Prints and Multiples

24" x 18" Unframed Limited Edition Screen Print on Thick Cream Speckletone Paper of 300 Hand Signed by Shepard Fairey and Bob Gruen

SALE ONE WEEK ONLY "As I opened fire" is a lithograph triptych by Roy Lichtenstein whose provenance is printed on verso: Coll. Stedelijk Museum Amsterdam. Editions were copyrighted by the Stedelijk Museum Amsterdam and corrected with the original and printed in the Netherlands. Each piece measures: 25 1/8" h x 20 5/8" w. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching atRutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

Shepard Fairey Target Exceptions Offset lithograph on paper Year: 2020-2024 Signed and dated by hand Size: 33.7 × 22.2 on 35.7 × 23.8 inches COA provided *publication year might di...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

The Ideal Power print was inspired by the need to address gender inequality regarding both wages and basic respect. I believe power should come from the quality and merit of one’s wo...

Shepard Fairey AK-47 Lotus (Vietnam War, Protest, Flowers, Gun Barrels, Pacifist, Iconic, Gun Violence) Offset Lithograph on thick cream Speckletone paper Year: 2024 Size: 36x24 inch...

28 1/2" x 22 1/2" Unframed Screenprint on Cream Speckletone Paper Hand Signed by Shepard Fairey

Vintage Poster Exhibition in Florence is a very colorful artwork realized by Roy Lichtenstein in 1982. Mixed colored offset  on paper. This beautiful print was realized on the occa...

SHEPARD FAIREY Global Warning - Global Warming (Andy Warhol Edition), 2009 Silkscreen on wove paper 24 × 18 inches Pencil signed and numbered 264/450 on the front Unframed Global Warning - Global Warming - is the rare pink Andy Warhol edition, separate from the regular red edition. Limited Edition hand signed, dated and numbered silkscreen print created exclusively for the opening of Shepard Fairey's "Supply and Demand" Exhibition at the Andy Warhol Museum in Pittsburgh. This incredibly popular screenprint sold out very soon after the sale was announced by the museum. Fairey's "Global Warming", featuring a sunbathing woman covering herself with the aptly titled "Sun" newspaper, directly attacks the right-wing who deny the science of climate change, and even features his own Windmill Power poster...

Roy Lichtenstein Fish and Sky 1967 23 3/4 x 20 in. Artist's Proof from the rare limited edition Original serigraph on gelatin photographic print mounted on three-dimensional len...

24" x 18" Unframed Limited Edition Screen Print on Thick Cream Speckletone Paper of 300 Hand Signed by Shepard Fairey and Bob Gruen

Paper Size: 34 x 24 inches ( 86.36 x 60.96 cm ) Image Size: 32 x 24 inches ( 81.28 x 60.96 cm ) Framed: Yes Frame Size: H: 34 x W: 24 inches Condition: A-: Near Mint, very light sign...

19.5" x 16" Unframed Limited Edition Letterpress on Deckled Edge Paper of 450 Hand Signed by Shepard Fairey 2021

Art Print on heavy paper

Immerse yourself in the mesmerizing world of "Unity Obey Flower," a collaborative masterpiece by Kai and Sunny, in association with the renowned Shepard Fairey of Obey. Crafted in 20...

Shepard Fairey ICONS (Subliminal, Iconic) Screen print on thick cream White Speckletone paper Year: 2023 Size: 24x18 inches Edition: 400 Signed, dated and numbered by hand COA provid...

Artist: Roy Lichtenstein Title: Girl Portfolio: 1¢ Life Medium: Lithograph on white wove paper Date: 1963 Edition: 2000 Frame Size: 20 3/4" x 18 5/8" Sheet Size: 16 1/4" x 11 1/2" Im...

Shepard Fairey Gears of Justice (Star Gear, Empowerment, Industrious, Leveling the playing field) Screen print on thick cream White Speckletone paper Year: 2024 Size: 24x18 inches Ed...

A major figure of the contemporary street art movement, Shepard Fairey rose to prominence in the early 1990s with his “Andre the Giant Has a Posse” campaign, which distributed poster...

Shepard Fairey Lotus Angel (Hope, Compassion, Resilience) Offset Lithograph on thick cream Speckletone paper Year: 2023 Size: 36x24 inches Signed, dated by...

The “Welcome Visitor” diptych is a thought-provoking exploration of the contradictions inherent in America's tourism industry and its immigration policies. Through this striking artwork, Shepard Fairey delves into the uncomfortable collision of economic opportunism and xenophobia. The piece reflects on the historical context of America as a melting pot, symbolized by the Ellis Island narrative and the hope of embracing diversity. However, it also draws attention to the contemporary climate of fear and scapegoating faced by Latino and Muslim communities. The diptych specifically highlights past events like the immigration ban and internment of Japanese individuals, including Japanese-American citizens during World War II, when unfounded fear led to prejudiced policies against them. Shepard Fairey skillfully uses this historical reference to shed light on the irrational and disproportionate fear. By contrasting the past with the present, Fairey aims to inspire contemplation and empathy, urging viewers to consider the humanity and dignity of all people as a paramount factor in shaping immigration and tourism policies. Shepard Fairey is a renowned contemporary artist and graphic designer whose work often explores political and social themes. Born on February 15, 1970, in Charleston, South Carolina, Fairey gained widespread recognition for his iconic "Hope" poster created during Barack Obama's 2008 presidential campaign. His art has since become synonymous with activism and social commentary. Fairey's unique style combines elements of street art, pop culture, and political messaging, earning him a prominent place in the world of contemporary art. In addition to his prolific career as a visual artist, Shepard Fairey co-founded the design studio Studio Number One and the art collective BLK/MRKT Inc. He has exhibited his work in galleries and museums around the globe, leaving a lasting impact on the art world and beyond. Fairey's art continues to inspire dialogue and challenge societal norms, urging viewers to question and engage with the issues he addresses. Shepard Fairey's art is influenced by various sources, including street art, punk rock aesthetics, propaganda imagery, and political movements. He credits the DIY ethos of punk culture and the rebellious spirit of street art for shaping his artistic vision. Fairey's fascination with propaganda and political art from historical movements, such as Soviet Constructivism and Chinese Cultural Revolution...

Roy Lichtenstein Art About Art Whitney Museum of American Art 1978 poster, 1978 Offset lithograph poster Frame included: held in the original vintage frame Provenance: from the collection of Jack Martin...

"I’ve made several images over the years addressing police brutality, and I think humor and absurdity help make such a heavy topic more digestible. There is a violent history of poli...

Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One and Robbie Conal to create a series of anti-Bush/anti-war posters for the street-art campaign: Be The Revolution. In 2005, Fairey accepted a residency at the Contemporary Museum in Honolulu, Hawaii, where he created murals and prints that reveal a dramatic combination of constructivist style with distinctly traditional Hawaiian themes and influences. Amanda Fairey gave birth to the couple’s first child, Vivienne in June 2005, she is the namesake of punk fashion legend Vivienne Westwood. Vivienne would be the model for Fairey’s “Vivi La Revolucion” print of 2008. Fairey's street-art, was featured with that of Dan Witz...

"Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhythmic cycle, but when energized by a storm, waves can be incredibly des...

'Universal Personhood' by Shepard Fairey, 2013 18 x 24 Inches (45,7 x 61 cm) Screen print on cream, speckle tone fine art paper Limited edition of 450 (#388/450) Hand-signed and dat...

Roy Lichtenstein The Red Horsemen, aka The Equestrians (with COA from the 1984 Olympic Committee), 1982 Limited Edition Offset Lithograph on Parsons Diploma Parchment Paper. Pencil...

Interior with Chair from the Leo Castelli 90th Birthday Portfolio is a serigraph on paper, 27 x 20.5 inches image size, signed and dated 'rf Lichtenstein '97' lower right and numbere...

Mirror #9 (C.114) from the Mirror Series is a screenprint and lithograph on paper, 30 x 21.18 inches, signed and dated 'rf Lichtenstein '72' lower center margin and framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.126, #114. About Lichtenstein’s Mirror Series (taken from Corlett): Mirrors were an important subject in Lichtenstein’s paintings and prints of the early 1970s. From late 1969 to 1972 he painted over forty canvases depicting this subject. The first print was in 1970, with Twin Mirrors (cat. no.102) for the Guggenheim Museum. In 1972 he also produced Mirror (cat. No. 115) at Styria Studio, in addition to this Gemini G.E.L. series of nine prints. In the mid-seventies he took up the subject in sculpture, and he returned to it in prints as recently 1990, with Mirror (cat. No 246). In addition, he has often explored the related theme of reflections, incorporating them in various paintings and in several print series: Reflections (1990; cat. Nos. 239 – 245), Interiors (1990, published 1991; cat. nos. 247 – 54), and Water Lilies (1992; cat. nos. 261 – 66). This Gemini group (catalog nos. 1-6 - 114) utilizes lithography, screenprint, line-cut, and embossing... In an interview with Lawrence Alloway, Lichtenstein noted: “You know, I am always impressed by how artificial things look – like descriptions of office furniture in newspapers. It is the most dry kind of drawing, as in the Mirrors. They really only look like mirrors if someone tells you they do. Only once you know that, they may be moved as far as possible from realism, but you want it to be taken for realism. It becomes as stylized as you can get away with, in an ordinary sense, not stylish.” As Jack Cowart has commented: “One would not actually stand in front of a Lichtenstein Mirror...

Mirror #7 (C.112) is a screenprint and lithograph on paper, 29.75 x 17.37 inches, signed and dated 'rf Lichtenstein '72' lower right and numbered 62/80 lower left. From the edition of 96 (there were also 10 AP, and 6 other various proofs). Framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.125, #112. About Lichtenstein’s Mirror...

Twin Mirrors (C.102) is a screenprint on paper created for the Guggenheim Museum in 1970, 35 x 21 inches image size, signed and dated 'rf Lichtenstein '70' lower right and numbered 94/250 lower left (from the edition of 250 plus an unknown number of artist proofs). Framed in a contemporary white frame. Catalog - Corlett, The Prints of Roy Lichtenstein - A Catalogue Raisonne 1948 - 1997, Hudson Hills Press, NY and National Gallery of Art, Washington, D.C., 2002, pg.118, #102. About Lichtenstein’s Mirror...

Shepard Fairey Sunset As The Fall Approaches Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 36 inches Edition: 550 Signed, dated and numbered by hand COA provide...

Shepard Fairey Radical Peace (Diplomacy, Creativity, Mutual Benefit, Defending Rights and Dissent) Offset Lithograph on thick cream Speckletone paper Year: 2023-2024 Size: 36x24 inch...

"I originally created this image in response to the terror attacks at the Bataclan and other parts of Paris in late 2015. At that terrible moment I wanted to create an image of support to show solidarity with Parisians and French people. Freedom, equality, fraternity – those are all things that I think democratic societies value. I intended for it to be interpreted and embraced by french people in a broad sense; however, I’d like to see those actions be meaningful. When I saw the attack on my mural and read some of the meaning behind it, I realized that it was done as a statement to oppose injustice. I side with people who oppose injustice, especially regarding human rights, and my beliefs in peace, harmony, and equality – all of which I work to embody through my art. If this image is used by people that don't incorporate those principles, I disapprove of that. I do not want this image to be hijacked for those who don't believe in its meaning. We're all part of shaping the world the way we want it to be and everyone should play their role, me included, in making sure that those terms are defined through action. That is why I am releasing a new version of the print that says, "actions are more important than words." If we do that properly, I think liberty, equality, and fraternity are all good things to keep in mind and continue to define in the most positive ways possible. For all the times those principles have been abandoned or have not been defined positively, I included a teardrop on Marianne. I believe in using my art to shed light on issues and support people who do work on the ground for those issues. I hope that this image's best intention can be realized as we work towards a better future." -Shepard Fairey Materials Fine Art Cream Speckletone Paper Size 36 × 24 in 91.4 × 61 cm Rarity Open edition Medium Print Condition Print is in pristine condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand signed and dated by the artist Shepard Fairey, 2021. Certificate of authenticity Included (issued by gallery) Frame Not included Publisher Obey Giant Studio...

Amazing Art Deco style on this stunning Screenprint. Gorgeous in multi colors, vivid and bright. This red version is bright and powerful. Very reminiscent of 1920’s artwork. Hand sig...

Hand signed and marked AP (Artist Proof) by Shepard Fairey. Rare Limited edition Artist Proof (Regular edition is only 85). Hand pulled Screenprint on Cream Speckle Tone paper. Cream...

Amazing Art Deco style on this stunning Screenprint. Gorgeous in multi colors, vivid and bright. This blue version is moody and reminiscent of 1920’s artwork. Hand signed by Fairey o...

Hand signed and marked AP (Artist Proof) by Shepard Fairey. Rare Limited edition Artist Proof (Regular edition is only 85). Hand pulled screen print on Cream Speckle Tone paper. Crea...

Artist: Roy Lichtenstein Title: Rose, Cover from 1 Cent Life (Rose) Screenprint in green over yellow linen and (1 Cent Life) Screenprint in pink over blue lettering on board of unbound book Year: 1964 Medium: Silkscreen on linen on heavy board Size Edition : 2000 Dimensions: 16.31" x 25.32" (Full cover) Dimensions of Image: 16.31 x 11.88 References : Corlett # III.3 Provenance: Private Collection, Berlin Printed by Maurice Beaudet in Paris and published by E. W. Kornfeld, of Bern, Switzerland. Edition of 2000, unsigned as issued in the regular edition of Walasse Ting's '1¢ Life' portfolio of 1964. Superb impression with good strong colors. This iconic piece was executed by Lichtenstein and printed onto stiff paperboard to serve as the front cover of 1 Cent Life, published in 1964 by Kornfeld in an edition of 2000. The image is printed to the edge of the board, with the Lichtenstein silkscreen...

Shepard Fairey Muhammad Ali – Heavyweight Ideals Screen print on thick cream Speckletone paper Year: 2023 Size: 24 x 18 inches Edition: 500 Signed, dated and numbered by hand COA pro...

Roy Lichtenstein at CSU, rarely seen exhibition catalogue, 1982 Softback exhibition catalogue with 2 very cool vellum pages with the Benday dots 11 × 8 1/2 inches This softcover cata...

This original woodcut in colours is hand signed in pencil "R. Lichtenstein" at the lower right margin. It is dated ‘80’ [1980] next to the signature. It is also numbered in pencil from the edition of 50, at the lower right margin. There were also 18 artist’s proofs aside from the standard edition. The subject was printed and published by Tyler Graphics Ltd., Bedford, New York in 1980. The paper bears the blindstamp of the printer and publisher. This is the sixth composition of six comprising the ‘American Indian Theme...

Shepard Fairey (American, b. 1970) Floral Harmony (Red Yin/Yang), 2020 Medium: 2 screenprints on paper Dimensions: each 24 x 18 in (61 x 46 cm) Edition of 100: Each hand-signed and n...

Shepard FAIREY (OBEY) and Ernesto YERENA (Ganas) Dia de los Muertos / Day of the Dead Two Original letterpress set (serigraphy) Handsigned in pencil Numbered /250 copies On black ve...

Joy Division Ian Curtis Heart and Soul. Screen print on thick cream Speckletone paper From a 2023 collaboration between Shepard Fairey and photographer Kevin Cummins. Artist Proof...

TECHNICAL INFORMATION Shepard Fairey Obey ‘89 2006 Screenprint 42 x 30 in. Edition of 89 Pencil signed & numbered Accompanied with COA by Gregg Shienbaum Fine Art Condition:...

Shepard Fairey Liberte Egalite Fraternite Offset lithograph on paper Year: 2019-2023 Signed and dated by hand Size: 33.7 × 22.2 on 35.7 × 23.8 inches Frank Shepard Fairey (born Febr...

The Mojo poster was part of VIP ticket packages for the tour. Artists: Shepard Fairey Bands: Tom Petty & The Heartbreakers Edition Details Year: 2010 Class: Fine Art Print Status: Official Tour Print Run: 175/250 Paper: Holographic Fine Art Foil Paper Size: 18 X 24 Markings: Numbered by the artist in black felt marker. Print measures 18X24 and is in perfect condition with no visible flaws. Any questions please let us know. Thank you Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One...

Shepard Fairey Parks for Everyone Screen print on thick cream Speckletone paper Year: 2022 Size: 24 x 18 inches Edition: 500 Signed, dated and numbered by hand COA provided Ref.: 924...

Published by Rosenthal, Germany in 1990, this exquisite glazed porcelain plate is from an image created by Roy Lichtenstein. The brilliantly colored plate, accompanied by its origin...

I’ve enjoyed bringing some of the spray paint textures from my fine art into my screen prints. I like the subtle color shifts and ethereal gradients that can be achieved with spray p...

Merton of the movies, 1968 by Roy Lichtenstein. The work is a Silkscreen on silver paper, 76 × 51 × 0.2 cm, Edition 93/450. Literature: Co-published by Lincoln Center/List Poster...

SALE ONE WEEK ONLY Title: Figures Portfolio: 1978 Surrealist Medium: Lithograph on Arches 88 paper Edition: 38 Sheet Size: 31 7/16" x 23 1/2" Image Size: 23 1/2" x 15 1/4" Signature: Hand signed in pencil Reference: Corlett 156 Printed by Gemini G.E.L. printers out of Los Angeles. Roy Fox Lichtenstein was an American pop artist. During the 1960s through the 90’s, along with Andy Warhol, Jasper Johns, and James Rosenquist, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Most of Lichtenstein's best-known works are relatively close, but not exact, copies of comic book panels, a subject he largely abandoned in 1965. Lichtenstein's Still Life paintings, sculptures and drawings, which span from 1972 through the early 1980s, cover a variety of motifs and themes, including the most traditional such as fruit, flowers, and vases. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City. Wham!, and Drowning Girl Look Mickey proved to be his most influential works. His most expensive piece is Masterpiece which was sold for $165 million in January 2017. Lichtenstein received both his Bachelors and Masters at Ohio State University, Columbus, Ohio where he taught for ten years. In 1967, he moved back to upstate New York and began teaching again. It was at this time that he adopted the Abstract Expressionist style, being a late convert to this style of painting. Lichtenstein began teaching in upstate New York at the State University of New York at Oswego in 1958. About this time, he began to incorporate hidden images of cartoon characters such as Mickey Mouse and Bugs Bunny into is abstract works. In 1960, he started teaching at Rutgers University where he was heavily influenced by Allan Kaprow, who was also a teacher at the university. This environment helped reignite his interest in Proto-pop imagery. In 1961, Lichtenstein began his first pop paintings using cartoon images and techniques derived from the appearance of commercial printing. This phase would continue to 1965, and included the use of advertising imagery suggesting consumerism and homemaking. His first work to feature the large-scale use of hard-edged figures and Ben-Day dots was Look Mickey (1961), National Gallery of Art, Washington, D. C.) This piece came from a challenge from one of his sons, who pointed to a Mickey Mouse comic book and said; "I bet you can't paint as good as that, eh, Dad?" In the same year he produced six other works with recognizable characters from gum wrappers and cartoons. It was at this time that Lichtenstein began to find fame not just in America but worldwide. He moved back to New York to be at the center of the art scene in 1964 to concentrate on his painting. Lichtenstein used oil and Magna (early acrylic) paint in his best known works, such as Drowning Girl (1963), which was appropriated from the lead story in DC Comics’ Secret Hearts No. 83, drawn by Tony Abruzzo. (Drowning Girl now hangs in the Museum of Modern Art, New York.) Drowning Girl also features thick outlines, bold colors and Ben-Day dots, as if created by photographic reproduction. Of his own work Lichtenstein would say that the Abstract Expressionists "put things down on the canvas and responded to what they had done, to the color positions and sizes. My style looks completely different, but the nature of putting down lines pretty much is the same; mine just don't come out looking calligraphic, like Pollock’s or Kline’s. Rather than attempt to reproduce his subjects, Lichtenstein's work tackled the way in which the mass media portrays them. He would never take himself too seriously, however, saying: "I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art.” When Lichtenstein's work was first exhibited, many art critics of the time challenged its originality. His work was harshly criticized as vulgar and empty. The title of a Life magazine article in 1964 asked, "Is He the Worst Artist in the U.S.?" Lichtenstein responded to such claims by offering responses such as the following: "The closer my work is to the original, the more threatening and critical the content. However, my work is entirely transformed in that my purpose and perception are entirely different. I think my paintings are critically transformed, but it would be difficult to prove it by any rational line of argument.” In 1969, Lichtenstein was commissioned by Gunter Sachs to create Composition and Leda and the Swan, for the collector's Pop Art bedroom suite at the Palace Hotel in St. Moritz. In the late 1970s and during the 1980s, Lichtenstein received major commissions for works in public places: the sculptures Lamp (1978) in St. Mary's, Georgia; Mermaid (1979) in Miami Beach; the 26 feet tall Brushstrokes in Flight (1984, moved in 1998) at John Glenn Columbus International Airport; the five-storey high Mural with Blue Brushstroke (1984–85) at the Equitable Center, New York and El Cap de Barcelona (1992) in Barcelona. In 1994, Lichtenstein created the 53-foot-long, enamel-on-metal Times Square Mural in Times Square subway station. In 1977, he was commissioned by BMW to paint a Group 5 Racing Version of the BMW 320i for the third installment in the BMW Art Car Project. The DreamWorks Records logo was his last completed project. "I'm not in the business of doing anything like that (a corporate logo) and don't intend to do it again," allows Lichtenstein. "But I know Mo Ostin and David Geffen and it seemed interesting. In 1996 the The National Gallery of Art in Washington, D.C. became the largest single repository of the artist's work when Lichtenstein donated 154 prints and 2 books. The Art Institute of Chicago has several important works by Lichtenstein in its permanent collection, including Brushstroke with Spatter (1966) and Mirror No. 3 (Six Panels) (1971). The personal holdings of Lichtenstein's widow, Dorothy Lichtenstein, and of the Roy Lichtenstein Foundation number in the hundreds. In Europe, the Museum Ludwig in Cologne has one of the most comprehensive Lichtenstein holdings with Takka Takka (1962), Nurse (1964), Compositions I (1964), besides the Frankfurt Museum fur Modern Kunst with We Rose Up slowly (1964), and Yellow and Green Brushstrokes...

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