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About This Artwork
The Boxer, 1942
47.6 x 30.9 x 17.6 cm (18 3/4 x 12 1/8 x 6 7/8 in.) (with base)
Signed on base at rear behind proper right foot: BARTHÉ
Simeon B. Williams Fund, 1948.79
New York, International Print Society, Sculpture by Richmond Barthé, Mar. 26-Apr. 14, 1945, cat. 8.
Los Angeles, Landau/Travelling Exhibitions, Two Sculptors, Two Eras: Richmond Barthé, Richard Hunt, no cat., p. 3; traveled to Chicago, Terra Museum of American Art, June 16–Aug. 9, 1992; Washington, DC, Smithsonian Institution, Anacostia Museum, Dec. 20, 1992–Feb. 28, 1993, Hampton, Virginia, Hampton University Museum, Apr. 1–May 14, 1993, Chattanooga, Tenn., Hunter Museum of Art, Dec. 5, 1993–Jan. 30, 1994, Dallas, African American Museum, Feb. 15–Apr. 15, 1994, Lubbock, Museum of Texas Tech, c. May 1-Aug. 14, 1994, New Orleans Museum of Art, Sept. 1–Oct. 31, 1994, Odessa, Art Institute of the Permian Basin, no dates, Columbus, Ohio, King Arts Complex, no dates, Monroe, Louisiana, Masur Museum of Art, c. Jan. 1–c. Feb. 28, 1995.
Art Institute of Chicago, A Century of Collecting: African American Art in the Art Institute of Chicago, Feb. 15-May 18, 2003, no cat.
Margaret Rose Vendryes, Expression and Repression of Identity: Race, Religion, and Sexuality in the Art of American Sculptor Richmond Barthé (Ph.D. Diss, Princeton University, 1997), pp. 379-87.
Susan F. Rossen et al., “African Americans in Art: Selections from the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 24, 2 (1999), pp. 141, 184, 200–01, no. 11.
Judith A. Barter et al., "American Modernism at the Art Institute of Chicago, From World War I to 1955," (Art Institute of Chicago/Yale University Press, 2009), cat. 139.
Jordana Moore Saggese, "Reading Basquiat: Exploring Ambivalence in American Art," (University of California Press, 2014). (ill.).
Frank Breckenridge, Chicago, by 1948; The Art Institute of Chicago, 1948.