Ernest Withers Paintings & Artwork for Sale | Ernest Withers Art Value Price Guide

Apr. 27, 2024
Ernest Withers - I am a Man
Est: $500 - $1,000
1968
Morgan Auctions
Nov. 15, 2020
Ernest C. Withers, “Memorial March, After the Assassination of MLK, Jr in Memphis TN” [Photograph, Photography]
Est: $2,750 - $3,600
“Memorial March, After the Assassination of MLK, Jr in Memphis TN”, Negative Date 1968 / Print date1999 Gelatin Silver Print: Edition #1 of 35 image size 10x10”; paper size 11x14”; matted to 16x20 Ernest C. Withers' interest in photography began in his eighth grade year at a Memphis school. More than seventy years later, he continued to maintain a studio on Beale Street – once the Memphis epicenter of the musical life of the nation. After graduation from high school in 1941, Withers joined the army. He attended the Army School of Photography and later operated a freelance business photographing white soldiers stationed in Saipan. Following his discharge, Withers purchased a photography studio in Memphis with help from the GI Bill. Throughout the 1950’s, Withers was, in his own words, ‘a news photographer’, ‘recording events that were taking place.’ Momentous events were occurring and he recorded them for African American newspapers across the country. During the 1950’s and 1960’s, Withers traveled throughout the South with Dr. Martin Luther King Jr., James Meredith, Medgar Evers and other leaders of the Civil Rights movement. He provided images that made the dramatic stories of the era – a vivid Dr. King riding the first desegregated bus in Montgomery, murders of Civil Rights workers, voter registration drives, lynchings and the powerful Memphis Sanitation Workers Strike. The result is an encompassing and moving chronicle of the great American crusade of the second half of the Twentieth Century. As he traveled across the South, Withers’ base was always his hometown of Memphis. His work provides an insider’s view of the Beale Street music scene at the point when Americans – black and white, began to recognize it as a musical Mecca. For more than a century the city had attracted rural African-American migrants who brought their music. Gospel, blues, rhythm and urban dance music rang out from churches and Beale St. clubs. On Saturday nights, Withers photographed audiences at the clubs for a dollar-fifty a shot. He photographed many musicians he knew well. As he did so, the nation’s first radio station with all black programming enabled a wider audience that included young Elvis Presley to hear B.B. King, Ray Charles and a host of others. Many of the local talented musicians came out of Douglas High in Memphis. Withers’ photographs proclaim the wealth of Memphis’ musical talent. They also showcase the Rock and Roll and blues that emerged from the city’s gospel as well as blues musical tradition. Given the relentless segregation, it was white musicians such as Elvis or Johnny Cash or Jerry Lee Lewis who brought the Memphis sound to the attention of the nation. Withers photographs clearly document the sound that was the product of the city’s black musical culture. Ernest Withers loved baseball as he loved music. Just as there were separate white and black musical worlds in 1946, segregation of athletes and the plethora of outstanding African American players gave rise to Negro League baseball. Even as Memphis’ musical influence was seeping into the nation, this hallmark of local black athletic culture was on the brink of collapse. Memphis had its own team – Red Sox stars were local heroes. In the forties and fifties, Withers built a fairly lucrative business furnishing publicity shots for the team’s owners and team photos for the fans. Ironically what he recorded in those photographs was the decline of one of the largest black owned businesses in the country. In 1947, the Brooklyn Dodgers signed Jackie Robinson who played for the Kansas City Monarchs; the same year the Cleveland Indians snapped up Larry Doby. They were just the vanguard – almost immediately, Negro League owners began to sell their Roy Campanellas, their Don Newcombes and their Monte Irvins to the majors. The process was irreversible; attempts by a few owners to sustain ‘race conscious baseball’ were fruitless. Withers recorded the collapse of the Negro League, which occurred, he said, as the result of changing times. In this case, as with his chronicling of Martin Luther King’s crusade or of Beale Street, Withers’ more than 50 years of images validates the message emblazoned on his business card: PICTURES TELL THE STORY.
Griffin Museum of Photography
Feb. 18, 2019
THE HANK AARON FILE : HISTORIC FALSTAFF ADVERTISING WITH PHOTOGRAPHS ATTRIBUTED TO ERNEST C. WITHERS (AMERICAN, 1922-2007)
Est: $50 - $500
THE HANK AARON FILE : HISTORIC FALSTAFF ADVERTISING WITH PHOTOGRAPHS ATTRIBUTED TO ERNEST C. WITHERS (AMERICAN, 1922-2007) Four (4) gelatin silver photos and two (2) contact sheet prints from Falstaff promotional shoot Memphis, Tennessee in August of 1967 for Falstaff's "Thirst Slaker" campaign. Photos include original promo choice, two 6.25"h., and one 7.1"h that reads- Henry (Hank) Aaron. The January 1968 issue of Jet announcing Hank's association with Falstaff. Other articles in the file include: -A paper flyer that reads: DONT BUY COORS BEER BECAUSE: 1. No Black Distributors (out of 6) 2. Anti-black 3. Anti-Chicano 4. Anti-Women 5. Anti-Labor Unions -Direct correspondence about Hank's wherabouts and scheduling as well as developed itinerary and the development of his distributorship -Atlanta Braves 1967 Press release -WEUP Radio Station contact index of Allen McKellar with hand written information about Hank Aarons contact information in the A file.
Selkirk Auctioneers & Appraisers
Feb. 18, 2019
THE JAMES BROWN FILE : HISTORIC FALSTAFF ADVERTISING WITH PHOTOGRAPHS BY ERNEST C. WITHERS (AMERICAN, 1922-2007)
Est: $250 - $2,500
THE JAMES BROWN FILE : HISTORIC FALSTAFF ADVERTISING WITH PHOTOGRAPHS BY ERNEST C. WITHERS (AMERICAN, 1922-2007) American, mid 20th century. Twenty-five (25) gelatin silver photographs and original contact sheet list from Falstaff promotional shoot Memphis, Tennessee in June of 1967 for Falstaff's "Thirst Slaker" campaign. Photos include original promo choice photo, two of the original photos stamped on reverse with Ernest C. Withers studio information. Other articles in the file include: Other articles in the file include: -Two original flyers of Falstaff presents James Brown & his Revue, Kiel Auditorium, May 17, 1969, in St. Louis, MO -Detailed Falstaff inner office communication on the strategy of utilizing James Brown to appeal to the "negro" market -Correspndence between Ebony and Jet for the same utilization of James Brown Falstaff ads -Hand written notes about James' wherabouts and scheduling as well as developed itinerary -File titled "All About James Brown" includes rare unused "Black & Brown Stamp Album" including an uncut sheet of 35 stamps and stapled Falstaff Brewing Corporation Transmittal Slip stamp dated Aug 18 -An unused ticket to private event "The James Brown Show" by James Brown Productions Section 14, Row 7, Seat 10. The back of the ticket reading Bud Hobgood (513) 221-4899 Cincinnati, Ohio -July 1968 copy of The Falstaff Way (finely illustrated corporate publication) which includes foldout "The Thirst Slaker" ad and James Brown Promo. Photos: 8.25"h. 10"w. uncut
Selkirk Auctioneers & Appraisers
Oct. 02, 2018
ERNEST C. WITHERS (1922-2007) The Memphis Blues Again, 2004 Waltham, MA:
Est: $7,000 - $9,000
ERNEST C. WITHERS (1922-2007) The Memphis Blues Again, 2004 Waltham, MA: Panopticon Gallery, 2004, 10 gelatin silver prints, each signed and numbered ‘1/35’ in pencil on the verso; signed and numbered ‘1/35’ in ink on the colophon, prints and text inserts contained in large folio clamshell box with affixed portfolio label. varying sizes from 10 x 10in (25.4 x 25.4cm) to 9 1/2 x 12 7/8in (24.1 x 32.8cm) sheet each 14 x 11in (35.5 x 28cm)
Bonhams
Nov. 14, 2017
Ernest C. Withers, (1922 - 2007 Memphis, TN), "I Am A Man", sanitation workers assemble at Clayborn Temple for a solidarity march, Memp
Est: $2,000 - $3,000
Ernest C. Withers (1922 - 2007 Memphis, TN) "I Am A Man", sanitation workers assemble at Clayborn Temple for a solidarity march, Memphis, Tennessee, March 28, 1968 Unframed gelatin silver print, later unnumbered impression Signed, inscribed and dated lower right: To: Jehimo / my best with love / Ernest Withers / 5/5/03, with artist's stamp verso Image size: 11" H x 19.25" W Provenance: Private Collection, Arcadia, CA. Notes: The present historical image by important Civil Rights Movement photographer Ernest C. Withers represents a large group of African American sanitation workers assembling for a solidarity march on day 53 of their strike in Memphis Tennessee. Dr. Martin Luther King, Jr. was in attendance that day, and this event would be his final protest march before he was assassinated just one week later. Paper size: 16" H x 20" W.
John Moran Auctioneers
Dec. 05, 2015
Ernest Withers, (American, 1922-2007), Brook Benton and Elvis Presley, Dr. Martin Luther King Jr. resting in the Lorraine Motel foll...
Est: $1,000 - $2,000
Ernest Withers (American, 1922-2007) Brook Benton and Elvis Presley, Dr. Martin Luther King Jr. resting in the Lorraine Motel following the March Against Fear, Memphis, TN, Dr. Martin Luther King, Beale Street, B.B. King's Blues Club, Memphis (a group of 4) gelatin silver prints each signed 19.25" x 15.25"
Toomey & Co. Auctioneers
Dec. 05, 2015
Ernest Withers, (American, 1922-2007), James Brown, Mid South Coliseum, Ernie Banks, Larry Doby, Matty Brescia, Martin's Stadium, Er..
Est: $1,000 - $2,000
Ernest Withers (American, 1922-2007) James Brown, Mid South Coliseum, Ernie Banks, Larry Doby, Matty Brescia, Martin's Stadium, Ernest Withers with his 1941 Ford Station Wagon, B.B. King's Tour Bus (a group of 4) gelatin silver prints each signed 14.5" x 19.25"
Toomey & Co. Auctioneers
Dec. 11, 2014
WITHERS, ERNEST (1922-2007) "I Am a Man," Memphis strike.
Est: $2,500 - $3,500
WITHERS, ERNEST (1922-2007) "I Am a Man," Memphis strike. Silver print, 7 1/2x12 7/8 inches (19.1x32.7 cm.), with Withers' signature, in pencil, on verso. 1968; printed 1980s
Swann Auction Galleries