Bon Chance en Fer (Good Luck in Iron)

Melvin Edwards (American, born in 1937), With Pat Almonrode (American, 20th century), Made at Dieu Donné Papermill, New York


Sheet: 43 x 56 cm (16 15/16 x 22 1/16 in.)

Accession Number


Medium or Technique

Stenciled cotton rag pulp on linen fiber paper, and pigment

Not On View


Americas, Contemporary Art, Prints and Drawings



During the Civil Rights movement of the 1960s, Edwards began an ongoing series of sculptures called Lynch Fragments comprised of chains, locks, railroad ties and other materials evoking the African-American experience of injustice. Each welded assemblage is about the size of a human head and intended to be wall-mounted at eye level. The ironically titled Good Luck in Iron is analogous to these sculptures in its depiction of the hardware of subjugation, and its suggestion of a pair of faces. More a sculpture than a print in the conventional sense, it was made of dyed paper pulp with coiled chains used as stencils.


Dieu Donné Papermill (New York); from which purchased by MFA, 23 June 2004.

Credit Line

Lee M. Friedman Fund


© Melvin E. Edwards