"Coming to Jones Road Under a Blood Red Sky #5" by Faith Ringgold, 2004 Signed Serigraph. Paper size is 35 x 45 inches, with an image size of 30.25 x 40 inches. The Serigraph is from an edition size of 50 and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Faith Ringgold, one of America’s most celebrated artists, has built a profound body of work documenting the African-American experience. This signed, titled, dated, and numbered serigraph (edition of 50) is based on her Coming to Jones Road story quilt series, which vividly narrates the perilous journey of runaway slaves migrating North. With its rich narrative and masterful execution, this screenprint exemplifies Ringgold’s ability to merge storytelling, history, and art.
Artist(s): Faith Ringgold (American, 1930-2024). Medium: Serigraph in colors. Signature(s): Pencil signed, titled, dated (1996), and numbered (18/425) in its lower margin. Paperwork: N/A Damage: Unframed and stored rolled. General wear to the outer edges from handling. No visible damage to the image itself. Measurement(s): 23 3/4" x 38 3/4" (image), 32 3/4" x 44" (sheet) In-house shipping is available. Please see our website regarding our in-house shipping procedures.
FAITH RINGGOLD (1930 - 2024) Here Come Moses. Color screenprint on BFK Rives paper, 2014. 503x665 mm; 19⅞x26¼ inches, full margins. Signed, titled, dated "7/31/2014" and numbered 188/200 in pencil, lower margin. Printed and published by the Experimental Printmaking Institute, Lafayette College, Easton, Pennsylvania.
FAITH RINGGOLD (1930 - 2024) Idaho Black History Museum. Color screenprint on BFK Rives paper, 2008. 410x562 mm; 16⅛x22 inches, full margins. Signed, titled, dated "12/20/08" and numbered 24/100 in pencil, lower margin.
Faith Ringgold (American, 1930-2024). "Aunt Emmy" color lithograph on cream wove paper, 2005. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture with a Segura blind stamp at lower left. Signed and dated lower right. Numbered "P.P. 2/3" lower left. A striking printer's proof of Faith Ringgold's "Aunt Emmy" featuring an ancestral African-American matriarch standing in a lush grove of trees, her lovely white dress and hat contrasting with the greenery surrounding her. According to Ringgold's texts for this series, Aunt Emmy was among the first to find freedom on Jones Road, and Barn Door, mentioned in the narrative within the margins of this piece, answered her call in a dream to lead slaves to freedom by way of the Underground Railroad. The touching narrative surrounding the scene reads as follows, "One day Barn Door was in the fields choppin cotton when he heard Aunt Emmy's voice from deep in the earth: Barn Door the time has come to walk to freedom. Wait till night then go and don't leave nobody behind. Keep a comin to Jones Road. Look for an old white farm house with a star quilt on the roof. We be waitin for you. God be on your side. You as good as free." A powerful image of Aunt Emmy, a strong black woman surrounded by her poignant words of hope and freedom by Faith Ringgold, another powerful black woman who used her art to fight against discrimination throughout her 6 decade career. Size: 30" L x 22" W (76.2 cm x 55.9 cm) About the Artist: "Ringgold's oil paintings and posters begun in the mid-to-late 1960s carried strong political messages in support of the civil-rights movement. She demonstrated against the exclusion of black and female artists by New York's Whitney Museum of American Art and the Museum of Modern Art in 196870. She was arrested for desecrating the American flag in 1970 as a participant in The People's Flag Show, held at the Judson Memorial Church in New York. Ringgold cofounded Where We At, a group for African-American female artists, in 1971. In 1970 Ringgold began teaching college courses. In 1973 she quit teaching in New York City public schools to devote more time to her art. In the early 1970s she abandoned traditional painting. Instead, Ringgold began making unstretched acrylic paintings on canvas with lush fabric borders like those of Tibetan thangkas. She worked with her mother, Willi Posey, to fashion elaborate hooded masks of fabric, beads, and raffia, which were inspired by African tribal costume. She also began making fabric 'dolls' and larger stuffed figures, many of which resembled real individuals. Ringgold used some of these works in Performance piecesthe earliest of which, Wake and Resurrection of the Bicentennial Negro, was first performed in 1976 by students using her masks, life-size figures, and thangkas, along with voice, music, and dance. In 1976 and 1977 she traveled to West Africa. Ringgold expanded the format of her thangka paintings to quilt size. Her mother pieced and quilted the first of these new works, Echoes of Harlem (1980), before dying in 1981. It was in 1983 that Ringgold began to combine image and handwritten text in her painted 'story quilts,' which convey imaginative, open-ended narratives; in the first one, Who's Afraid of Aunt Jemima? (1983), the familiar advertising character is turned into a savvy businesswoman. Ringgold's use of craft techniques ignored the traditional distinction between fine art and craft, while demonstrating the importance of family, roots, and artistic collaboration. From 1984 to 2002, Ringgold was a professor at the University of California, San Diego. She adapted the story quilt Tar Beach (from the Woman on a Bridge series of 1988) for an eponymous children's book published in 1991. Its critical and popular success led to her development of several other titles for children. For adults, she wrote her memoirs, published in 1995. Ringgold's first solo gallery shows were held in 1967 and 1970 at the cooperative Spectrum Gallery, New York. Retrospectives of her work have been organized by Rutgers University, New Brunswick (1973), the Studio Museum in Harlem, New York (1984), and the Fine Arts Museum of Long Island, Hempstead (1990). Ringgolds work has been included in numerous exhibitions devoted to political art, women's art, contemporary quilts, and African-American art, as well as in the Whitney Biennial (1985). Her achievements as an artist, teacher, and activist have been recognized with numerous honors, including National Endowment for the Arts awards in sculpture (1978) and painting (1989), a John Simon Guggenheim Memorial Foundation Fellowship (1987), and sixteen honorary doctorates." (Source: Guggenheim Museum website) Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191279
** This heavy/oversized item requires third-party shipping, which may affect delivery time. Please inquire about shipping costs and delivery before bidding ** Faith Ringgold (American, 1930-2024). "Under a Blood Red Sky, #7" color lithograph on cream wove paper, 2006. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture with a Segura blind stamp at lower left. Signed and dated lower right. Titled lower center. Numbered "P.P. 2/4" lower left. Faith Ringgold's "Under a Blood Red Sky, #7" features runaway slaves migrating North by way of the Underground Railroad, making their way beneath tree canopies at night toward a modest barn with golden light glowing from its doorway. The freedom seeking slaves' silhouettes outlined in red come together to form a pyramidal arrangement - this pyramid symbolizes their rise toward a new beginning. In addition to this powerful imagery, "Under a Blood Red Sky, #7" demonstrates Ringgold's keen use of text. A touching narrative in the border surrounding the scene reads as follows, "The sun went down early that night. The cottonfields turned black in no time. All us steppin quiet to the shacks. 'You'll come on just follow me,' Barn Door whispered. 'We goin North to freedom tonight.' There was 28 of us and one newborn baby girl. We named the baby Freedom because she was born almost free. By day we prayed for the night to cover us. By night we crept softly to muffle our steps. We moved in one body. Our way lit only by a chalk-white moon in a blood red sky #7." Interestingly, this piece is from Ringgold's series titled "Coming to Jones Road Under a Blood Red Sky" and the phrase "coming to Jones Road" references the artist's own move from Harlem to Englewood, New Jersey in 1992, which was a difficult move for an African-American woman at the time. Ringgold later reflected how her new neighbors "say my presence on Jones Road as a threat to the 'quality' of their lives." Size: 41.5" L x 29.5" W (105.4 cm x 74.9 cm) About the Artist: "Ringgold's oil paintings and posters begun in the mid-to-late 1960s carried strong political messages in support of the civil-rights movement. She demonstrated against the exclusion of black and female artists by New York's Whitney Museum of American Art and the Museum of Modern Art in 196870. She was arrested for desecrating the American flag in 1970 as a participant in The People's Flag Show, held at the Judson Memorial Church in New York. Ringgold cofounded Where We At, a group for African-American female artists, in 1971. In 1970 Ringgold began teaching college courses. In 1973 she quit teaching in New York City public schools to devote more time to her art. In the early 1970s she abandoned traditional painting. Instead, Ringgold began making unstretched acrylic paintings on canvas with lush fabric borders like those of Tibetan thangkas. She worked with her mother, Willi Posey, to fashion elaborate hooded masks of fabric, beads, and raffia, which were inspired by African tribal costume. She also began making fabric 'dolls' and larger stuffed figures, many of which resembled real individuals. Ringgold used some of these works in Performance piecesthe earliest of which, Wake and Resurrection of the Bicentennial Negro, was first performed in 1976 by students using her masks, life-size figures, and thangkas, along with voice, music, and dance. In 1976 and 1977 she traveled to West Africa. Ringgold expanded the format of her thangka paintings to quilt size. Her mother pieced and quilted the first of these new works, Echoes of Harlem (1980), before dying in 1981. It was in 1983 that Ringgold began to combine image and handwritten text in her painted 'story quilts,' which convey imaginative, open-ended narratives; in the first one, Who's Afraid of Aunt Jemima? (1983), the familiar advertising character is turned into a savvy businesswoman. Ringgold's use of craft techniques ignored the traditional distinction between fine art and craft, while demonstrating the importance of family, roots, and artistic collaboration. From 1984 to 2002, Ringgold was a professor at the University of California, San Diego. She adapted the story quilt Tar Beach (from the Woman on a Bridge series of 1988) for an eponymous children's book published in 1991. Its critical and popular success led to her development of several other titles for children. For adults, she wrote her memoirs, published in 1995. Ringgold's first solo gallery shows were held in 1967 and 1970 at the cooperative Spectrum Gallery, New York. Retrospectives of her work have been organized by Rutgers University, New Brunswick (1973), the Studio Museum in Harlem, New York (1984), and the Fine Arts Museum of Long Island, Hempstead (1990). Ringgolds work has been included in numerous exhibitions devoted to political art, women's art, contemporary quilts, and African-American art, as well as in the Whitney Biennial (1985). Her achievements as an artist, teacher, and activist have been recognized with numerous honors, including National Endowment for the Arts awards in sculpture (1978) and painting (1989), a John Simon Guggenheim Memorial Foundation Fellowship (1987), and sixteen honorary doctorates." (Source: Guggenheim Museum website) Of Note: Swann Auction Galleries sold "Under a Blood Red Sky, #7" for $6000 ($7500 including buyer's premium) on October 19, 2023 - Sale 2649 lot 183. Provenance: private Bozeman, Montana, USA collection, acquired before 2015; consignor was co-owner of Segura Publishing Company, Tempe, Arizona and acquired this piece directly from Segura during his tenure All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.) PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions. #191275
Faith Ringgold 1930 - 2024 Betty and Tut each: titled (on the base); signed and dated '79 (on the underside of the base) soft fabric construction, human hair and fabric paint, mounted on wood bases Betty: 15 by 7 by 5 ¼ in. 38.1 by 17.8 by 13.3 cm. Tut: 16 ½ by 6 ½ by 5 ½ in. 41.9 by 16.5 by 14 cm. Executed in 1979.
FAITH RINGGOLD (1930 - 2024) Anyone Can Fly. Acrylic on wove paper, 1992. 501x628 mm; 19¾x24¾ inches. Signed in ink, lower left, and again in lower left margin with title and date. Provenance ACA Gallery, New York (label). Estate of Patricia Scipio-Brim, New York.
FAITH RINGGOLD (1930 - 2024) Jazz Drawings #2: Come On and Dance With Me. Ink on wove paper, 2003. 190x133 mm; 7½x5¼ inches. Signed and dated, lower right, with alternate title "Come On Dance With Me: Study for Jazz Quilt #2" inscribed in ink, verso. Provenance ACA Galleries, New York, (label). Estate of Patricia Scipio-Brim, New York.
Property from the Collection of Stanley and Mikki Weithorn Faith Ringgold 1930 - 2024 American People Series #7: The Cocktail Party signed and partially titled (on the stretcher) oil on canvas 42 by 24 in. 106.7 by 61 cm. Executed in 1964.
"Groovin' High" by Faith Ringgold, 1996 Unsigned Serigraph. Paper size is 32.5 x 44 inches, with an image size of 24 x 39.5 inches. The Serigraph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: This piece, titled "Groovin' High", is a printer's proof created by the renowned artist and civil rights activist Faith Ringgold. The proof is unsigned and not numbered, printed on heavy paper. The original artwork, created in 1986, is an acrylic on canvas with a fabric border, reflecting Ringgold's distinctive style that often incorporates narrative quilts and vibrant, expressive colors. The piece draws inspiration from her memories of Sunday afternoon dances at the Savoy Ballroom in Harlem, a significant cultural hub during the Harlem Renaissance and beyond.
FAITH RINGGOLD (1930 - 2024) Kassel Germany, No Black Art at Documenta, Series 5, No. 39. Watercolor with text in ink on mauve wove paper, 1972. 610x457 mm; 24x18 inches. Signed, titled, inscribed "NYC" and dated "August 72" in pencil, lower left. Provenance: the artist, New York; private collection, Pennyslvania. This work on paper was a 1972 collaborative series of poems written by the artist's daughter Michele Wallace accompanied by watercolors by Faith Ringgold. The text reads: "In London Black Art Means/A Talent For the Perverse/In New York the Black Art/Does Not Exist/Except When Its Brown Male and Brown" and "Words And Paintings By/Faith Ringgold in Kassel/In Aug 1972". Ringgold visited Documenta in 1972 in Kassel, Germany while traveling in Europe with her daughter.
FAITH RINGGOLD (1930 - 2024) Love Poem 2 #3. (Red) Watercolor with text in gold ink on red wove paper, 1973. 419x305 mm; 16½x12 inches. Signed and titled in pencil, lower edge. Provenance: the artist, New York, with the artist's ink address stamp on the frame back and a typed artist's label with her address; private collection, Pennyslvania. This work on paper was a 1973 collaborative series of poems written by the artist's daughter Michele Wallace accompanied by watercolors by Faith Ringgold. The poem reads: "From Your Evening Colored Woman/I Am Blood Red/Evergreen/Midnight Blue/Black in Love/With You Man".
FAITH RINGGOLD (1930 - 2024) Love Poem 2 #3. (Orange) Watercolor on orange wove paper, 1973. 610x457 mm; 24x18 inches. Signed, titled, inscribed "NYC" and dated "May 1973" in pencil, lower left. Provenance: the artist, New York; private collection, Pennyslvania. This work on paper was a 1973 collaborative series of poems written by the artist's daughter Michele Wallace accompanied by watercolors by Faith Ringgold. The poem reads: "From Your Evening Colored Woman/I Am Blood Red/Evergreen/Midnight Blue/Black in Love/With You Man".
FAITH RINGGOLD (1930 - 2024) Love Poem 1 #1. Watercolor with text in gold ink on red wove paper, 1973. 457x610 mm; 18x24 inches. Signed, titled, inscribed "NYC" and dated "May 1973" in pencil, lower left. Provenance: the artist, New York, with the artist's ink address stamp on the frame back and a hand-written gallery label with the artist's address; private collection, Pennyslvania. This work on paper was a 1973 collaborative series of poems written by the artist's daughter Michele Wallace accompanied by watercolors by Faith Ringgold. The poem reads: "Black Love/Is the Soul/In Which/A Rainbow/Of Fruits/Can Grow".
FAITH RINGGOLD (1930 - 2024) Letter From Birmingham City Jail. Portfolio with 8 color screenprints, 2007. Each 432x349 mm; 17¾x13¾ inches (sheet), loose as issued. Edition of 75 numbered copies. Each signed, dated and numbered 51/75 in pencil, lower margin. Published by the Limited Editions Club, New York. In the original burgundy fabric covered clamshell box and afterword by Dr. C. T. Vivian. Titles include: A Letter From Martin Luther King * Four Little Girls Bombed in a Church * For Whites Only * Brown Versus Board of Education 1954 * The Right to Vote * Police Brutality Viewed Thru Stained Glass Windows * Slavery * Montgomery Bus Boycott. These eight color screenprints illustrate Dr. Martin Luther King, Jr.'s famous letter.
FAITH RINGGOLD (1930-2024). Tar Beach II. multicolored screenprint on stitched plain weave, printed cotton plain weave, black and green synthetic moire 66 x 66 in. (167.6 x 167.6 cm.).
Faith Ringgold 1930 - 2024 Slave Rape #6: Run You Might Get Away signed and dated 3 '73 (lower right); signed, titled Slave Rape Series #6 of 16, dated 1973, 1993 (on the reverse) oil on canvas with fabric borders and lucite rod 43 ¾ by 32 ¼ in. 111.1 by 81.9 cm. Executed in 1973, 1993.
Ringgold, Faith (African-American, 1930-2024), Tar Beach, 1993, color woodcut on paper, signed, dated and numbered 11/60 in pencil to lower margin, image 12 x 10.85 inches, matted and framed 21 x 19.5 inches. Provenance: ACA Galleries, NYC, label attached to back of the frame. Printed and published by the Mulberry Press, Cambridge, MA. A rare print: internet searches reveal only 2 in permanent collections (MoMA and Rollins College) and none in auction records.
Faith Ringgold 1930-2024 Groovin High 1996 color screenprint 24-1/2 x 39-1/4 inches signed, dated, titled and numbered 154/425 elaborately framed and matted
Faith Ringgold 1930-2024 Letter from a Birmingham Jail 2007 set of 8 color screen prints on wove paper 17-3/4 x 17-3/4 sheet size signed, dated and numbered 5/75 with complete text, published by Limited Editions Club, New York, in original red fabric-covered portfolio
Property from the Collection of Stanley and Mikki Weithorn Faith Ringgold 1930 - 2024 Dinner at Gertrude Stein's: The French Collection Part II, #10 signed and dated 1991 (lower right); signed and titled (on the reverse) acrylic on canvas and ink on stitched printed and dyed fabrics 73 ½ by 79 ¼ in. 186.7 by 201.3 cm. Executed in 1991.
Faith Ringgold is a renowned American artist, author, and activist known for her pioneering work in the fields of African American art and feminist art, particularly in the medium of quilts. Here are some key points about Faith Ringgold:1. **Early Life:** Faith Ringgold was born on October 8, 1930, in Harlem, New York City, USA. She grew up in a creative and artistic environment, as her mother was a fashion designer and her father a fashion designer and an amateur musician.2. **Artistic Education:** Ringgold attended the City College of New York and earned a bachelor's degree in fine art. She later earned a master's degree in art education from the City College of New York.3. **Narrative Quilts:** Faith Ringgold is best known for her narrative quilts, which combine painting and storytelling on fabric. Her quilts often feature colorful and bold imagery along with written narratives. "Who's Afraid of Aunt Jemima?" and "Tar Beach" are among her most famous quilt works.4. **Activism and Feminism:** Ringgold's art often addresses issues of race, gender, and inequality. She was a prominent figure in the feminist art movement, and her work challenged traditional artistic and societal norms.5. **Story Quilts:** Her "story quilts" are a fusion of art and storytelling that narrate her experiences, struggles, and observations. They reflect themes such as civil rights, identity, and empowerment.6. **Books:** In addition to her visual art, Ringgold has authored and illustrated several children's books, including "Tar Beach," which is based on one of her quilts.7. **Exhibitions:** Faith Ringgold's art has been exhibited in major museums and galleries worldwide, including the Solomon R. Guggenheim Museum, the Museum of Modern Art, and the National Museum of Women in the Arts.8. **Recognition:** She has received numerous awards and honors for her contributions to art and activism, including the National Endowment for the Arts award and the Women's Caucus for Art Lifetime Achievement Award.9. **Legacy:** Faith Ringgold's work has had a significant impact on the fields of African American art and feminist art. Her narrative quilts and other art forms have inspired subsequent generations of artists and have contributed to a broader conversation about race, gender, and the power of storytelling in art.Faith Ringgold's innovative and thought-provoking art has earned her a prominent place in the world of contemporary art. Her exploration of storytelling through quilts and her advocacy for issues of social justice and gender equality continue to influence and inspire artists and activists today. Polyester
LETTER FROM A BIRMINGHAM JAIL Complete set of eight color screenprints, 2007, on wove paper, signed, dated and numbered 5/75 in pencil, with the complete text, published by the Limited Editions Club, New York, in original red fabric-covered portfolio. Sheets 17 3/4 x 17 3/4 inches; 432 x 349 mm. Including: A LETTER FROM MARTIN LUTHER KING; FOUR LITTLE GIRLS BOMBED IN A CHURCH; FOR WHITES ONLY; BROWN VERSUS BOARD OF EDUCATION 1954; THE RIGHT TO VOTE; POLICE BRUTALITY VIEWED THRU STAINED GLASS WINDOWS; SLAVERY; MONTGOMERY BUS BOYCOTT
FAITH RINGGOLD (1930 - ) Letter From Birmingham City Jail. Portfolio with 8 color screenprints, 2007. Each 432x349 mm; 17¾x13¾ inches (sheet), loose as issued. Edition of 75 numbered copies. Each signed, dated and numbered 46/75 in pencil, lower margin. Published by the Limited Editions Club, New York. In the original burgundy fabric covered clamshell box and afterword by Dr. C. T. Vivian. Titles include: A Letter From Martin Luther King * Four Little Girls Bombed in a Church * For Whites Only * Brown Versus Board of Education 1954 * The Right to Vote * Police Brutality Viewed Thru Stained Glass Windows * Slavery * Montgomery Bus Boycott. These eight color screenprints illustrate Dr. Martin Luther King, Jr.'s famous letter.
FAITH RINGGOLD (1930 - ) Under a Blood Red Sky. Color etching on cream wove paper, 2001. 299x228 mm; 11⅞×9 inches, wide margins. Printer's proof, aside from the edition of 40. Signed, titled, dated "2/05/01" and inscribed "P/P" in pencil, lower margin. Another impression of this print is in the collection of The Metropolitan Museum of Art. Faith Ringgold made several variations of the Under a Blood Red Sky image, which was originally created as a story quilt in the Coming to Jones Road series.
"Somebody Stole My Broken Heart" by Faith Ringgold, 2007 Signed Serigraph. Paper size is 30 x 22.5 inches, with an image size of 22.5 x 18.75 inches. The Serigraph is from an edition size of 60 and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Faith Ringgold, one of America’s most prominent artists, has created a significant body of work that reflects her interest in documenting the African-American experience. Over 50 years Ms Ringgold has created an oeuvre that is most well known for especially for their painted story quilts. This brightly colored serigraph is signed, dated and numbered 32 out of 60. The serigraph printed on Rives BFK paper.
"Groovin' High" by Faith Ringgold, 1996 Unsigned Serigraph. Paper size is 32.5 x 44 inches, with an image size of 24 x 39.5 inches. The Serigraph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Printer's proof UNSIGNED not numbered by civil rights and gender equality activist Faith Ringgold. Printed on heavy paper. Based on the 1986 original acrylic on canvas with a fabric border, inspired by Ringgold's memories of Sunday afternoon dances at the Savoy Ballroom in Harlem.
"Coming to Jones Road Under a Blood Red Sky #5" by Faith Ringgold, 2004 Signed Serigraph. Paper size is 35 x 45 inches, with an image size of 30.25 x 40 inches. The Serigraph is from an edition size of 50 and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Faith Ringgold, one of America’s most prominent artists, has created a significant body of work that reflects her interest in documenting the African-American experience. This screenprint is based on one of Ringgold's story quilts from the series Coming to Jones Road, which narrates the journey of runaway slaves migrating North. This serigraph is signed, titled, dated and numbered out of 50 by the artist.
Faith Ringgold b. 1930 Wynton's Tune 2004 serigraph on BFK Rives wove paper 30 x 22 inches signed, titled, dated (6/23/04) and numbered 20/100 Printed at the Experimental Printmaking Institute, Lafayette College, Master Printer, Curlee Raven Holton Included in the collection of the Pennsylvania Academy of Fine Art
Faith Ringgold b. 1930 Nobody Will Ever Love You Like I Do 2006 serigraph on BFK Rives wove paper 24-3/4 x 18-5/8 inches (image) 30 x 22 inches (sheet) signed, titled, dated (Dec 10, 2006) and numbered 1/50 Printed at the Experimental Printmaking Institute, Lafayette College, Master Printer, Curlee Raven Holton This print is included in the collection of the Pennsylvania Academy of Fine Art.
Faith Ringgold b. 1930 Big Black 2010 serigraph on BFK Rives wove paper 19-3/8 x 26-7/8 inches (image) 22 x 30 inches (sheet) signed, titled, dated (8/8/2010) with WP 5/5 Big Black is after a painting by the same title from 1967: âThe Big Black was the first painting in the Black Light series. Black is the presence of all color. White is the absence of color. I worked with those ideas of color for many years, and I still do. Except I stopped working in oil paint â because I was allergic.) A lot of artists got sick from using oil paint and acrylic paint became very important. The intensity of color was made by first adding white and then adding black to darken the hue and still keep the luminosity.â~Faith Ringgold
Faith Ringgold b. 1930 Henry O. Tanner; His Boyhood Dream Comes True 2010 serigraph on BFK Rives wove paper 22 x 30 inches signed, titled, dated (12/22/10) and A/P Printed at the Experimental Printmaking Institute, Lafayette College, Master Printer, Curlee Raven Holton Included in the collection of the Pennsylvania Academy of Fine Art
FAITH RINGGOLD (1930 - ) Somebody Stole My Broken Heart. Color screenprint on wove paper, 2007. 762x572 mm; 30x22 1/2 inches, full margins. Signed, titled, dated, and numbered 44/60 in pencil, lower margin. Printed by the Brodsky Center for Innovative Print and Paper, Rutgers University, New Brunswick, NJ. Another impression of this print is in the collection of Pennsylvania Academy of the Fine Arts, Philadelphia.
FAITH RINGGOLD (1930 - ) Coming to Jones Road: Under a Blood Red Sky #7. Color lithograph on cream wove paper, 2006. 762x1067 mm; 30x42 inches, full margins. The bon à tirer impression, aside from the edition of 50. Signed, titled, dated "10/06/06" and inscribed "BAT" in pencil, lower margin. Printed and published by Segura Art Studios, Notre Dame Center for Arts & Cuture, with the blind stamp lower left. Based on the 2005 same-titled quilt from Faith Ringgold's Coming to Jones Road series.
FAITH RINGGOLD (1930 - ) Here Come Moses. Color screenprint, 2014. 565x813 mm; 22 1/4x32 inches, full margins. Signed, titled, dated "7/31/2014" and numbered 37/200 in pencil, lower margin. Printed and published by the Experimental Printmaking Institute, Lafayette College, Easton, PA.
FAITH RINGGOLD (New York b. 1930 - ) Color etching and aquatint on paper. Under a Blood Red Sky - 2000. Inscribed: "There was 28 of us and one newborn baby on that long hard sojourn through the woods and swamps, we named the baby Freedom because she was born almost free. By day we prayed for the black of night to cover us. By night we crept softly to muffle our steps." impression 12 x 9 inches. Overall framed size 19 x 15-1/4 inches
Faith Ringgold (American, b. 1930), "Somebody Stole My Broken Heart", 2007, screenprint in colors, pencil-signed, titled, dated and numbered "44/60" lower margin, watermark visible, 22 1/2 in. x 18 3/4 in., unframed. Note: Faith Ringgold is a multi-disciplinary artist born and raised in Harlem, New York during the peak of the Harlem Renaissance. After earning a master’s degree in 1959, she traveled to Europe where her work grew to be overtly political and explored the contemporary conditions of race in the United States with her “The American People” series. During the 1960s and 1970s, Ringgold was inspired to expand her work into tankas - a Tibetan inspired fabric painting. This period led to her travels to Nigeria and Ghana in the late 1970s where she was inspired by African masks, which she began incorporating into performance art. Next, she branched out to quilt making, furthering her experimentation with fabric. Her thought-provoking work reflects her research, experimentation and travels through the lens of Black history in America. The lot offered here is a silkscreen print by Ringgold and is part of a larger series of silkscreens with a focus on jazz and blues music. The title “Somebody Stole My Broken Heart” references the dialectic bind of love and pain often referenced in jazz and blues. Ringgold has been surrounded and influenced by jazz artists her whole life, saying “I could easily spend the rest of my life singing my songs in pictures.” The singer depicted can serve as a surrogate for the artist herself, vulnerable to the viewer with closed eyes and arms outstretched. The bright reds and blues and energetic lines weaving in and out of the background give the piece a bold and bright energy, a tangible loudness, while remaining accessible to all viewers who enjoy the sweet melancholy of the blues. Ref.: Mouly, Françoise. “Faith Ringgold’s Jazz Stories: Somebody Stole my Broken Heart.” The New Yorker Mar. 21, 2022. www.newyorker.com. Accessed May 4, 2023. Ringgold, Faith. “Biography.” Faith Ringgold. www.faithringgold.com. Accessed May 4, 2023.
Faith Ringgold b. 1930 Idaho Black History Museum 2008 serigraph 16-1/2 x 22 inches (image) 22-1/4 x 30 inches (sheet) signed, titled, dated (12/20/2008) and numbered, 24/100
Faith Ringgold (born 1930) Here Come Moses, 2014 Screenprint in colors on wove paper, signed in pencil, titled, dated and numbered 37/200 (there were also 15 printer's proofs), published by The Print Club of New York, New York, printed by the Experimental Printmaking Institute, Lafayette College, Easton, Pennsylvania, with full margins, framed. 19 3/4 x 26 1/2in (51 x 67.5cm) sheet 22 1/2 x 30in (57.2 x 76.2cm)
FAITH RINGGOLD (1930 - ) Under a Blood Red Sky #7. Color lithograph on cream wove paper, 2006. 762x1067 mm; 30x42 inches, full margins. Signed, titled, dated and numbered 18/50 in pencil, lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Cuture, with the blind stamp lower left. Based on the 2005 same-titled quit from Faith Ringgold's Coming to Jones Road #7 series.
FAITH RINGGOLD (1930 - ) Aunt Emmy. Color lithograph on cream wove paper, 2005. 762x559 mm; 30x22 inches, full margins. Signed, dated, and numbered 43/50 in pencil, lower margin. Printed by Segura Art Studios, Notre Dame Center for Arts & Culture, with the blind stamp lower left. Based on the 2005 same-titled quit from Faith Ringgold's Coming to Jones Road #7.
FAITH RINGGOLD (1930 - ) Mama Can Sing. Color screenprint, 2004. 559x432 mm; 22x17 inches, full margins. Signed, dated "12/11/04", inscribed and numbered 7/100 in pencil, lower margin. Printed by Curlee Raven Holton and Marisha Simons. Published by the David C. Driskell Center, College Park, MD.
FAITH RINGGOLD (1930 - ) Somebody Stole My Broken Heart. Color screenprint on wove paper, 2007. 762x572 mm; 30x22 1/2 inches, full margins. Signed, titled, dated "9/9/07" and numbered 46/50 in pencil, lower margin. Printed by the Brodsky Center for Innovative Print and Paper, Rutgers University, New Brunswick, NJ.
