KERRY JAMES MARSHALL (1955 - ) Keeping the Culture. Color screenprint and linoleum cut on Arches paper, 2011. 445x711 mm; 17½x28 inches, full margins. Signed, titled, dated and numbered 71/100 in pencil, lower margin. Printed by Thomas Lucas of Hummingbird Press, Chicago. Published by African House, Inc., Chicago.
Kerry James Marshall b. 1955 Untitled (Mmmmmm! That Was Some Real Good Eatinâ¦) 2007-2008 Porcelain plate with printed decoration 1-1/8 x 12-3/8 inches signed and numbered 104/125 Created for the 20th Anniversary of the Santa Monica Museum of Art. To celebrate twenty years of creative accomplishment, SMMoA invited twelve prominent artists to contribute an original artwork. Other artists included Mark Bradford, Alison Saar, Raymond Pettibon and Charles Gaines. Retains its original box and informational sheet.
Kerry James Marshall b. 1955 Brownie 1995 Lithograph in colors, on wove paper, full sheet. 19 7/8 x 15 inches Signed, titled, dated, with PP3 in pencil, published by Anchor Graphics, Chicago (blindstamp) Provenance: private collection, Houston, TX
Kerry James Marshall b. 1955 Brownie 1995 Lithograph in colors, on wove paper, full sheet. 19 7/8 x 15 inches Signed, titled, dated, with PP3 in pencil, published by Anchor Graphics, Chicago (blindstamp)
Kerry James Marshall b. 1955 Vignette #6 signed and dated '05 (lower left) acrylic on Plexiglas, in artist's frame framed: 74 ⅜ by 62 ⅝ in. framed: 188.9 by 166.7 cm. Executed in 2005.
KERRY JAMES MARSHALL (1955 - ) Three issues of Rythm Mastr. Ten double-sided color photolithographs on folded newsprint paper, 1999-2000. Each 429x572 mm; 17x22½ inches (sheet). Includes: Rythm Mastr: Every Beat of My Heart * Rythm Mastr: Bulletin! * Rythm Mastr: Tower of Power. WITH--a group of nine folded newsprint paper constructions, 1999-2000. Largest 165x330 mm; 6½x13 inches. Exhibited: The Big Show, The NICC (New International Cultural Center), Antwerp, April 15 – June 3, 2001. Kerry James Marshall was selected to exhibit in the 1999/2000 Carnegie International, the oldest North American exhibition of international contemporary art. Marshall created an installation for the exhibition entitled Rythm Mastr, in which he covered the glass of the backlit vitrines in the Treasure Room at the Carnegie Museum of Art with these comics. Rythm Mastr is a story of love, revenge, and redemption in the inner city that features African American superheroes based on traditional African sculpture and stories. The comics were started by Marshall after he realized he never seen a comic strip with independent Black superheroes. Grynsztejn pp. 64-65, 141.
"Untitled (Woman)" by Kerry James Marshall, 2010 Signed Etching. Paper size is 26.25 x 21 inches, with an image size of 15.75 x 12 inches. The Etching is from an edition size of 50 and is currently framed. The condition was rated A: Mint. Additional details: This is signed and numbered limited edition etching by Kerry James Marshall. The print is top mounted only inside of a white, 1/2 inch face by 1 1/2 inch depth wooden frame behind ultra-violet filtering Plexiglas.
"Untitled (Handsome Young Man)" by Kerry James Marshall, 2010 Signed Mixed Media. Paper size is 26.25 x 21 inches, with an image size of 16 x 11.75 inches. The Mixed Media is from an edition size of 50 and is currently framed. The condition was rated A: Mint. Additional details: Hand signed, titled, dated and numbered out of 50 in pencil by Marshall. Hardground etching with aquatint printed on Somerset white paper. Published by Paulson Fontaine Press. The print is top mounted only inside of a white, 1/2 inch face by 1 1/2 inch depth wooden frame behind ultra-violet filtering Plexiglas
"Untitled (Frankenstein)" by Kerry James Marshall, 2010 Signed Etching. Paper size is 24.5 x 19 inches, with an image size of 16 x 12 inches. The Etching is from an edition size of 50 and is not framed. The condition was rated A: Mint. Additional details: Hand signed, titled, dated and numbered 24 out of 50 in pencil by Marshall. Hardground etching with aquatint printed on Somerset white paper. Published by Paulson Fontaine Press.
"Mastry" by Kerry James Marshall, 2016 Unsigned Offset Lithograph. Paper size is 26.5 x 32.75 inches, with an image size of 21 x 30.75 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A: Mint. Additional details: Poster for the Kerry James Marshall exhibition titled 'Mastry' which was held at the Metropolitan Museum of Art October 2016 - January 2017.
Kerry James Marshall (American, b. 1955) Curtained Window, 2005 mixed media and glitter on paper signed K. J. Marshall and dated (lower right) 7 x 6 1/2 inches. Property from a Private Collection, Chicago, Illinois Provenance: The Artist Acquired directly from the above by the present owner
A Long Journey: A Selection from the Liu Yiqian and Wang Wei Collection Kerry James Marshall b. 1955 Plunge signed, titled and dated 92 (lower edge) acrylic and paper collage on canvas 87 by 109 in. 220.9 by 276.8 cm. Executed in 1992. Please note that this work is requested for inclusion in the forthcoming retrospective of the artist’s work at the Royal Academy of Arts in London, starting in the fall of 2025.
KERRY JAMES MARSHALL (1955 - ) South Central Los Angeles Folklife Festival. Linoleum cut printed in black and buff ink, 1981. 813x483 mm; 32x19 inches (sheet). With the "Los Angeles Bicentennial 1781 - 1981, Robinson & Associates Bi-Centennial L.A. 200 Committee" ink stamp, lower left. This linoleum cut by Kerry James Marshall is a very scarce example of his early printmaking. Organized by Beverly Robinson in 1981, the South Central Los Angeles Folklife Festival was part of the city's bicentennial celebration in which Robinson documented black life in inner cities and highlighted black dolls and puppets celebrating African-American culture. The same year Marshall had his first solo exhibition at Los Angeles Southwest College in Los Angeles.
KERRY JAMES MARSHALL (1955 - ) Vignette (Wishing Well). Color aquatint, spitbite aquatint, softground, hardground, drypoint etching on chine collé , 2010. 1137x851 mm; 44 3/4x33 1/2 inches, full margins. Artist's proof, from an edition of 10, aside from the edition of 50. Signed, dated and inscribed "AP/9" in pencil, lower margin. Published by Paulson Bott Press, Berkeley, CA. This impressive, monumental print comes from Kerry James Marshall's Vignette series in which he often poses African American lovers and couples in romantic scenes that recall the saccharine compositions of European "Old Masters". This Vignette (Wishing Well) is particulary inspired by Jean-Honoré Fragonard's rococo painting The Swing. Other impressions of this important print are in the collections of the Metropolitian Museum of Art, the Fine Art Museums of San Francisco, the High Museum the Minneapolis Art Institute, the Pennsylvania Academy of the Fine Arts, the Princeton University Art Museum, the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College and the Walker Art Center.
Kerry James Marshall b. 1955 Untitled (Handsome Young Man) signed in pencil Kerry James Marshall and dated 2010 (lower right); titled Handsome Young Man (lower center); numbered 19/50 (lower left) etching and aquatint on wove paper image: 15⅞ by 12 in. (40.4 by 30.4 cm.) sheet: 24¼ by 18⅞ in. (61.7 by 47.9 cm.) Executed in 2010; this impression is number 19 from the edition of 50, with the blindstamp of the publisher, Paulson Bott Press.
Kerry James Marshall b. 1955 Untitled (Woman Looking Left) signed and dated 2016 (lower right) acrylic on PVC panel 60 by 53 cm. 23⅝ by 20⅞ in. Executed in 2016. --------------------------------------------------- 克里・詹姆斯・馬歇爾 生於1955年 《無題（看向左方的女子）》 款識：藝術家簽名並紀年2016（右下） 壓克力彩及PVC塗層板 60 x 53 公分；23⅝ x 20⅞ 英寸 2016年作
Property from a Private European Collection Kerry James Marshall b. 1955 Untitled (Mask Boy) initialed and dated 2014 (lower right) acrylic on PVC panel 35 ½ by 29 ½ in. 90.2 by 74.9 cm. Executed in 2014.
Kerry James Marshall (American, b. 1955) Curtained Window, 2005 mixed media and glitter on paper signed K. J. Marshall and dated (lower right) 7 x 6 1/2 inches. Property from a Private Collection, Chicago, Illinois Provenance: The Artist Acquired directly from the above by the present owner Lot Essay: Kerry James Marshall, Light, and Invisibility Kerry James Marshall (American, b. 1955) is known for pushing the boundaries of the art historical tradition in his innovations with medium and style, and through his depiction of marginalized bodies— scenes historically ignored in artistic cannon, especially those of his own black community. A work acquired directly from the artist, Curtained Window (2005) is a unique example of Marshall’s creative themes. Through his composition and the use of glitter, Marshall emphasizes experimentation with light and optics to reinforce the idea of invisibility faced by black communities, as also highlighted in fiction by Ralph Ellison’s 1952 classic Invisible Man—an important influence to Marshall— and in scholarship by art historians like Krista Thompson. The small, devotional-sized scene opens into an outdoor urban landscape—a solitary tree in the center of the composition in front of softly defined pastel houses and apartments in the background illustrated with loose brushstrokes. Amid the blocks of color and organic borders characterizing the rest of the landscape. a brutalist apartment block cuts into the right, with ink applied over the wash emphasizing the starkness of its regular architectural forms. The entire scene, as through a window, is framed by flowing gold curtains of glitter. It is the performative use of this glitter that creates tension with extending landscape, ultimately drawing attention away from this exterior environment. This deemphasis extends to metaphors of the black community’s visibility as a whole in this depopulated stage. Marshall has used gold glitter in his work throughout his career, such as in Souvenir I (1997, Museum of Contemporary Art, Chicago), where glitter is used both as gilded embellishment on elements within the interior scene—such as the central figure’s wings—as well as to provide framing. He also used glitter in the painting Gulf Stream (2003, Walker Art Center, Minneapolis), with a shimmering frame bordering the entire scene, utilizing a woven pattern not unlike that in Curtained Window. Curtained Window is interesting in its complete lack of people, with the greatest emphasis on the framing device of glittering curtain. The three-dimensional gilding provides an entry into the two-dimensional scene beyond, while also undermining that scene through its distracting opulence and artificiality. The glitter serves as a tool described by scholar Krista Thompson in her research in the use of light and optics in the art of African diasporic communities as part of a “visual economy of light.” Describing how objects in these urban communities gain value not necessarily for monetary or commercial reasons but rather if they enhance the user through aesthetics where “[t]hings that bling, shine, or shimmer, that emit light, are especially privileged.”[i] Here, Marshall does this exactly, animating his scene through the applied prestige of his gilding, opening dramatically like theatrical stage curtains onto this otherwise quotidian landscape. The materiality of the glitter itself is of less importance, with more emphasis on the light it reflects—falling into Thompson’s analysis: “a product of everyday aspirational practices of black urban communities, who make do and more with what they have, creating prestige through the resources at hand. But these very processes can have a critical valence because they have the potential to disrupt notions of value by privileging not things but their visual effects”.[ii] Thus, the value of Marshall’s study is shifted away from the ‘typical’ expectation for an artwork with a view out a window—that which is occurring outside—and is instead shifted to the trappings of the framing of this scene itself. This theme is emphasized through the manner of depiction of the painted landscape view. The overall haziness of the work makes it unclear what season is being depicted, as the leaves on the tree are delineated only by gray swipes of the brush. Buildings in the background are defined by blotchy color fields, with only the contoured brutalist building hinting at a threat of a starker reality. This tension between the dichotomy of glistening three-dimensional curtains and the dimmer landscape emphasizes an interesting byproduct of the applied visual economy of light—where the use of light to draw attention and define personhood becomes so blinding that it has the opposite intended effect, shifting the subject from hypervisibility to a “un-visibility.” Thompson, using Ralph Ellison’s novel Invisible Man to connect ideas of visibility to socio-political representation of black diasporic communities throughout the twentieth- and twenty-first- centuries, notes that this blinding use of light can have a performative aspect in which it is “tacitly producing the state of being unseen, or making the un-visible’s disappearance seen.” [iii] Kerry James Marshall has likewise discussed this contrast between visibility and invisibility in Invisible Man that has so influenced his practice, noting that “The kind of simultaneity that Ralph Ellison was talking about is the simultaneous presence and absence, is being there and not being there at the same time. In order to get at this notion of invisibility, I started to develop a strategy for making that as a representation”.[iv] Marshall’s contemplation of these themes in the small study of Curtained Window is clear and illuminating. As a local view of the community is depopulated, defined with bright colors but only just, the viewer’s focus becomes wholly distracted with the glittering three-dimensional curtain meant to lead into the landscape. The curtains thus take on a measure of pride and prestige through their gilding, but in this glittery topcoat, also purposefully undermine anything else in the landscape that the viewer is meant to see. [i] Krista Thompson, “Introduction: Of Shine, Bling, and Bixels,” in The Visual Economy of Light in African Diasporic Aesthetic Practice (Durham, NC: Duke University Press, 2015), 24. [ii] Ibid., 25. [iii] Ibid., 40. [iv] Kerry James Marshall, “Inside Out: A Lecture by Kerry James Marshall” in Kerry James Marshall: Inside/Out, ed. Carla Cugini (Cologne: Walther König, 2018), 19-20. Bibliography: Marshall, Kerry James. “Inside Out: A Lecture by Kerry James Marshall.” In Kerry James Marshall: Inside/Out, 10-71. Edited by Carla Cugini. Cologne: Walther König, 2018. Thompson, Krista. “Introduction: Of Shine, Bling, and Bixels.” In The Visual Economy of Light in African Diasporic Aesthetic Practice, 1-46. Durham, NC: Duke University Press, 2015.
KERRY JAMES MARSHALL (1955 - ) Dailies (At Last). Two-color screenprint on BFK Rives paper, 2010. 540x737 mm; 21 1/4x29 inches. full margins. Signed, titled, dated and numbered 4/5 II in pencil, lower edge. Printed by Thomas Lucas, Hummingbird Press, Chicago. Published by the artist. This very scarce print was self-published by the artist in an edition of 5, and was neither widely distributed nor exhibited. It includes panels from three of Marshall's graphic/comic series including Rhytm Mastr, On the Stroll and P-Van.
KERRY JAMES MARSHALL (1955 - ) Untitled (Man). Woodcut printed in brown and black on BFK Rives paper, 2017. 610x457 mm; 24x18 inches, full margins. Signed, dated, titled and numbered 3/15 in pencil, lower margin. Printed by Thomas Lucas, Hummingbird Press, Chicago, with the blind stamp lower left. Published by Ludion, Antwerp. A superb impression of this very scarce print - other impressions are found in only two American institutional collections, the Art Institute of Chicago and the National Gallery of Art in Washington, DC.
KERRY JAMES MARSHALL (AMERICAN B.1955) Porgy and Bess 2019-2020 unnumbered from the edition of 500 digital poster in colours on wove produced to accompany The Metropolitan Opera's production of The Gershwin's Porgy and Bess sheet 102 x 61.2cm unframed
"Untitled (Handsome Young Man)" by Kerry James Marshall, 2010 Signed Mixed Media. Paper size is 26.25 x 21 inches, with an image size of 16 x 11.75 inches. The Mixed Media is from an edition size of 50 and is currently framed. The condition was rated A: Mint. Additional details: Hand signed, titled, dated and numbered out of 50 in pencil by Marshall. Hardground etching with aquatint printed on Somerset white paper. Published by Paulson Fontaine Press. The print is top mounted only inside of a white, 1/2 inch face by 1 1/2 inch depth wooden frame behind ultra-violet filtering Plexiglas
"Mastry" by Kerry James Marshall, 2016 Unsigned Offset Lithograph. Paper size is 26.5 x 32.75 inches, with an image size of 21 x 30.75 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A: Mint. Additional details: Poster for the Kerry James Marshall exhibition titled 'Mastry' which was held at the Metropolitan Museum of Art October 2016 - January 2017.
"Mastry" by Kerry James Marshall, 2016 Unsigned Offset Lithograph. Paper size is 26.5 x 32.75 inches, with an image size of 21 x 30.75 inches. The Offset Lithograph is from an unknown edition size. and is currently framed. The condition was rated A: Mint. Additional details: Poster for the Kerry James Marshall exhibition titled 'Mastry' which was held at the Metropolitan Museum of Art October 2016 - January 2017. Framed in a white rubbed maple frame measuring 28 x 33 inches.
Screenprint in colors on wove paper, 2003, signed, titled and dated in pencil, numbered 7/60. 28 x 22 1/2 in. (sheet), 34 3/4 x 29 3/4 in. (frame). Note: Recognized for his portraits of Black subjects, Marshall interrogates Western art history by highlighting the discrepancy in the art market between white artists and artists of color. This image incorporates the actual auction prices for various artists from a Sotheby's sale on May 15, 2001, hence its title.
Kerry James Marshall (born 1955) Keeping the Culture, 2011 Screenprint and linocut in colors on Arches paper, signed in pencil, titled, dated and numbered 67/100, with full margins. 17 1/2 x 28 1/4in (44.5 x 71.8cm) sheet 20 1/2 x 30 1/4in (52.1 x 76.8cm)
Kerry James Marshall b. 1955 Keeping the Culture signed in pencil, titled, dated and inscribed PP 1/5 screenprint and linoleum cut printed in colors on Arches wove paper image: 17½ by 28⅜ in. 446 by 719 mm. sheet: 20 by 30 in. 507 by 764 mm. Executed in 2011; this impression is one of five printer's proofs aside from the numbered edition of 100. Bid on Sotheby's
Kerry James Marshall b. 1955 Frankenstein signed in pencil and numbered 3/50 etching and aquatint on Somerset white paper plate: 15¾ by 12 in. 401 by 304 mm. sheet: 24½ by 19 in. 622 by 482 mm. Executed in 2010; this impression is number 3 from the edition of 50, with the blindstamp of the publisher, Paulson Fontaine Press. Bid on Sotheby's
Kerry James Marshall b. 1955 Bride of Frankenstein signed in pencil and numbered 3/50 etching and aquatint on Somerset white paper plate: 15⅞ by 11⅞ in. 403 by 302 mm. sheet: 24⅜ by 19 in. 619 by 483 mm. Executed in 2010; this impression is number 3 from the edition of 50, with the blindstamp of the publisher, Paulson Fontaine Press. Bid on Sotheby's
KERRY JAMES MARSHALL (1955 - ) Keeping the Culture. Color linoleum cut and screenprint on Arches, 2011. 445x711 mm; 17 1/2x28 inches, full margins. Signed, titled, dated and numbered 77/100 in pencil, lower margin. Printed by Thomas Lucas at Hummingbird Press, Chicago.
KERRY JAMES MARSHALL (AMERICAN B.1955) KERRY JAMES MARSHALL (AMERICAN B.1955) Porgy and Bess 2019-2020 unnumbered from the edition of 500 digital poster in colours on wove produced to accompany The Metropolitan Opera's production of The Gershwin's Porgy and Bess sheet 102 x 61.2cm unframed
Kerry James Marshall (born 1955) Santa Monica Museum of Art 20th Anniversary Plate, 2008 Glazed ceramic plate, stamp initialed, dated and stamped 'AP' (an artist's proof, aside from the edition of 125), published for the Santa Monica Museum of Art's 20th anniversary, together with original cardboard box. diameter 12 1/2in (31.8cm) box 13 1/4 x 12 1/2 x 1 1/4in (33.7 x 31.8 x 3.2cm) For further information on this lot please visit the Bonhams website
Kerry James Marshall b. 1955 May 15, 2001 2003 Four color screenprint on Arches 88 paper 27-1/2 x 22-1/2 inches pencil signed, titled, and numbered 48/60, lower margin blind stamped
KERRY JAMES MARSHALL Souvenir I. Color digital screenprint on cotton pillow sham, 2017. 483x635 mm; 19x25 inches. Edition of 200. Co-published WeR2 and the Museum of Contemporary Art, Los Angeles, 2017.
Kerry James Marshall exhibition banner 2017 digital print on vinyl 96 h × 35 w in (244 × 89 cm) Printed to reverse 'Kerry James Marshall Mastry Through July 3, 2017'. This banner was produced in conjunction with the Kerry James Marshall: Mastry exhibition at the Museum of Contemporary Art, Los Angeles from 12 March - 3 July 2017 and printed by Gold Metropolitan Media, Van Nuys, California. This work will ship from Wright in Chicago, Illinois. condition: Vinyl shows holes to upper left and lower left corners from previous installation. Vinyl shows a small .25" tear to upper left edge. Overall good condition. Unframed.
"Untitled (Club Couple 2014)" by Kerry James Marshall, 2017 Unsigned Offset Lithograph. Paper size is 28 x 22 inches, with an image size of 18 x 18 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A: Mint. Additional details: Poster for the Kerry James Marshall exhibition titled Mastry which was held at The Museum of Contemporary Art in Los Angeles from March - July 2017.
KERRY JAMES MARSHALL (1955 - ) Brownie. Color lithograph, 1995. 503x381mm; 19 3/4x15 inches. Signed, titled, dated and numbered 29/50 in pencil, lower edge. Printed and published by Anchor Graphics, Chicago. Other impressions are in the collections of the Birmingham Museum of Art, Birmingham, Alabama, and the Whitney Museum of American Art, New York.
KERRY JAMES MARSHALL (1955 - ) Keeping the Culture. Color linoleum cut and screenprint on Arches, 2011. 445x711 mm; 17 1/2x28 inches, full margins. Signed, titled, dated and numbered 71/100 in pencil, lower margin. Printed by Thomas Lucas at Hummingbird Press, Chicago.
Kerry James Marshall (American, b. 1955) Memento (T: 96-367), 1997 Lithograph with gold powder on soft white Somerset paper ed. 6 of 33 Signed and dated in pencil Kerry James Marshall '97, lower middle Titled in pencil, lower middle. Printed by Tamarind Institute, Albuquerque, New Mexico with their blind stamps, lower right.
Kerry James Marshall (b. 1955) MAY 15, 2001 Color screenprint, 2003, on Arches 88 paper, signed, dated, titled and inscribed R. I. 4/10 in pencil, aside from the edition of 60, printed by the Brodsky Center for Innovative Editions, New York and with their blindstamp, published by the College Art Association, New York and with their blindstamp, with full margins, framed. Image 20 x 15 3/4 inches; 508 x 400 mm. Sheet 27 1/2 x 22 5/8 inches; 699 x 575 mm. C
KERRY JAMES MARSHALL (1955 - ) Keeping the Culture. Color linoleum cut and screenprint on Arches, 2011. 445x711 mm; 17 1/2x28 inches, full margins. Signed, titled, dated and numbered 75/100 in pencil, lower margin. Printed by Thomas Lucas at Hummingbird Press, Chicago.
Kerry James Marshall (American, b. 1955) Me, 2012 linocut signed, titled, dated, and numbered 1/5 in pencil 12 x 10 inches. Property from a Private Collection, Chicago, Illinois
Kerry James Marshall Brownie 1995 lithograph in colors 19.75 h × 15 w in (50 × 38 cm) Signed, titled, dated and numbered to lower edge '32/50 Brownie K.J. Marshall '95' with publisher's blindstamp. This work is number 32 from the edition of 50 published by Anchor Graphics, Chicago. Provenance: Anchor Graphics, Chicago | Acquired from the previous in 1995 by the present owner This work will ship from Rago in Lambertville, New Jersey. Condition of the item is not included in this description. Condition reports are available from Rago upon request. Rago strongly recommends that you review a condition report for each item on which you plan to bid. Email [email protected] to request a condition report.
Kerry James Marshall (b. 1955) Nat-Shango (Thunder) acrylic, paper collage and printed paper collage on linen 73 ½ x 55 ¾ in. (186.7 x 141.6 cm.) Executed in 1991.
KERRY JAMES MARSHALL (1955 - ) Brownie. Color lithograph, 1995. 503x381mm; 19 3/4x15 inches. Signed, titled, dated and numbered 8/50 in pencil, lower edge. Printed and published by Anchor Graphics, Chicago. Other impressions are in the collections of the Birmingham Museum of Art, Birmingham, Alabama, and the Whitney Museum of American Art, New York.
