Michael Childers

Andy Warhol in New York, 1976, 2007, hand signed photograph 8/60 for Museum

2007

Michael Childers Andy Warhol in Paris with Sitting Bird 1976, 2007 Photographic print hand signed in black felt tip pen lower right front; the back be...

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...

Andy Warhol Portrait of Ivan Karp, ca. 1975 Acetate negative acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. Accompanied by a Letter of Provenance and Au...

David Hockney Photograph taken of the artist (hand signed by David Hockney), ca. 1981 Black and white photograph Boldly signed in blue grease marker on the lower front 8 × 10 inches ...

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...

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...

Pat Hackett is a writer and editor, as well as a frequent collaborator, friend, and confidante of Andy Warhol. She edited and wrote the introduction to The...

This is a unique work. Image dimensions: 8 x 10 in. Framed dimensions: 16.5 x 18 in. Work is framed to archival standards by Handmade Frames of Brooklyn, New York. Stamped twice on ...

Photograph of Bianca Jagger holding a birthday cake for Alana Stewart on her birthday by Andy Warhol in 1985. This photograph is published in "Andy Warhol Party...

Jean-Michel Basquiat first attracted attention for with graffiti work on the Lower East Side of Manhattan in the late 1970s. Basquiat first met Andy Warhol in 1980. At this point, Pat Hackett had been working for Warhol for about a decade already. This was also the year Hackett and Warhol published Popism: The Warhol Sixties. As two valuable additions to The Factory, Hackett and Basquiat most likely spent a good amount of time together. Henry Geldzahler...

Image dimensions: 10 x 8 in. Framed dimensions: 18.5 x 16 in. Work is framed to archival standards by Handmade Frames of Brooklyn, New York. This is a unique work. Stamped on the r...

Image dimensions: 8 x 10 in. Framed dimensions: 16.5 x 18 in. Work is framed to archival standards by Handmade Frames of Brooklyn, New York. This is a unique work. Stamped on the r...