Ricky Powell Art

8 x 10" vintage silver gelatin photograph of artist Jasper Johns at Whitney Museum exhibition of his work in New York City, October 1977. This is ...

11 x 14" vintage silver gelatin photograph of Pulitzer prize-winning playwright Tennessee Williams, close up portrait with diamond pinky ring, photographed in 1971. Signed by Jack Mitchell in pencil on the print verso. NOTE: minor corner bends/cracks can be slightly matted to conceal. Comes directly from the Jack Mitchell Archives...

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...

This porcelain/ceramic plate makes a gorgeous gift - in a bright blue bespoke box, ready to be gifted. Any fan of Helen Frankenthaler or Abstract Expressionist art would be thrilled!...

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...

Various artists We Love You...So Love Us, 2000 We Love You – AMOUR 1 LP Cover art credit: Banksy Album cover with vinyl record inside Vinyl record held silkscreened album cover 12 1/...

Silver gelatin print The present work is hand signed with the artist's copyright, dated 1983, and titled on the back. It is numbered 3 of an edition of only 10. On October 3, 1983, Madonna headlined a memorial concert in honor of Michael Stewart, a graffiti artist in the midst of the AIDS crisis who became a victim of police brutality. Madonna was only 24 years old in 1983, but had already signed her first record deal and was on the cusp of superstardom. In 1984, the year after Madonna appeared in Kroll's shoot, she would release chart hits Like A Virgin, Material Girl and Crazy For You, cementing her place as an international star. This photograph was taken by renowned photographer and editor Eric Kroll backstage at Danceteria - a gritty and popular after hours club and concert venue on West 21st Street in Manhattan, operating out of the first three floors in an old industrial 12-story building. The visible text "ACCUTUNKTIONA TO THE POINT!" and "UNK" are actual, gritty wall graffiti from the venue, adding to the candid nature of the shot. Eric Kroll is a notable photographer, best known for his many fetish subjects, and for documenting America’s seediest spots and denizens, sharing a certain aesthetic with fellow photographers Larry Clark and Richard Kern...

11 x 14" vintage silver gelatin photograph of twin brothers Jay and Jed Johnson photographed for 'After Dark' magazine on June 8, 1970. Comes dire...

Richard Corman Jean-Michel Basquiat VI: A Portrait, 1984, 2018 Gelatin silver print Signed, titled, dated and numbered 4/30 by Richard Corman in marker on the reverse 20 × 16 inches...

11 x 14" vintage silver gelatin photograph of photorealist painter Tom Blackwell in his Manhattan studio with new work, 1971. Comes directly from the Jack Mitchell Archives with a ce...

Take Me Dancing - An air of femininity is expressed in this series of four dress paintings on art board, evoking a classic sense of timeless glamour. Each piece holds its own unique ...

11 x 14 inch vintage silver gelatin photograph of Andy Warhol at his Factory at 33 Union Square West in New York City with 16mm film reels and posters for Tu...