Coming Home, from Hale Woodruff: Selections from the Atlanta Period 1931–1946

Inscription: Inscribed (lower left): 15/75

Marking: Relief pressed into paper (lower right): c [encircled] Hale Woodruff

E. Thomas Williams, Jr. and Auldlyn Higgins Williams, New York (until 1998; their gift to MMA)

Alain Locke. Contemporary Negro Art. Exh. cat., Baltimore Museum of Art. Baltimore, 1939, unpaginated, no. 111 (earlier edition), calls it "Returning Home".

Alain Locke. The Negro in Art: A Pictorial Record of the Negro Artist and of the Negro Theme in Art. Washington, D.C., 1940, ill. p. 58 (earlier edition), calls it "Returning Home".

Cedric Dover. American Negro Art. Greenwich, Conn., 1960, ill. p. 121 (earlier edition, courtesy Harold Benjamin, London), calls it "Returning Home" and dates it 1939.

Richard J. Powell. Impressions / Expressions: Black American Graphics. Exh. cat., Studio Museum in Harlem. New York, 1979, p. 31, ill. p. 42 (earlier edition, courtesy of the artist), calls it "Returning Home" and dates it 1939.

Mary Schmidt Campbell in Hale Woodruff: 50 Years of His Art. Exh. cat., Studio Museum in Harlem. New York, 1979, pp. 32–33, 96 (earlier edition), calls it "Returning Home" and dates it 1935.

Ronald Schnell. Graphic Art by Afro-American Artists from the Collections of Tougaloo College. Exh. cat., Tougaloo College. [Jackson, Miss.], 1985, unpaginated, no. 64-001, ill. (not this edition), calls it "View of Atlanta"; references an earlier print run.

Reba and Dave Williams in Alone in a Crowd: Prints of the 1930s–40s by African-American Artists; From the Collection of Reba and Dave Williams. Exh. cat., Newark Museum. New York, 1993, pp. 30, 32, no. 103, fig. 21 (MMA 1999.529.201).

Lowery Stokes Sims in Alone in a Crowd: Prints of the 1930s–40s by African-American Artists; From the Collection of Reba and Dave Williams. Exh. cat., Newark Museum. New York, 1993, p. 3, calls it "View of Atlanta".

Leslie King-Hammond in Alone in a Crowd: Prints of the 1930s–40s by African-American Artists; From the Collection of Reba and Dave Williams. Exh. cat., Newark Museum. New York, 1993, p. 19 (not this edition), calls it "View of Atlanta" (notes that this work was "retitled 'Going Home' in its 1981 re-edition"); references earlier print run.

Richard J. Powell and Jock Reynolds. To Conserve a Legacy: American Art from Historically Black Colleges and Universities. Exh. cat., Studio Museum in Harlem, New York. Andover, Mass., 1999, p. 239, no. 264, ill. p. 238 (earlier edition, Collection Howard University Gallery of Art), call it "Returning Home" and date it about 1935–39.

Alison Cameron. "Buenos Vecinos: African-American Printmaking and the Taller de Gráfica Popular." Print Quarterly 16 (December 1999), p. 356, notes that the earlier edition was made after the artist's return to the United States from Mexico.

This is one of eight prints in a deluxe limited edition portfolio titled Hale Woodruff: Selections from the Atlanta Period 1931–1946, printed by Robert Blackburn at the Printmaking Workshop in 1996 (see MMA 1998.101.1–.8 for full set). The printed images were made from Woodruff's original linoleum blocks, which are now in the collection of the Schomburg Center for Research in Black Culture, New York, N.Y.