Isabel Bishop Figurative Prints

Raul Cordero (Cuba, 1971) '32 hrs 53 min kcal: 783 fat: 35%', 2005 photo engraving and screenprint on paper Guarro Biblos 250g. 26.8 x 33.3 in. (68 x 84.5...

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...

Portrait of Adolph Menzel is a magnificent drypoint realized by Giovanni Boldini in 1897. Reference: Buzzoni / M. Toffanello, Museo Giovanni Boldini, G...

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...

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...

Paul César Helleu. La Duchesse de Marlborough, Consuelo Vanderbilt. c. 1901. Drypoint. 21 1/2 x 13 3/4 (sheet 24 x 15). A rich impression printed o...

J. Becquet, Sculptor (The Fiddler). 1859. Drypoint. Kennedy 52 state iv; Glasgow 62. state i. 10 1/8 x 7 1/2 (sheet 15 5/16 x 9 3/4). Series: "Sixteen Etchings or Scenes on the Thame...

Irwin Hoffman created a lively scene of a Mexican barber shop that serves as a focal point of the community's life. A man is being shaved as people cook, eat and revel in the camaraderie of the scene. This print was issued by Associated American Artists and is in the permanent collection of the San Francisco Museum of Art. Born in East Boston...

Below Stairs. 1930-31. Drypoint. Appleby 143. 10 1/4 x 7 3/4 (sheet 15 3/4 x 10 1/8). Edition 100, #31. A very rich, tonal impression on cream-colored laid paper. Unobtrusive soiling in the top left- and lower-left hand margins, just below the platemark; and light mat line just outside the platemark. . Signed and numbered in ink. Housed in a 20 x 16-inch archival mat, suitable for framing. A charming discussion between the chef and a scullery maid in a "Downtown Abbey...

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...

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."...

English Bar. 1908. Etching and drypoint. Exsteens catalog 275 state ii. 8 1/8 x 5 5/8 (sheet 17 3/8 x 12 1/4). Series: Les Bars. Edition 65 in this state (total edition 95). Printed ...