James Denmark

THE FAMILY Signed Lithograph, Black Family Portrait, Collage, African American

1987

GARDEN ROMANCE by the artist James Denmark is an original hand drawn, limited edition lithograph(not a photo reproduction or digital print) printed on archival Somerset paper using traditional hand lithography techniques. GARDEN ROMANCE is one of Denmark's expressive, colorful collage compositions of everyday African American life - a lovely flower garden scene featuring a romantic black couple, the woman seated amid the blossoming plants wearing a green and yellow paisley print dress and head wrap; her standing male companion with flower in hand, dressed in blue denim jeans, and pastel color patchwork print shirt. Vivid coloration, watercolor patterns, and collage effect textures captivate the eye with visual variety in a striking palette of blues, greens, white, red, orange, magenta, touches of yellow, lavender and dark black - a fine example of the intricacies of hand lithography! Print size - 32 x 21.25 in., archival framing, double mat, excellent condition, pencil signed and numbered - Certificate of Authenticity provided 1 / 15 H.C. by James Denmark, publisher's chop embossed lower left corner Edition size - 250, plus proofs Year published - 1996 Printer - JK Fine Art Editions Co. NJ Publisher - Mojo Portfolio...

MORNING is an original limited edition lithograph printed using traditional hand lithography methods on archival Somerset printmaking paper, 100% acid free. MORNING by the African Am...

NEW DREAMS is an original limited edition lithograph by the Harlem Renaissance, social realist African-American artist ERNEST CRICHLOW (1914-2005). NEW DREAMS was printed from hand d...

THE CONVERSATION is an original limited edition lithograph printed using traditional hand lithography methods on archival Somerset printmaking paper, 100% acid free. THE CONVERSATION...

"Family of Six" is an original black and white lithograph by John Biggers. The artist signed and dated the piece in the lower right and titled and editioned it (AP III) in the lower ...

Artist: Romare Bearden Title: Conversation Year: 1979 Print - Lithograph on Somerset Paper Paper size: 22'' x 30'' inches Edition: signed & numbered in pencil, HC 5/15 Image Size ...

This reproduction silkscreen poster features Romare Bearden's vibrant work Early Carolina Morning, published by American Vision Gallery Inc. The piece has ...

Kerry James Marshall Keeping the Culture, 2011 Silkscreen and linocut in colors with full margins and deckled edges on Arches paper with full margins and deckled edges 20-1/4 x 30-1/4 inches Hand signed, titled and numbered 79/100 by Kerry James Marshall in graphite pencil on the front Published by Africa House International, Chicago Unframed Kerry James Marshall's 2011 "Keeping the Culture" is based upon the artist's eponymous painting done the year earlier. Marshall, along with his dealer, were voted by ArtReview the top two of the 100 most influential people in the art world of 2018 - even ahead of the #MeToo movement, and ahead of figures like Jeff Koons, Larry Gagosian and Eli Broad! His paintings now sell for tens of millions of dollars - after P. Diddy paid $21 million for a painting. The present work "Keeping the Culture" is an extremely desirable work of art and exemplifies Marshall's style. For a feature profile/article written for Marshall's first retrospective - a blockbuster show entitled "MASRY" at the Museum of Contemporary Art, LA, the Museum of Contemporary Art Chicago and the Met Breuer in New York, Barbara Isenberg of the LA Times wrote: ." The New York Times called the show “smashing” and its subject “one of the great history painters of our time.” The New York Review of Books and Artforum magazine put large images from the show on their January covers. “I’ve been acutely aware that museums are behind their academic colleagues in terms of thinking of representation and people of color,” MOCA chief curator Helen Molesworth says. “I find Kerry’s paintings ravishing — they are drop dead, great paintings — and they have an extra level of reward for people who hold in their heads a history of Western painting.” Marshall is a compelling storyteller, whether on canvas or in conversation. Talking at length during a visit to MOCA, he is easygoing but eloquent, recalling his neighborhood in Birmingham, Ala., where he was born in 1955, or about growing up black there and in Los Angeles. He remembers the names of teachers who encouraged him. Asked when he first began to notice a lack of black subjects...