her against a sunlit forest glade. The crimson ribbon on her hat, a counterpoint to the bright green and yellow tones of the open space, calls attention to the figure as she reads. Across the glade a steep hillside dense with foliage rises to the top of the canvas. Through branches high above the woman’s head, we glimpse clouds and blue sky. By Glenn Tomlinson, William Randolph Hearst Curator of Education, Norton Museum of Art.
__________
Untitled (Landscape, Woods)
n.d., graphite on paper, 6½ x 10 in., Amistad Research Center, Tulane University, New Orleans.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 65 in Kenkeleba catalogue.
__________
Untitled (Launching Rowboat on Lake Shore)
c. 1889, 5 x 8 in.
Exhibited at 100 Works for 100 Years: A Centennial Celebration, Montclair Art Museum, 2014. Exhibited at Alexandre Gallery at The American Art Fair 2017. Sold by CRN Auctions, Cambridge, MA on April 23, 2023.
__________
Untitled (Log on Beach)
n.d., watercolor on paper, 6 x 9 ½ in.,, Amistad Research Center, Tulane University, New Orleans.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 63 in Kenkeleba catalogue.
__________
Untitled (Maiden of the Sea)
n.d., oil on canvas, 15 x 11 in., Kenkeleba Gallery, , New York.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
__________
Untitled (Man with Two Oxen)
1869, oil on canvas, 16 x 24¼; Edward Shein to Dr. Peter A. Pizzarello to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at The Studios of Providence, Upper Story, Ward Room, Benefit Street, Providence, RI. October in 1869. Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Mentioned on page 27 and 28 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned by Murray Whyte in “A deeper look at Edward Mitchell Bannister, the Black painter who changed Providence” The Boston Globe, February 4, 2021.
__________
Untitled (Landscape, Man on Horse)
1884, oil on canvas, 26 x 40 1⁄8 in., Edward Shein to Irwin M. Sparr to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Man on Horse with Woman and Dog)
n.d., 21½ x 28¾, oil on canvas, Edward Shein to Elliot and Rhoda Liffland to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Man on Horseback, Woman on Foot Driving Cattle)
1880, oil on canvas, 16⅛ 1/8 x 22⅛ in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Image appears on page 28 of Kenkeleba catalogue and is mentioned on page 34 and 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on pages 193, 201 and 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Man on Path with Trees in Background)
1882, oil on canvas, 16 x 22 in., J&R Investments to Smithsonian.
Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Man with Cows Grazing Near Pond with House and Trees in Background)
n.d., oil on canvas, 12 1⁄8 x 19 3⁄8 in., Dr. Charles Mandell to Smithsonian American Art Museum.
__________
Untitled (Moon Over a Harbor, Wharf Scene with Full Moon and Masts of Boats)
c. 1868, Oil on fiberboard, 9⅝ x 15¼ in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, National Museum of American Art, Smithsonian Institution in 1985. Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Image appears on page 11 of Kenkeleba catalogue and is mentioned on page 18 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
__________
Untitled (Mountainous Landscape Stream in Foreground
n.d., oil on canvas, 8 1⁄8 x 12 1⁄4 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
__________
Untitled (Oak trees)
n.d., graphite on paper, 6¾ x 9¾ in., Collection of Mr. and Mrs. David C. Driskell.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 66 in Kenkeleba catalogue.
__________
Untitled (Oxen and Cart with Fgures)
n.d., graphite on paper, 5⅛ x 9½ in., The Museum of the National Center of Afro-American Artists, Boston.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 64 in Kenkeleba catalogue.
__________
Untitled (Pastoral landscape)
c. 1891, oil on linen canvas, 20 x 30 in.
__________
Untitled (Pastoral landscape)
c. 1900, oil on canvas, 10 x 14 in.
Sold by Swann Auctions, New York, 19 Feb 2008 for $12,000.
__________
Untitled (Pastoral Near a Farmhouse)
n.d., oil on board, 8 x 10 in., attributed to Edward Mitchell Bannister, bears signature on the reverse.
Christie's, 19th and 20th Century American Paintings, Drawings, Watercolors and Sculpture. 1984. Listed in the Arts Inventory Catalog maintained by the Smithsonian American Art Museum, control number: 60941034.
__________
Untitled (Plow in the field)
c. 1897, oil on canvas, 11¼ x 17½ in.; Collection of Dr. Harmon and Harriet Kelley.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Exhibited at The Harmon and Harriet Kelley Collection of African American Art. San Antonio Museum of Art, 1994 (San Antonio venue). Image appears on page 46 in Kenkeleba catalogue and is mentioned on page 53 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 204 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
__________
Untitled (Pond Scene)
n.d., watercolor on paper, 5 ¾ x 9 ¾ in., The Providence Athenaeum.
__________
Untitled (Rhode Island Coast)
n.d., Watercolor on paper, 12 x 17 in., Kenkeleba Gallery, New York
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Image appears on page 62 in Kenkeleba catalogue.
__________
Untitled (Rhode Island Coastal Scene)
c. 1885, oil on linen canvas, 12 x 20 in.
Sold by Swann Galleries, New York on 05 October 2017 for $40,000.
__________
Untitled (Rhode Island Landscape)
n.d., oil on burlap linen canvas, 12 x 16 in.
Sold by Swann Galleries, New York on 13 Feb 2014.
__________
Untitled (Rhode Island Landscape)
1886, Oil on burlap linen canvas, 12 x 16 in.
__________
Untitled (Rhode Island Landscape)
c. 1893, oil on canvas, 16 x 24 in.
Sold at Swann Galleries, New York on 06 October 2011 for $31,200. "This fine example of Bannister's late painting in the 1890s shows his transition away from the Barbizon style of pastoral landscape. Influenced by impressionism, he became more interested in Portraying the atmospheric beauty of the New England landscape with a freer, more painterly approach." - catalogue description.
Sold at auction on 06 October 2011 for $26,000 by Swann Auction Galleries.
__________
Untitled (Rhode Island Landscape)
c. 1895, oil on canvas, 34 x 44 in.
Sold at Swann Galleries, New York on 23 February 2010 for $33,600.
__________
Untitled (Rhode Island Landscape)
c. 1898, oil on canvas, 18 x 22 in.; Kenkeleba Gallery, New York.
Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992, Cover image. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001, Kenkeleba House, New York. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018. Mentioned on page 53 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue.
__________
Untitled (Rhode Island Landscape with Cows)
n.d., oil on linen canvas, 27 x 34 in.
Sold by Swann Galleries, New York on 02 Apr 2015.
__________
Untitled (Rhode Island Seascape)
c. 1856, oil on canvas, 7¼ x 13½ in.; Kenkeleba House
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, in 1992. Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY. 2001. Image appears on page 6 of Kenkeleba catalogue. Mentioned on page 18 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on pages 37 and 196 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (River Landscape)
1879, Oil on linen canvas, 1879, 12 x 15 in.
Sold by Swann Auction Galleries, New York, NY on 10 December 2020 for $9,375.
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Untitled (River Scene with Canoeist)
n.d., oil on chipboard, 19 x 23 in.
Sold by Thomaston Place Auction Galleries, Thomaston on 07 Nov 2014 for $500.
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Untitled (Rock Study with Clam Diggers, Rhode Island)
n.d., oil on linen canvas, 16 x 24 in.
Sold by Swann Auction Galleries, New York, NY on April 05, 2018.
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Untitled (Sheep and Farm Buildings)
c. 1900, oil on canvas, 5 x 7 in.
Unsold by Swann Auction Galleries on 19 February 2008. Estimated price $15,000 to $20,000.
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Untitled (Sheep grazing in a Newport, Rhode Island landscape)
n.d., oil on canvas, 12 x 16 in.
Offered at auction on 12 June 2012 by Keno Auctions. Estimate $8,000 - $12,000. Unsold.
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Untitled (Shepherd with Sheep)
1877, oil on canvas, 10 1⁄4 x 15 1⁄8 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 299 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Shore landscape)
c. 1890, oil on linen canvas, 8 ¼ x 16 ¼ in.; Sold at auction by Swann Auction Galleries, New York, NY on Oct. 08, 2019.
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Untitled (Shoreline with Sailboats and Roof)
c. 1893, oil on canvas, 14 x 24 in.; Edward Shein to Joseph Sinclair to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Untitled (Floral Still Life)
n.d., oil on canvas, 29 7⁄8 x 25 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Untitled (Still Life with Fish)
n.d., oil on panel, 21 ¼ x 25 ¼ in.
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Untitled (Sunset with Quarter Moon and Farmhouse)
1883, oil on wood, 10 x 15 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 199 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Trees and Shrubbery)
1877, oil on canvas, 10 x 13¼ in., Collection of Allan S. Noonan, M.D.; courtesy Wendell Street Gallery, Cambridge. Massachusetts.
Mentioned on page 34 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Image appears on page 42 in Kenkeleba catalogue. Mentioned on page 193 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Watercolor on Paper)
n.d., 9 ½ x 15 in.
Sold by Cutler Bay Auctions in Cutler Bay, Florida on September 14, 2023.
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Untitled (Woman at the Well)
c. 1890, graphite and pastel on paper, 19 ¾ x 15 in.; Collection of Allan S. Noonan, M.D.
Exhibited at Kenkeleba House, New York, Edward Mitchell Bannister, 1828–1901, 1992.
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Untitled (Woman with Cattle and Sheep at Dusk)
n.d., oil on canvas, 29½ x 50 in.; Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Untitled (Woodcutter on a Path)
1879, Oil on canvas, 16 x 22 in., Edward Shein to Louis Glaser to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Exhibited at Edward Mitchell Bannister, 1828–1901, New York: Kenkeleba House in 1992. Mentioned on page 39 in Holland’s essay Reaching Through the Veil in Kenkeleba catalogue. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Untitled (Woodsman Returning)
n.d, oil on canvas, 22 x 18 in.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House, 1992. Exhibited at “My Greatest Successes Have Come Through Her,” The Artistic Partnership of Edward and Christiana Bannister, Gilbert Stuart Museum, Saunderstown, RI, 2018.
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Valley Pasture
n.d. 40 x 54 in.
Exhibited at 4 from Providence: Bannister, Prophet, Alston, Jennings: Black artists in the Rhode Island social landscape. Rhode Island College, 1978.
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Walking Along a Path
c. 1880 Oil on canvas, 5¾ x 9½ in.; collection of Judge Frederick L Brown.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Walking Through a Field
n.d., Oil on canvas, circa 1870s-1880s, 22 × 42 in. The Huntington Library, Art Museum, and Botanical Gardens.
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Wall Street at Home
1863
Mentioned on page 299 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture. Mentioned on page 216 in The Black Man, His Genius and His Achievements by Wiliam Wells Brown.
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Warwick Plains
1891; Ely
Warwick Plains was an area where a number of Black families lived and made their living through small farms or working along the shore. In 1888, there was a political controversy where people were accused of paying for votes during the election. The New York Times is quoted as saying "Colored voters living on Warwick Plains are said to have been carefully cared for." The area eventually became Hilllsgrove and home to the airport. Mentioned on page 304 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Wells
1863
Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Wild-Flowers Winter and Leaves
n.d.
Providence Art Club, Exhibition, November 4 - 18, 1891. Mentioned on page 303 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Willows
n.d.
Exhibited at Providence Art Club, Edward Mitchell Bannister: Memorial Exhibition, Collection of Mrs. Alice Ely, May 1901.
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Winter Day
1880
Exhibited at First Exhibition, Providence Art Club on May 11, 1880. Mentioned in “Art and Artists” The Boston Evening Transcript, April 2, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Winter Landscape
n.d., 21 x 16, charcoal drawing, Providence Art Club.
Mentioned in 09 March 1977 correspondence between Aaron Galley and Phillips Booth, Chairman of Acquisitions Committee at Providence Art Club regarding purchase of painting by David Driskell for new museum. Painting was valued at $300.
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Winter Twilight
1880
Exhibited at Providence Art Club on December 2, 1880. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Woodland Interior
c. 1881, oil on canvas, 36 x 24 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.
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Woman on a Road Near a Stream
Late 1870s, oil on canvas, 15½ x 21½ in., collection of Judge Frederick L. Brown; courtesy Wendell Street Gallery, Cambridge, Massachusetts.
Exhibited at Edward Mitchell Bannister, 1828–1901. New York: Kenkeleba House in 1992. Mentioned on page 300 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Woman Reading Under a Tree
n.d., oil on canvas, 8 × 12 in.
Collection of Historic New England. Mentioned on page 6 in Rosalyn Delores Elder’s article "Creative Breakthrough: Battling Racism to be an Artist." in Historic New England, Fall 2020.
Sold at auction by Skinner on 21 September 2018 for $5,843.
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Woman Standing Near a Pond
1880, oil on canvas, 16¼ x 22¼ in.; Saint Louis Art Museum.
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Woman Walking Along Path
n.d., drawing, Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum
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Woman Walking Down Path
c. 1882, oil on canvas, 20 x 30 in.; Edward Shein to Joseph Sinclair to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Exhibited at Sharing Traditions: Five Black Artists in Nineteenth-Century America, Smithsonian American Art Museum, in 1985. Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Woman Walking with a Cow
1869, oil on canvas, 22 x 29½ in.; Edward Shein to Francis Scola to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
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Untitled (Wood Scene with Birch Trees and Ducks)
n.d., watercolor on paper, sheet: 12 3⁄8 x 7 3⁄8 in., Edward Shein to H. Alan and Melvin Frank to the Frederick Douglass Museum of African Art to the Smithsonian American Art Museum.
Mentioned on page 301 in Juanita Marie Holland’s dissertation Co-Workers in the Kingdom of Culture.
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Woodland Pond
n.d., oil on board, 12 x 16 in.
Exhibited at Edward M. Bannister: A Centennial Retrospective. Roger King Gallery of Fine Art, Newport, RI & Kenkeleba House, NY in 2001.