Jonathan Green

SHARING THE CHORES Signed Lithograph Black Women, Farm Chickens, Gullah Culture

1996

GLADIOLUS HARVEST is a hand drawn, limited edition lithograph by the South Carolina artist JONATHAN GREEN printed using hand lithography techniques on archival Arches paper, 100% aci...

FIRST SUNDAY is a hand drawn, early limited edition lithograph by the South Carolina artist JONATHAN GREEN printed in 1993, using hand lithograph...

SWEETGRASS CARRIERS is a hand drawn, limited edition lithograph (not a photo reproduction or digital print) by the renowned American artist JONATHAN GREEN printed in 17 colors using hand lithography techniques on heavyweight archival Arches paper, 100% acid free. SWEETGRASS CARRIERS depicts a black farmer standing in a field of golden sweetgrass dressed in a straw sunhat, white shirt and rugged blue denim overalls accompanied by three female field workers clothed in colorful orange, blue and red bell shaped dresses all carrying bundles of freshly harvested sweetgrass. The expansive field of golden yellow, orange, and green blades of grass is backed by a horizon line of deep blue water and distant green trees enlivened by white clouds sweeping across a clear blue sky. Truly an impressive agricultural landscape scene reflecting back on local traditions of Geechee Gullah culture, Lowcountry South Carolina. Impressive size - large horizontal format, handmade lithograph, fine impression, vivid colors, hand signed and numbered 75/95 by Jonathan Green, professionally framed, double frame - wove textured moulding and burl wood style liner, archival framing materials, publishers chop mark embossed on lower margin, Print documentation/ Certificate of Authenticity will be provided. Framed size - 44 x 55 in. with frame Print size - 33.5 x 42.5 inches unframed print size Image size - 27 x 36.5 inches Edition size - 95, plus proofs Year published - 1999 Printed at J K Fine Art Editions Co., NJ Publisher - Mojo Portfolio, NJ Sweetgrass grows in the moist, sandy soils near oceans and marshes. It is harvested in the spring and summer by "pullers" who slip it from its roots and place it in the sun to dry. Sweetgrass baskets...

FARM WOMAN, by JONATHAN GREEN, is a hand drawn, limited edition lithograph printed in 19 colors using hand lithography techniques on archival printmaking paper, 100% acid free. FARM ...

This vibrant lithograph on woven paper features "Girl in Garden" by acclaimed African American artist Romare Bearden. Numbered 28 out of a limited edition of 150, the piece captures ...

Unknown Haitian School Artist Untitled (Marketplace), 2002 Acrylic on canvas 29 x 19 1/4 in. Signed and dated lower right: H. Malcolm Jawi 2002

Picking Salt by Dorothy Dell Dennison, American (1908–1994) Date: circa 1970 Lithograph, signed, titled and numbered in pencil Edition of 100 Size: 24 in. x 36 in. (60.96 cm x 91.44 cm)

Samella Sanders Lewis, 'The House of Shango', lithograph, 1992, edition 60. Signed, dated, titled, and numbered '31/60' in pencil. A superb, richly-inked impression, on Arches cream wove paper; the full sheet with margins (1 1/4 to 3 1/2 inches), in excellent condition. Image size 24 x 18 inches (610 x 457 mm); sheet size 30 inches x 22 1/4 inches (762 x 565 mm). Archivally matted to museum standards, unframed. ABOUT THIS WORK “The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name. Shango has been adopted in the Caribbean, most notably in Trinidad and Tobago, a fact that underscores the importance of transnationalism to Samella Lewis’s piece. Her work often grapples with issues of race in the U.S., and The House of Shango is no exception. Through a reliance on the gradual transformation of Shango—one that took place across continents and time—Lewis’s piece forms a powerful link between black Americans and their African and Caribbean counterparts. The figure depicted in the piece appears to emerge, quite literally, from the house of Shango. Given the roots and transformative process of the religion, The House of Shango can draw attention to the historical intersections to which black American culture is indebted.” —Laura Woods, Scripps College, Ruth Chander Williamson Gallery, Collection Highlights, 2018 ABOUT THE ARTIST Samella Lewis’ lifelong career as an artist, art historian, critic, curator, collector, and advocate of African American art has helped empower generations of artists in the United States and worldwide, earning her the designation “the Godmother of African American art.” Born and raised in Jim Crow era New Orleans, Lewis began her art education at Dillard University in 1941, transferring to Hampton University in Virginia, where she earned her B. A. and master's degrees. She completed her master's and a doctorate in art history and cultural anthropology at Ohio State University in 1951, becoming the first female African American to earn a doctorate in fine art and art history. Lewis taught art at Morgan State University while completing her doctorate. She became the first Chair of the Fine Arts Department at Florida A&M University in 1953. That same year Lewis also became the first African American to convene the National Conference of African American artists held at Florida A&M University. She was a professor at the State University of New York, California State University, Long Beach, and at Scripps College in Claremont, California. Lewis co-founded, with Bernie Casey, the Contemporary Crafts Gallery in Los Angeles in 1970. In 1973, she served on the selection committee for the exhibition BLACKS: USA: 1973 held at the New York Cultural Center. Samella Lewis's 1969 catalog 'Black Artists on Art', featured accomplished black artists typically overlooked in mainstream art galleries. She said of the book, "I wanted to make a chronology of African American artists, and artists of African descent, to document our history. The historians weren't doing it. It was really about the movement." From the 1960s through the 1970s, her work, which included lithographs, linocuts, and serigraphs, reflected her concerns with the values of human dignity, democracy, and freedom of expression. Between 1969 and 70, Lewis and E.J. Montgomery were consultants for a groundbreaking exhibition at the Oakland Public L designed to create greater awareness of African American history and art. Lewis was the founder of the International Review of African American Art in 1975. In 1976, she founded the Museum of African-American Art with a group of artistic, academic, business, and community leaders in Los Angeles, California. Lewis, the museum’s senior curator, organized exhibitions and developed new ways of educating the public about African American art. She celebrated African American art as an 'art of experience’ inspired by the artists’ lives. And she espoused the concept of African American art as an 'art of tradition', urging museums to explore the African roots of African American art. In 1984, Lewis produced an extensive monograph on Elizabeth Catlett, her beloved mentor at Dillard University. Lewis has been collecting art since 1942, focusing primarily on the WPA era and work created during the Harlem Renaissance. Pieces from her collection were acquired by the Hampton University Museum in Virginia, the world’s earliest collection of African American fine art...