Joanne Seltzer Prints and Multiples

Etching on cream wove paper. 6 5/16 x 3 3/4 inches (159 x 94 mm), full margin. Signed in pencil lower center margin, from the edition of 111. A well inked impression with a minor cre...

Color lithograph, Edition 30 Last Rays is an intensely colorful image that evokes the play of light and reflections caused by the late rays of the evening sun as they rake low acr...

A black and white, large-scale surreal mythical landscape of an ocean voyage, with a snake wrapped around a clock, a ship, Venus sculpture, greek urns, and snakes, printed in black o...

Color lithograph, Ed. 30 Chagoya's newest prints, "Invites Into the World of the Eternal Instant" and "Expresses Nothing but the Self", are concerned with the current unsustainabl...

Color lithograph, Edition 75 Red Grooms and Master printer Bud Shark began their many print collaborations in 1981 with "Mountaintime", followed in 1982 by their first three-dimensional lithograph, "Ruckus...

Jennifer Bartlett Los Angeles 1984 Olympic Games (Hand Signed with Olympic Committee COA), 1982 Offset Lithograph; pencil signed on the front 36 × 24 inc...

Martha Reed was the daughter of the artist Doel Reed and as an adult she joined her parents in Taos, New Mexico. There she designed clothes with a south-we...

Muse is #43 of 45. It depicts a young woman in a colorful swimsuit doing her best to swim through the blue waters of the pool. Her mouth is pursed and the bubbles flow out. I sold an impression of this image to an olympic swimming...

Toco Toucan Toucano (2020) Edition of 150 Nine colour lithographic print on Somerset Velvet 300 gsm. Signed, numbered, and dated by the artist Katherine Bernhardt is a contemporar...

Color lithograph, Edition 20. Don Ed Hardy’s lithographs “Storm Dragon” and “Sea Dragon” continue his lifelong exploration of dragon mythology and imagery. For 2000, the Year of the...

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...

"Equal Justice Under Law" Screenprint #99/125 on Wove Paper Iconic composition by Robert Rauschenberg (American, 1925-2008). A red envelope and a hand holding sprouted grass the pli...