Photography

MARK JACKSON Velesero Avian Society No. 4 • mixed media on panel Animals, Maximalist, Orange, Collage, Figurative 12.00w x 18.00h x 1.50d in $560.00

MARK JACKSON Kayro Two • on panel Black, Luxury, Pop Culture 20.00w x 20.00h x 2.00d in $800.00

Fernando Natalici The Foreigner New York 1978: A vintage original film still shot on the set of the seminal 70's Manhattan art scene film, "The Foreigner," by celebrated downtown pho...

MARK JACKSON Kayro Six • on panel Black, Luxury, Pop Culture 20.00w x 20.00h x 2.00d in $800.00

MARK JACKSON Kayro Four • on panel Black, Luxury, Pop Culture 20.00w x 20.00h x 2.00d in $800.00

MARK JACKSON Coco Tinge Blas • mixed media on panel Collage, Maximalist, Pink, Pop Culture, Still life, Summer Collection, Yellow 29.00w x 29.00h x 1.50d in $1,900.00

Marie Craig's "We All Shine On" is an original montage of four hand-colored deep blue photographs of the Mill Mountain Star. This piece was created using cyanotype, an early photogra...

MARK JACKSON Coco Tinge Pulza • mixed media on panel Collage, Maximalist, Orange, Pop Culture, Still life, Yellow 29.00w x 29.00h x 1.50d in $1,900.00

MARK JACKSON Coco Tinge Chrima • mixed media on panel Collage, Maximalist, Pink, Pop Culture, Still life 29.00w x 29.00h x 1.50d in $1,900.00

MARK JACKSON Coco Tinge Delaze • mixed media on panel with resin Blue, Collage, Maximalist, Pop Culture, Purple, Still life, Jewel Tones 29.00w x 29.00h x 2.00d in $1,900.00

MARK JACKSON Taliano • mixed media, Ink suspension on cradled wood panel with french cleat Figurative and Luxury 40.00w x 60.00h x 2.75d in $4,400.00

MARK JACKSON Nytha • mixed media on panel Abstract, Brown, Collage, Landscape, Maximalist, Winter Collection 59.00w x 59.00h x 1.50d in $4,800.00 Photographed on the streets of Paris.

Kate Moss Street Art Photo: A rare Mr. Brainwash Kate Moss mural photographed in New York's famed Soho area in 2014 by celebrated downtown photographer Fernando Natalici. Digital C...

Andy Warhol Baroness de Waldner, ca. 1975 Unique Acetate positive This piece comes with a signed letter of provenance from the representative of Chromacomp, Warhol's printer. Frame i...

MARK JACKSON Autocolor Technica 15 Collage, Maximalist, Pink, Still life, Yellow, Figurative, Red 29.00w x 59.00h x 2.00d in $2,400.00

MARK JACKSON Autocolor Technica 1 Collage, Maximalist, Pink, Still life, Yellow, Figurative 29.00w x 29.00h x 2.00d in $1,200.00

This one depicts fragmented space photos radiating outward and is titled Planetary Kaleidoscope SIMONS, Vera (1920 - 2012) Vera Habrecht Simons, was a Ger...

Keith Haring Pop Shop Tokyo book 1992: Rare vintage Keith haring monograph which well documents the history of Keith Haring's Tokyo Pop Shop; features many photographs by Haring's longtime friend and collaborator Tseng Kwong Chi. 
 Softcover; 68 pages; 1st edition 1st printing, 1992. 9.75 x 9.5 inches. Minor surface & age related wear to front & back cover; in otherwise good overall vintage condition. Text in German & English. Published by Galerie Kunst Parterre / George Mulder Fine Arts. Unsigned from an edition of 1500. Rare. Keith Haring Pop Shop: In 1986, Keith Haring opened the Pop Shop at 292 Lafayette Street, New York. The following year, Haring collaborated with Japanese film producer Kaz Kuzui, and his American wife, film director Fran Rubel Kuzui on a Tokyo venue, in the Aoyama neighborhood. The shop was made out of two shipping containers welded together to form one large room. While the shop was conceived very much in the image of its New York counterpart, many of the products were created by Haring to mirror Japan’s cultural traditions. Haring did extensive design work in Tokyo; fans and kimonos were manufactured in Kyoto, and rice bowl templates were painted and then produced in Nagoya. With speed and virtuosity, Haring began painting the interior of the shop on January 27, 1988 and finished the next day. The paint was still tacky on January 29 when he oversaw the installation of the displays in time for a press preview that evening. On Saturday, January 30, Pop Shop Tokyo opened to the public. However, sales were disappointing, and Haring noted “there are just too many Haring fakes available all over Tokyo and, this time, they’re really well done.” The shop closed in the summer of 1988. (source: New York Historical Society. Related Categories Keith Haring pop shop. Keith haring Japan. Keith Haring catalog...

hard to photograph image Femme Fatale (comes framed in white frame) Art size is 24x18 framed 26x20 Grease Pencil on Photograph Unique Very hard to photograph due to paper shine & g...

Marie Craig's "Everybody had a Bad Year" is an original montage of four hand-colored deep blue photographs of a tropical leaf. This piece was created using cyanotype, an early photog...

Richard Corman Jean-Michel Basquiat 1984 (Red), 2020 Offset lithograph poster on color archival pigment paper Signed and numbered 2/100 by Richard Corman in silver sharpie on the fro...

Vintage Ramones photograph circa early 1980s. A vintage original darkroom print by unknown photographer. Silver gelatin print. Dimensions: 10 x 8...

Side One (Lemon & Lime), from the Heidler & Heeps Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

Charles Mingus by Leni Sinclair: This elegant, well-defined photo of Jazz legend, Charles Mingus was shot by legendary Detroit photographer Leni Sinclair in 1974; Sinclair was 2016’...

The Ramones captured by heralded New York underground photographer Fernando Natalici, backstage at The Ritz, New York, NY circa 1985. Silver gelatin print. Dimensions: 11 x 14 inch...

Swiss artist Marco Pittori developed a new approach to photography by bringing iconic photographs into conversation with other art forms. His creative artworks are often based on his...

Atomic Yellow - Oversize Signed limited edition - Pop Art - Brigitte Bardot by the London based contemporary pop art image creator and artist, BATIK. Measures approximately 20 x 2...

A Milkshake Parlour in Wildwood, New Jersey, USA, where respect is paid to this classic American beverage as it takes centre stage surrounded by a shield draped either side by the Am...

Ed Ruscha (American, b.1937) Various Small Fires and Milk, 1964/1970 Medium: Artist’s book (48 pages), glassine dust jacket Dimensions: 17.8 x 14.2 cm Second edition (1970): 3000 unn...

MICHAEL CHILDERS Andy Warhol in his New York studio, 1976 Photographic print Printed in 2007 Signed boldly on the front in black felt tip pen by photographer Michael Childers Frame included: in the original frame as donated by the photographer to the Palm Springs Art Museum This is one of a series of portraits of Andy Warhol by Michael Childers, founding photographer of Warhol's Interview and After Dark magazines, taken in his New York studio and Paris from 1976-1980. This work is signed on the front and framed. It was acquired from the Palm Springs Art Museum, where it was donated by the artist. The verso of the frame bears the works title, original year in felt tip marker, and the artist's studio stamp with copyright of 2007 (year printed) Another example of this work was exhibited at the Palm Springs Art Museum and a different example is part of the Michael Childers collection at the Las Vegas Art Museum Measurements: Artwork (visible): 7 x 9 7/8 inches Frame: 12 x 15 x .4 inches Michael Childers Biography: Since the 1960s, Michael Childers has been photographing famous people...

The Colour Of Money Al Capone and Pablo Escobar by BATIK signed limited edition POP ART print Paper Size 20x16" inches / 51 x 41 cm Signed & numbered ...

Set of three ready to hang framed artworks in joyful shades of yellow, featuring Richard Heeps 'ICES' in Mustard Yellow, Sherbet Yellow and Sunshine Yellow....

Debbie Harry Photograph: NYC, 1976: Debbie Harry East Village, 1976 by celebrated New York photographer Fernando Natalici. Cooler than cool, this classic "Blondie" photo was captured...

From the Estate of the Artist, to The Andy Warhol Foundation for the Visual Arts, to the current owner. Stamped on verso by the Andy Warhol Art Authentication Board.

Sunday Coffee, New York, NY 1996 photographed by downtown New York art scene photographer, Fernando Natalici. Archival Inkjet Print, 13 x 19 inches including borders. Hand signed o...

Patti Astor by Don Rodan circa 1978: A rare polaroid photograph of Patti Astor by Don Rodan whom is most known for his Andy Warhol style polaroid portraits...

David Byrne Talking Heads photograph CBGB 1977 by Fernando Natalici: Medium: Silver gelatin print. 1977. 11 x 14 inches. Good overall vintage condition; minor signs of handling; well preserved. Hand signed on the reverse from an edition of 4 AP's. About Talking Heads: At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks. Talking Heads 77, And they were literally art-school punks. Guitarist/vocalist David Byrne, drummer Chris Frantz, and bassist Tina Weymouth...

Fernando Natalici Area Nightclub 1983-1987: A collection of 16 hand-colored silver gelatin photographs spanning the history of the seminal 1980s New York nightclub known as "Area". These rare images were captured by Fernando Natalici - a noted downtown art scene photographer who is also famous for designing the majority of Area's party invites during this period. These works were exhibited at Area circa 1986 as part of show curated by Serge Becker (featured in image 4) - a key Area figurehead. A much historical & highly decorative assemblage of Area regulars defining the club's historic & vibrant scene. Further details: Medium: A collection of 16 individual hand-colored silver gelatin photographs mounted on illustration board. Overall Dimensions (applies to each individual work): 16x20 inches. Condition: Good overall vintage condition. Some scattered surface markings to margin areas. Each hand-signed on the reverse by Natalici and unique. Provenance: Obtained directly from artist. Literature/References: Area: 1983-1987 by Eric Goode Jennifer Goode (pub. by Abrams 2013). New York Magazine 2013: "It Was the Hottest Club in Town." Area: A brief history (New York Magazine 11/1/13): "Influenced equally by sixties-era happenings and the gonzo childhoods of its proprietors, Area opened its doors in 1983. The club, unlike any that came before it, underwent a painstaking transformation roughly every six weeks, with themes like Confinement, Suburbia, and Science Fiction that incorporated elaborate art installations with taxidermied bears...

Heidler & Heeps Vinyl Collection Nine Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

Keith Haring Painted Man: Original 1983 announcement card for Keith Haring’s well-documented exhibition, Keith Haring 'Into 84' at Tony Shafrazi Gallery, New York, 1983. For this series Haring borrowed Jones' body — from head to toe — as the canvas to his work. A bodily canvas defined by much of the bold pictograms characteristic of Haring's artistic signature. Photos by Haring's long-time friend and collaborator Tseng Kwong Chi. Off-set printed, 1983. Dimensions: 6 x 4 inches. Some minor fading to the reverse; otherwise very good overall condition with strong colors. Literature: Keith Haring: Posters (Prestel pub.) Further About In 1983 Keith Haring teamed up with award-winning choreographer and dancer Bill T. Jones, founder of the Bill T. Jones/Arnie Zane Dance Company. Keith and Bill met in London in 1983 at a time when the graffiti artist was opening a major show at the Robert Fraser Gallery, and together they produced a series of exceptional collaborations in both performance and drawing. Related Categories Keith Haring dancer. Ballet. Keith Haring Figurative Drawings. Keith Haring Into 84 poster. Keith Haring and Tony Shafrazi. Haring Shafrazi.

Heidler & Heeps Vinyl Collection Nine Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

11 x 14" vintage silver gelatin photograph of artist Salvador Dali photographed in the lobby of the Ritz Hotel in Barcelona, Spain in May 1966. Jack M...

Heidler & Heeps Vinyl Collection Nine Piece Multicolor Installation. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifull...

Patti Smith Horses Vinyl Record Album, 1975: US 1st Pressing featuring original photography by Robert Mapplethorpe. Produced by John Cale. Cover: Very Good to overall vintage condit...

James Dean Cocktail - Oversize Limited Edition Signed by the artist Archival pigment print on Hahnemühle art paper. numbered & signed by artist on front in pencil. Edition 10 only this size. pop art Jimmy Dean pop culture pink striking vivid distortion andy warhol style

Robert Longo (American, born 1953) Untitled (Men in the Cities), 1976/2009 Medium: Set of two gelatin silver prints Dimensions: each 50.8 x 40.64 cm (20 x 16 in); overall 50.8 x 81.2...

Richard Corman Madonna NYC '83 (hand signed and numbered 1/1 by the photographer on the front and the back), 2010 Black and white photographic print on archival pigment paper Hand signed, titled and numbered 1/1 on the front as well as the back (signed twice) Frame included: framed in a museum quality black wood frame with UV plexiglass Madonna '83 is a 36 square inch photograph on archival pigment paper, numbered 1 of 1 by the legendary photographer Richard Corman, who began his career as Richard Avedon's apprentice. The work is signed, titled and numbered 1/1 (unique) on both the front of the photograph, as well as the back of the frame. It is elegantly framed in a museum quality black wood frame with UV plexiglass. Measurements: Frame: 37.5 x 37.5 x 2 inches Photograph: 35.5 x 35.5 inches This photograph was taken during Richard Corman's historic photoshoot with Madonna in the early 1980s, and it was reprinted in 2010. Richard Corman's famous photographs of Madonna during that period have been reproduced in books, magazines, tv clips and newspapers - and are considered the most iconic images ever taken of Madonna. We are incredibly honored to be exclusively offering this iconic photograph for the very first time -- in honor of Madonna's 65th birthday. Here, Madonna is just a natural beauty, youthful, confident, vulnerable, natural, and extraordinarily poised. The photograph was taken while she was on the cusp of superstardom, but still anxious, striving, going on casting calls, and waiting for her big break. As Richard Corman explains, she is shown sitting amidst the rubble of the back yard of her Lower East side apartment. In his own words, photographer Richard Corman describes how this famous sitting came about: My mother was Cis Corman, a renowned casting director in New York City. In the summer of 1982 she was casting The Last Temptation of Christ for Martin Scorsese and called me to say they had just tested a girl for the part of the Virgin Mary. She said, “You must meet this girl — she’s an original.” I was 28 and had just finished an apprenticeship with Richard Avedon and was looking for interesting people to shoot. So I got this girl’s number and called. It was Madonna. At the time she was living in Alphabet City [Lower East Side of Manhattan], and she suggested I go to her apartment and chat about what I wanted to do. I had to call her from a phone booth across the street, because the neighborhood was full of drug dealers, and they didn’t let people just walk in and out. There was a group of kids outside the building, on the stoop, in the hallways, and when I said I was there for Madonna the seas parted. I looked up the staircase, and I saw this girl leaning over the edge of the banister, and even from three stories below I could see these catlike eyes just looking down. I knew at that moment that she had something special — I really did. She had her best friend and neighbor, Martin, with her — he later died of AIDS—and we sat and talked. She served me a cup of coffee on a silver tray with three pieces...

Vintage original Barbara Kruger Record Art, 1994 Off-set lithograph on vinyl record cover Measure: 12 x 12 inches Minor shelf wear; in otherwise good vintage condition. Very cool fr...

This is a vintage silver gelatin photo of either Stan Lee or John Romita (I believe it is Romita but I am not sure) overlayed with a comic strip in a surrealist style. John Romita is an American comic-book artist best known for his work on Marvel Comics' The Amazing Spider-Man and for co-creating the character The Punisher. He was inducted into the Will Eisner Comic Book Hall of Fame in 2002. He graduated from Manhattan's School of Industrial Art in 1947, having attended for three years after spending ninth grade at a Brooklyn junior high school Among his instructors were book illustrator Howard Simon and magazine illustrator Ben Clements, and his influences included comics artists Noel Sickles, Roy Crane, Milton Caniff, and later, Alex Toth and Carmine Infantino, as well as commercial illustrators Jon Whitcomb, Coby Whitmore, and Al Parker. Romita entered the comics industry in 1949 on the series Famous Funnies. "Steven Douglas up there was a benefactor to all young artists", Romita recalled. "The first story he gave me was a love story. It was terrible. All the women looked like emaciated men and he bought it, never criticized, and told me to keep working. He paid me two hundred dollars for it and never published it — and rightfully so". Romita was working at the New York City company Forbes Lithograph in 1949, earning $30 a week, when comic-book inker Lester Zakarin, a friend from high school whom he ran into on a subway train, offered him either $17 or $20 a page to pencil a 10-page story for him as uncredited ghost artist. "I thought, this is ridiculous! In two pages I can make more money than I usually make all week! So I ghosted it and then kept on ghosting for him", Romita recalled. "I think it was a 1920s mobster crime story". The work was for Marvel's 1940s forerunner, Timely Comics, which helped give Romita an opportunity to meet editor-in-chief and art director Stan Lee. Romita ghost-penciled for Zakarin on Trojan Comics' Crime-Smashers and other titles, eventually signing some "Zakarin and Romita". Romita went on to draw a wide variety of horror comics, war comics, romance comics and other genres for Atlas. His most prominent work for the company was the short-lived 1950s revival of Timely's hit character Captain America, in Young Men #24–28 (Dec. 1953 – July 1954) and Captain America #76–78 (May–Sept. 1954).[21] Additionally, Romita would render one of his first original characters, M-11 the Human Robot, in a five-page standalone science-fiction story in Menace #11 (May 1954). While not envisioned as an ongoing character, M-11 was resurrected decades later as a member of the super-hero team Agents of Atlas. He was the primary artist for one of the first series with a black star, "Waku, Prince of the Bantu" — created by writer Don Rico and artist Ogden Whitney in the omnibus title Jungle Tales #1 (Sept. 1954). The ongoing short feature starred an African chieftain in Africa, with no regularly featured Caucasian characters. Romita succeeded Whitney with issue #2 (Nov. 1954). In the mid-1950s, while continuing to freelance for Atlas, Romita did uncredited work for DC Comics before transitioning to work for DC exclusively in 1958. "I was following the DC [house] style", he recalled in 2002. "Frequently they had another artist do the first page of my stories. Eventually I became their romance cover...

Andy Warhol Marcel Proust, ca. 1976 Acetate positive acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. Accompanied by Letter of Provenance from the representative of Chromacomp, Andy Warhol's printer Frame included: Elegantly framed in a museum quality white wood frame with UV plexiglass. Measurements: Frame: 17.75 x 14.75 x 1.5 inches Photograph: 10.75 x 7.75 inches This unique photographic positive acetate is of the 19th and early 20th century French novelist Marcel Proust, who's chef d'oeuvre A la recherche du temps perdu inspired some Warhol titles. Warhol would transfer the acetate to a transparency, allowing an image to be magnified and projected onto a screen. Warhol created a silkscreen painting of Marcel Proust and sent this acetate to his printer, Chromacomp, Inc. for consideration as a silkscreen multiple, which was never made. This acetate was brought by Warhol to Eunice and Jackson Lowell, owners of Chromacomp,Inc. a fine art printing studio in New York City. During the 1970s and 1980s, it was the premier atelier for fine art limited edition silkscreen prints; indeed, Chromacomp was the largest studio producing fine art prints in the world for artists such as Andy Warhol, Leroy Neiman, Erte, Robert Natkin, Larry Zox, David Hockney and many more. All of the plates were done by hand and in some cases photographically. Warhol had considered creating limited edition prints with Chromacomp of his famous portrait of Proust based upon this photographic image. The original painting was commissioned by art dealer Marie-Louise Jeanneret for a group of Italian collectors and avid Proust enthusiasts, Warhol's original four acrylic and silkscreen ink on linen works were based on a famous 1895 photograph of the French novelist captured by Otto Wegener. Marcel Proust, the distinguished French novelist, literary critic, and essayist, achieved renowned for his monumental 1908 seven-volume novel In Search of Lost Time. The literary masterpiece delved into the intricacies of memory, time and the profound complexity of the human experience. Proust's literary genius revolutionized the landscape of literature, leaving an enduring impact on the Parisian cultural scene at the turn of the century. About 50 years later, Andy Warhol emerged as a visionary artist who challenged artistic conventions, exploring themes that resonated with Proust's own ideas. Warhol, a trailblazer in his own right, delved into philosophical reflections on consumerism, mass production and the nature of fame. His artistic endeavors mirrored Proust's explorations, albeit through a contemporary lens, as he sought to redefine the boundaries of art and popular culture. About Andy Warhol: Isn’t life a series of images that change as they repeat themselves? —Andy Warhol Andy Warhol’s (1928–1987) art encapsulates the 1960s through the 1980s in New York. By imitating the familiar aesthetics of mass media, advertising, and celebrity culture, Warhol blurred the boundaries between his work and the world that inspired it, producing images that have become as pervasive as their sources. Warhol grew up in a working-class suburb of Pittsburgh. His parents were Slovak immigrants, and he was the only member of his family to attend college. He entered the Carnegie Institute of Technology (now Carnegie Mellon University) in 1945, where he majored in pictorial design. After graduation, he moved to New York with fellow student Philip Pearlstein and found steady work as a commercial illustrator at several magazines, including Vogue, Harper’s Bazaar, and the New Yorker. Throughout the 1950s Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Directors Club and the American Institute of Graphic Arts. He had his first solo exhibition at the Hugo Gallery in 1952, showing drawings based on the writings of Truman Capote; three years later his work was included in a group show at the Museum of Modern Art for the first time. The year 1960 marked a turning point in Warhol’s prolific career. He painted his first works based on comics and advertisements, enlarging and transferring the source images onto canvas using a projector. In 1961 Warhol showed these hand-painted works, including Little King (1961) and Saturday’s Popeye (1961), in a window display at the department store Bonwit Teller; in 1962 he painted his famous Campbell’s Soup Cans, thirty-two separate canvases, each depicting a canned soup of a different flavor. Soon after, Warhol began to borrow not only the subject matter of printed media, but the technology as well. Incorporating the silkscreen technique, he created grids of stamps, Coca-Cola bottles, shipping and handling labels, dollar bills, coffee...

11 x 14" vintage silver gelatin photograph, signed by Jack Mitchell. Comes directly from the Jack Mitchell Archives with a certificate of authenticity. This photograph was from a session for After Dark magazine and was selected and signed by Jack Mitchell as one of his favorites. Jack’s artist statement on his work for the magazine: “After Dark was a magazine of entertainment, theater and the arts. It was a popular magazine, with a gay slant, enjoyed by many gay men, and some broad minded women and men. As well as (I learned years later) many closeted male youngsters. The magazine was ahead of its time, as advertisers were reluctant to place ads in an essentially gay magazine at that time. Today they swarm like bees to place their own hot ads in gay publications. I had been photographing on assignment for Dance Magazine well before After Dark was created. Being a friend of William (Bill) Como, the Editor, and being gay, I was called into service, for the life of the publication, to photograph many of the handsome young men and women, who were featured in After Dark. Needless to say, this was enjoyable work for me, Because, mixed in with the hot-looking young guys and gals sent to my studio were some famed performers like Debbie Reynolds, Giancarlo Giannini, Arnold Schwarzenegger, Natalie Wood, Placido Domingo, Sergio Franco...

Andy Warhol began using the big-shot Polaroid camera in 1971 and continued using it religiously until his death in 1987. Despite the camera being discontinued in 1973, he continued t...

Ed Ruscha Some Los Angeles Apartments, 1970 Softback monograph with stiff wraps Second Edition Limited Edition of 3000 (the first edition in 1968 was 700) Not Signed 7 × 5 1/2 inches...

Andy Warhol superstar Candy Darling ‘After Dark’ this is the iconic cover shot, vintage 11 x 14" silver gelatin photograph, 1971, the actual photo scanned for the magazine cover. Sig...

Andy Warhol Nicola (Nicky) Weymouth, ca. 1976 Acetate positive, acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. Accompanied by a Letter of Provenance from the representative of Chromacomp Unique Frame included: Elegantly framed in a museum quality white wood frame with UV plexiglass: Measurements: Frame: 18 x 15.5 x 1.5 inches Acetate: 11 x 8 inches This is the original, unique photographic acetate positive taken by Andy Warhol as the basis for his portrait of Nicky Weymouth, that came from Andy Warhol's studio, The Factory to his printer. It was acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. It is accompanied by a Letter of Provenance from the representative of Chromacomp. This is one of the images used by Andy Warhol to create his iconic portrait of the socialite Nicola Samuel Weymouth, also called Nicky Weymouth, Nicky Waymouth, Nicky Lane Weymouth or Nicky Samuel. Weymouth (nee Samuel) was a British socialite, who went on to briefly marry the jewelry designer Kenneth Lane, whom she met through Warhol. This acetate positive is unique, and was sent to Chromacomp because Warhol was considering making a silkscreen out of this portrait. As Bob Colacello, former Editor in Chief of Interview magazine (and right hand man to Andy Warhol), explained, "many hands were involved in the rather mechanical silkscreening process... but only Andy in all the years I knew him, worked on the acetates." An acetate is a photographic negative or positive transferred to a transparency, allowing an image to be magnified and projected onto a screen. As only Andy worked on the acetates, it was the last original step prior to the screenprinting of an image, and the most important element in Warhol's creative process for silkscreening. Warhol realized the value of his unique original acetates like this one, and is known to have traded the acetates for valuable services. This acetate was brought by Warhol to Eunice and Jackson Lowell, owners of Chromacomp, a fine art printing studio in NYC, and was acquired directly from the Lowell's private collection. During the 1970s and 80s, Chromacomp was the premier atelier for fine art limited edition silkscreen prints; indeed, Chromacomp was the largest studio producing fine art prints in the world for artists such as Andy Warhol, Leroy Neiman, Erte, Robert Natkin, Larry Zox, David Hockney and many more. All of the plates were done by hand and in some cases photographically. Famed printer Alexander Heinrici worked for Eunice & Jackson Lowell at Chromacomp and brought Andy Warhol in as an account. Shortly after, Warhol or his workers brought in several boxes of photographs, paper and/or acetates and asked Jackson Lowell to use his equipment to enlarge certain images or portions of images. Warhol made comments and or changes and asked the Lowells to print some editions; others were printed elsewhere. Chromacomp Inc. ended up printing Warhol's Mick Jagger Suite and the Ladies & Gentlemen Suite, as well as other works, based on the box of photographic acetates that Warhol brought to them. The Lowell's allowed the printer to be named as Alexander Heinrici rather than Chromacomp, since Heinrici was the one who brought the account in. Other images were never printed by Chromacomp- they were simply being considered by Warhol. Warhol left the remaining acetates with Eunice and Jackson Lowell. After the Lowells closed the shop, the photographs were packed away where they remained for nearly a quarter of a century. This work is exactly as it was delivered from the factory. Unevenly cut by Warhol himself. This work is accompanied by a signed letter of provenance from the representative of Chromacomp, Andy Warhol's printer for many of his works in the 1970s. About Andy Warhol: Isn’t life a series of images that change as they repeat themselves? —Andy Warhol Andy Warhol’s (1928–1987) art encapsulates the 1960s through the 1980s in New York. By imitating the familiar aesthetics of mass media, advertising, and celebrity culture, Warhol blurred the boundaries between his work and the world that inspired it, producing images that have become as pervasive as their sources. Warhol grew up in a working-class suburb of Pittsburgh. His parents were Slovak immigrants, and he was the only member of his family to attend college. He entered the Carnegie Institute of Technology (now Carnegie Mellon University) in 1945, where he majored in pictorial design. After graduation, he moved to New York with fellow student Philip Pearlstein and found steady work as a commercial illustrator at several magazines, including Vogue, Harper’s Bazaar, and the New Yorker. Throughout the 1950s Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Directors Club and the American Institute of Graphic Arts. He had his first solo exhibition at the Hugo Gallery in 1952, showing drawings based on the writings of Truman Capote; three years later his work was included in a group show at the Museum of Modern Art for the first time. The year 1960 marked a turning point in Warhol’s prolific career. He painted his first works based on comics and advertisements, enlarging and transferring the source images onto canvas using a projector. In 1961 Warhol showed these hand-painted works, including Little King (1961) and Saturday’s Popeye (1961), in a window display at the department store Bonwit Teller; in 1962 he painted his famous Campbell’s Soup Cans, thirty-two separate canvases, each depicting a canned soup of a different flavor. Soon after, Warhol began to borrow not only the subject matter of printed media, but the technology as well. Incorporating the silkscreen technique, he created grids of stamps, Coca-Cola bottles, shipping and handling labels, dollar bills, coffee labels...

On the Rocks II (Long Way Home), 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid, Certificate and Signature la...

Richard Corman Keith Haring 1 - NYC, 1985 (hand signed twice), 2022 Photographic print on Hahnemühle Photo Rag Ultrasmooth paper mounted on Dibond aluminum board. (Hand signed and numbered on both the front and back of the board) Hand signed and numbered 1/10 twice (front and back) and also titled on the back by Richard Corman Frame Included: gorgeously housed in a wood frame, hand painted in orange This photograph of Keith Haring was taken in 1985 at his 676 Broadway studio, by celebrated photographer Richard Corman while on assignment for L'Uomo Vogue. By that time, Corman had already taken some of the most memorable and iconic photographs of Madonna and later Basquiat - so it was fitting that this stylish Italian publication would choose him to photograph Keith Haring - already a major New York art star at the time. Corman's iconic photograph of Haring was reprinted in 2022 in a limited edition, and was featured in the exhibition "I Shot The Messenger!" - a solo presentation of his work at Frevo in New York City from September 11 to November 11, 2022. It is held in a bespoke wooden frame hand painted in orange. This gorgeous print is signed twice: Richard Corman signed, titled, dated and numbered one of only ten (1/10) on the back in black marker, and also boldly signed and numbered in black marker on the front. A video of the artist signing this work will be provided to the purchaser. (see still photos of Corman signing this work.) Measurements: Frame: 41.5 x 38.25 x 2 inches Photograph: 40 x 36.75 inches Exhibition History: "I Shot the Messenger", Frevo Gallery, New York, New York, 2022 Richard Corman speaks on his first encounter with Keith Haring: "To my surprise, when Keith answered the door, this unassuming building revealed to me a labyrinth of finished and unfinished artworks, bursting with color. I was familiar with Keith's graffiti in the subway stations, his murals, and the unique language of his art which raised awareness of AIDS and fought against the infiltration of illegal drugs. However, while positioning him around the space and working to capture something special during our time together, I realized this person was undeniably an original. His calm presence defied his free spirit, which revealed itself as he placed himself in front of my camera. These images offer up a glimpse at the confidence and price that Keith had in his own unique language for communicating his message to the world." About Richard Corman: While Richard Corman’s photography varies widely in subject matter, it is always intensely focused on the infinitely varied expressions of the human spirit. Ken Burns, documentarian and director, describes Richard’s work as: "Artistic vision dedicated to the highest aspirations of human endeavor... the photographs record in big moments and small, among the famous and ordinary, the gifted and challenged, larger truths relevant to all of us." As a portrait photographer, Corman has worked with a thrilling breadth of subjects from Nobel Peace Prize recipients Nelson Mandela and Elie Wiesel...

Roy Lichtenstein (1923-1997) was one of the most successful and influential artists of the 20th century, helping pioneer and define Pop Art in the 1960s. Lichtenstein's signature st...