Smoke Portrait Prints

Human Faces Abstract Collection - HFC 9 - Limited Edition Textured Canvas Print Faces Abstract Collection by Irena Orlov Introducing "Abstract Cubist Portrait - Human Faces Abstrac...

James Lesesne Wells, 'Sisters', linocut, edition not stated but small, 1928. Signed, titled, and annotated 'imp' in pencil. A fine impression on off-white wove Japan paper, with wide margins (1 7/8 to 3 3/4 inches), in excellent condition. Printed by the artist. Very scarce. Matted to museum standards, unframed. Image size 8 3/16 x 6 3/4 inches (208 x 171 mm); sheet size 13 1/2 x 10 3/4 inches (343 x 273 mm). Exhibition and Literature: 'Narratives of African American Art and Identity: The David C. Driskell Collection,' The Art Gallery at the University of Maryland, extensive touring exhibition, 1998-2000. Collections: Pennsylvania Academy of the Fine Arts, Smithsonian Institution (Anacostia Community Museum). ABOUT THE ARTIST “Wells is more than an artist with a deep concern for his fellow man. He carries many of his themes a step further into an apocalyptic world, a world of revelation and shifting lights. … He works on large blocks in a bold free style. … His work has a vigor, therefore, that is not often used in the medium today.” —Jacob Kainen (painter, critic, and collector) from Richard J. Powell’s 1986 essay Phoenix Ascending: The Art of James Lesesne Wells. James Lesesne Wells was an American painter, printmaker, educator, and pioneering figure of the Harlem Renaissance, whose work established a vital connection between African heritage, modernist form, and African American cultural identity. Known for his innovative use of linoleum and woodblock printing, Wells played a key role in shaping 20th-century African American art and inspired countless students throughout his lengthy career as a teacher at Howard University. Born in Atlanta, Georgia, Wells' early exposure to the arts came through church and community, where African American cultural traditions were central. He pursued formal artistic training at Lincoln University in Pennsylvania (earning a B.A. in 1924), followed by studies at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, where he encountered European modernists as well as traditional African sculpture, which profoundly influenced his style. Wells moved to New York in the late 1920s, swiftly immersing himself in the lively artistic and intellectual scene of Harlem. There, he became associated with artists, writers, and thinkers of the Harlem Renaissance, contributing to the growth of Black cultural identity. Considered a mentor to many famed artists of the Harlem Renaissance, Wells served as director of a summer art workshop in Harlem where his assistants included Charles Alston, Jacob Lawrence, and Palmer Hayden...

From The robbers. lithographs by George Grosz for the drama of the same name. photolithography on laid paper. 19 X 25.5 inches (sheet size). This is not hand signed or numbered in ...

This elegant etching titled the gilded youth is of the second wife of the artist The edition is 75 and is referenced as Fletcher #80. Gerald Brockhurst is best known for his portr...

Title: "Abstract Cubist Portrait - Human Faces Abstract Collection - HFC 19" Discover the captivating allure of "Abstract Cubist Portrait - HFC 19," a limited edition textured canva...

Norman Rockwell (American, 1894-1978) Family Tree Original painting produced 1959, this print published 1959 in Japan by The Curtis Publishing Company Lithograph Sight: 19 1/4 x 13 3...

David Koppel served his photographic apprenticeship in the rough-and-tumble world of the Fleet Street paparazzi in 1980’s London when his skills captured the very essence of the Me Decade that gave birth to the celebrity culture of today. Koppel’s classic photographs of Frank Sinatra, Marlon Brando, Jack Nicholson, the Rolling Stones, David Bowie, Paul McCartney, Eric Clapton & the Royal Family appeared in every major newspaper and magazine and marked him out as that rarity amongst press photographers: the artist with a camera. Building on the reputation gained through the photographs for the book Still Waters, his black-and-white portraits of ordinary people now rank among the many famous names in his portfolio. Koppel also went one better and in 2002 bought the St Giles St Gallery , bringing the best of local and international contemporary art and photography to Norwich, including the works of Sir Peter Blake, Terry O’Neill, David Bailey, Maggie Hambling, Storm Thorgersson, Tim Woolcock...

Lucille Fink creates slightly bizarre, densely drawn spaces. Signed, titled, and numbered '19,' in pencil. Annotated on the reverse, "June, 1932, week of 6-10-32, last wk of school."...

Tête-à-Tête in the Garden. 1894. Lithograph. Way 54, Levy 85, Tedeschi, Stratis and Spink 90. 8 x 6 1/2(sheet 10 7/8 x 8 1/2). Edition of 25-lifetime impressions plus a few proofs re...

David Koppel served his photographic apprenticeship in the rough-and-tumble world of the Fleet Street paparazzi in 1980’s London when his skills captured the very essence of the Me Decade that gave birth to the celebrity culture of today. Koppel’s classic photographs of Frank Sinatra, Marlon Brando, Jack Nicholson, the Rolling Stones, David Bowie, Paul McCartney, Eric Clapton & the Royal Family appeared in every major newspaper and magazine and marked him out as that rarity amongst press photographers: the artist with a camera. Building on the reputation gained through the photographs for the book Still Waters, his black-and-white portraits of ordinary people now rank among the many famous names in his portfolio. Koppel also went one better and in 2002 bought the St Giles St Gallery , bringing the best of local and international contemporary art and photography to Norwich, including the works of Sir Peter Blake, Terry O’Neill, David Bailey, Maggie Hambling, Storm Thorgersson, Tim Woolcock...

From The robbers. lithographs by George Grosz for the drama of the same name. photolithography on watermarked paper. 19 X 25.5 inches (sheet size). This is not hand signed or numbe...

James McBey. 1931. Drypoint. 8 7/8 x 5 7/8 (sheet 11 1/2 x 9 ). An extremely rich impression with drypoint burr, printed by the artist on cream wove paper. Signed in the plate lower ...