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Estate Sale Photo(s) Around Lexington Park, MD
1,901 estate sale photo(s) currently listed near Lexington Park, Maryland.
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In hand and ready to ship! Damien Hirst - The Empress Nür Jahan - H10-2 Limited edition screenprint - Signed 100 cm x 100 cm - Mint The striking Empresses prints are constructed of beautiful images of red butterfly wings, which are intricately arranged with a filigree of red glitter to produce visually intoxicating kaleidoscope-like effects. The prints are named after five exceptionally influential female rulers: Wu Zetian, NÅ«r JahÄn, Theodora, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, which deals with themes such as life, war, power, anger, love, joy and luck. Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in The Empresses Hirst develops on the complex compositions he invented in his Kaleidoscope Paintings and Mandalas series. The Empresses prints are symmetrical, asymmetrical, and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life ““ the butterflies feel as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, screen printed with glitter, which allows the butterfly wings to be presented in such detail that they appear lifelike. The images of wings inspire awe and are framed by glitter, a fantastically tactile material previously used by Hirst in his paintings. Glitter is loved for its playfulness and joy ““ a sentiment echoed in the play-on-words of the series title itself, which alludes to both female rulers and the Empress Butterfly. Hirst has consistently used butterflies for their associations to freedom, religion, life and death. The Empresses illuminates and sheds light on these themes. Through this new series, these themes become intertwined with glory, female power and the development of nations, visible through the entrancing twists and turns of these five dazzling and vital visual celebrations. -
Artist: Fanakapan (20th century) Title: Hellooo Kitty, 2020 Ed. 100 Screenprint in colors on Somerset Satin paper 32 x 28-1/2 inches (81.3 x 72.4 cm) (sheet) Signed and numbered in pencil along lower edge. Published by Graffiti Prints, United Kingdom. Features Garfield and Hello Kitty. Fanakapan is a prolific London-based street artist known for creating hyper realistic visuals of real life objects. His free hand, spray painting skills and the unmatched combination of shadow and reflective highlights he adds to his absolutely mind-boggling art works have earned him a reputation at the top of the urban contemporary art scene. Fanakapan is a legend and pioneer helping to originate and master the "Balloon Graff" style of urban art. -
Artist: Cleon Peterson Burnout (White) Hand-pulled 16 x 16 Inches Black and Yellow screen print. Printed on 290gsm Arches Rag paper with deckled edges. Each print is signed and numbered. Limited edition of 100. Sold out immediately. Cleon Peterson is an LA based artist whose chaotic and violent paintings show clashing figures symbolizing a struggle between power and submission in the fluctuating architecture of contemporary society. -
Artist: Cleon Peterson Burnout (White) Hand-pulled 16 x 16 Inches Black and Yellow screen print. Printed on 290gsm Arches Rag paper with deckled edges. Each print is signed and numbered. Limited edition of 100. Sold out immediately. Cleon Peterson is an LA based artist whose chaotic and violent paintings show clashing figures symbolizing a struggle between power and submission in the fluctuating architecture of contemporary society. -
Artist: Cleon Peterson Burnout (White) Hand-pulled 16 x 16 Inches Black and Yellow screen print. Printed on 290gsm Arches Rag paper with deckled edges. Each print is signed and numbered. Limited edition of 100. Sold out immediately. Cleon Peterson is an LA based artist whose chaotic and violent paintings show clashing figures symbolizing a struggle between power and submission in the fluctuating architecture of contemporary society. -
A set of nine 16x20 full-color original prints featuring photos of models used in Star Wars (20th Century Fox, 1977), photographed by Jack Warford on set during the production of the film. Warford, a Magnum photographer, was hired by George Mather and Gary Kurtz to photograph all of the principal starship models on set during the production of the film and was given permission to make prints of his work. All photography was done by Warford with his 4x5 Linhoff camera, and the prints have been in dark storage since 1977. Some of his work was used in marketing, promotion, and on merchandise with the release of the original film, and some have never before been published.

This lot is for a set of 9 full-color original prints from the estate of Jack Warford, photographer Prints (all 16x20) include one Millennium Falcon, one Blockade Runner, three X-Wing Fighter, one Star Destroyer pursuing Blockage Runner, one Y-Wing Fighter, and two Tie Fighter. This collection of photography come from The Estate of Jack Warford (10/27/1932 - 04/25/2018), who lead a successful fine art photography career in Hollywood with his wife Sue (both Magnum photographers). Warford had made a mark on Star Wars (20th Century Fox, 1977) with his stunning photography work, shooting the iconic starship models on set and during production with his 4x5 Linhoff camera for Gary Kurtz. Some of his work would be very familiar to fans, as it appeared in some of the mass marketing of toys and books for the original film. However, his story has never been told and credit for his work is unknown to the masses. In preface of his work that is part of this auction, we have provided Mr. Warford an opportunity to share his story with fans, which has never been published before, in his own words. When The Force Was With Me By Jack Warford George Mather was a good friend of mine. He was a general, all-around film person who belonged to Screen Actor's Guild and the Directors Guild, was occasionally a non-union cinematographer and usually had his fingers in more pies than Little Jack Horner. When he needed a photographer, he called me, whether it was to shoot a casting portfolio of his current girlfriend, and he had a lot of those, or to do working portraits of all the staff members of an entire studio. On one particular occasion, he called to see if I would be free on a certain Sunday in 1977 to take some pictures of some models. I had photographed many models for their portfolios, for ads, and I was a staff photographer for the short-lived fashion magazine, California Girl, so I said Sure. He told me to call Gary Kurtz, the producer of this picture he was working on for details. I did. It seems that the models in question were not the breathing, posing, photogenic female kind, but models of space ships for a science fiction movie shooting at this rented barn near the Van Nuys Airport that had been dubbed Industrial Light and Magic. The pictures were to be for publicity and promotion. I calculated a price for that and agreed at five hundred for the afternoon. When I arrived at the studio, accompanied by my wife, Sue, and my next door neighbors, Tom and Peggy Marks, who had been invited to come and watch by George, we were given coffee and the grand tour of the works in progress by John Dykstra, the special photographic effects supervisor. The model makers had been having such a wonderful time building the space ships that they had fallen behind in production and schedule and were over budget. When George was hired as production manager and whip cracker, only one shot had been completed, the shot of the pod with C3PO and R2D2 (named for a roll of magnetic tape, roll 2, dialog 2) blasting down to the planet below from the blockade runner. The part of the movie with the live action had been completed months before and the actors had all gone home. The Millennium Falcon that had served for a set in England for the actors, only showing a quarter of the whole ship, had cost less than a third of the three foot diameter model used by Industrial Light and Magic, henceforth referred to as ILM, for the full-body shots in action. On the day we arrived, they had just finished what turned out to be the opening shot of the movie. The three-foot long model of the Imperial Cruiser was upside down on a plexiglass pedestal with a blue neon light inside chasing a two inch model of the blockade runner. For the reverse shots of the blockade runner, carrying Princess Leah and the two droids, they used the largest model they made, being over six feet long. In some photographic processes, called Blue Screen, blue will disappear, and it is easy to strip in another piece of film. It goes back to the dawn of movies, in The Great Train Robbery when the train comes rolling by the open window in the telegraph office. If you cover an actor's face and hands in blue, presto, the invisible man. It explains why newscasters can never wear blue shirts. John showed me the setup of the shot they had just taken. The camera was mounted on a dolly running on railroad tracks beside the models and the wide angle lens was only a couple inches above the model as the computer oozed it by very slowly. Nearby was a monitor. He turned it on. The picture was in black and white negative, inverted so you were looking at it from underneath instead of above. The tiny blockade runner flashed across the screen and then the imperial cruiser came by. It kept coming. It still kept coming until it passed by and the engines were visible I was completely blown away. You just got my three bucks, (the cost of a movie ticket then) I said. In most, if not all, of the shots of the ships, it was the camera that moved in a predetermined path, operated by instructions from a computer, not the ships. Backgrounds would be added later along with the blasts from the engines. ILM had made a deal with a Japanese model maker to send them all the rejects of their model cars or whatever. For example, where the mandibles or jaws of the Millennium Falcon join the main body between the upper and lower plates, you can see the oil pan and transmission of a model Mercedes Benz. The sprues that held the plastic parts together during the casting were put to work as piping. The model makers at ILM had a wonderful time playing, as evidenced by the missing plate on the Millennium falcon with a skeleton curled up inside that no one would ever see - one of the reasons George Mather was called in as expediter. It was time to go to work. Gary Kurtz showed me the different models he wanted shot - the Millennium Falcon, several different X-wing fighters, some Y-wing fighters, the set up shot with the tiny blockade runner and the Imperial Cruiser, the full size blockade runner, used in reverse shots of the interception, which was the largest model they had made, being over six feet long, and some surface shots of various scales of the surface of the Death Star to use as backgrounds. Whatever lighting I needed would be provided. Since this was supposed to be outer space where there is no atmosphere to diffuse the light, I used one large floodlight for a single source with no fill, as if the model were lit by a nearby star. I set up my Linhoff 4 X 5 camera, using a six-inch Golden Dagor lens, about as fine a photographic setup as is available. After setting up each shot as if the ships were in action, not merely static models, I called in Gary to take a look at the lighting and setup before I tripped the shutter. One shot I was particularly proud of was of an X-wing fighter, front on with one laser on a wingtip pointed right at the camera. This shot was the one that wound up on lunch buckets, game box covers, and t-shirts as well as publicity shots and posters and may have been the most published photograph of 1977. An animated copy showed up in the Star Wars computer game. The next day, I took the Ektacolor negatives to Spectra Color Lab in Burbank. My wife and I were going out of town on a shoot, so we arranged to have the negs and the contact proofs picked up. Upon our return, I called George. He said he was appalled I rushed to his office to take a look and some of the shots had blue flashes on them, something I had never seen before. I found out this was caused by the high degree of static electricity at the studio that made sparks when the dark slides were pulled out of the film holders. I called Gary Kurtz, apologizing and offering to do a reshoot. He said the pictures were just fine and since the images would be stripped out and stuck on starfield or Death Star backgrounds, there would be no problems since most of the flashes were not on the ships bodies and the others could easily be taken out. I asked Gary Kurtz if I could borrow the negatives and make some prints With Gary's blessing, I made several copies of each of what I considered to be the best shots, mostly in 16 X 20 with a few 8 X 10s. It would be awhile before I heard from Lucasfilm again. And then when I did it was an invitation to the cast and crew screening of Star Wars, not THE Star Wars as it was under the shooting title, at the Directors Guild Theater on Wilshire Boulevard, lunch to follow at Dr. Munchie's. George and Marcia Lucas had just finished editing the film, and no one else had seen so much as a working print. It was not Episode IV, A New Hope, but just Star Wars. There was no scene between Han Solo and Jabba the Hut; that would be added later. There was a burst of applause from the cast and crew on the opening shot that I described, another when the modified elephants made up like bantas appeared and when the stars took on a Doppler effect as the Millennium Falcon jumped into faster than light speed. When the lights came on, it was plain that the audience was more than pleased with what they had done, Almost everyone, that is. The feeling was jubilant, Mark Hamil was surrounded by a heard of friends and relatives, but as the theater emptied, Harrison Ford, shoulders hunched, hands in pockets, staring at the floor in front of him, slouched down the aisle very much the loner wearing a cloud of gloom. Wearing our May the Force Be With You buttons that had been passed out as we walked in, we proceeded to Dr. Munchies where we were adequately wined and dined. After eating, Sue and I were sitting on some steps talking to John Dykstra when Harrison Ford ambled up, still wearing his dark cloud. He had enjoyed maybe one too many glasses of wine. I asked him why he was so depressed. He replied that he hadn't worked as a actor in nine months since the live action was finished and he didn't know if he would ever work again. We all tried to cheer him up in vain. He was convinced this was the bottom point in his life and his career. We all know he did work again, quite a few times and the world may have gained a movie star, but it lost a wonderful carpenter. A few days later the film opened and was an immediate smash hit. My pictures, uncredited, were splashed all over Time magazine that called it The best film of the year. The edition of Newsweek put the first thorns in my side, when my pictures were credited to Richard Edlund, the special effects cinematographer.I wrote a letter to Gary Kurtz suggesting that I put out a special edition of signed and numbered photographs I heard from Lucasfilm asking if I thought they should get a slice of the pie, to which I agreed, and I later heard from Fox that I should forget the whole idea. At least I had the prints I had made for myself. Another thorn appeared when I found my photographs used on lunch buckets, t-shirts, and games, and all sorts of ancillary items going along with the movie. Another was to see a set of three fighters made from the same image with that tell-tale electric blue splash on their sides advertising Nikkor lenses. The original agreement was for publicity and promotion and this was going way beyond that. Star Wars may have been shot with Nikkor lenses, but the illustration was not. I called Gary Kurtz to complain. I was informed that everyone who worked for ILM was an employee whether for one day or the whole run and the product of their labors with all rights was the property of Lucasfilm/Twentieth Century Fox. Oh, yeah? If I was an employee instead of an independent contractor, where was my W-2 form? It was time to call a lawyer. It would seem that according to copyright laws, while the image may belong to the creator, the rendering belongs to the photographer. In the course of the lawsuit amidst depositions, questions and answers, there were some numbers discovered on the edge of the negatives. No one had the faintest idea what they were for. Richard Edllund excluded the photos of the surface of the Death Star and such as had blue static electricity streaks and claimed all the rest as his. My attorney was not an intellectual properties lawyer and did not cut me the best settlement. While the financial settlement was about what I would have been paid if I had collected what I should have plus the lawyer's cut, the credits went to Richard Edlund and all rights went to Lucasfillm/Twentieth Century Fox. A man who became one of my closest friends and was an intellectual properties lawyer and he claims he would have cut a much more attractive deal, that would have included penalties for copyright violation. We did eventually discover the reason for the numbers on the edge of the negatives, they were placed there by the photo lab that processed them in the first place. Those numbers were on the photos Edlund conceded were mine. They were also on the rest of the photos I claimed as mine and Edlund claimed as his, proving rather conclusively that they were mine, but that is not part of the official settlement. So, I had the money, but no credits and no rights. I did, however, have the prints I had made with Gary Kurtz blessing. I gave a few away and the rest lay in an Ektacolor paper box for the next thirty three years. Jack Warford -
A set of nine 16x20 full-color original prints featuring photos of models used in Star Wars (20th Century Fox, 1977), photographed by Jack Warford on set during the production of the film. Warford, a Magnum photographer, was hired by George Mather and Gary Kurtz to photograph all of the principal starship models on set during the production of the film and was given permission to make prints of his work. All photography was done by Warford with his 4x5 Linhoff camera, and the prints have been in dark storage since 1977. Some of his work was used in marketing, promotion, and on merchandise with the release of the original film, and some have never before been published.

This lot is for a set of 9 full-color original prints from the estate of Jack Warford, photographer Prints (all 16x20) include one Millennium Falcon, one Blockade Runner, three X-Wing Fighter, one Star Destroyer pursuing Blockage Runner, one Y-Wing Fighter, and two Tie Fighter. This collection of photography come from The Estate of Jack Warford (10/27/1932 - 04/25/2018), who lead a successful fine art photography career in Hollywood with his wife Sue (both Magnum photographers). Warford had made a mark on Star Wars (20th Century Fox, 1977) with his stunning photography work, shooting the iconic starship models on set and during production with his 4x5 Linhoff camera for Gary Kurtz. Some of his work would be very familiar to fans, as it appeared in some of the mass marketing of toys and books for the original film. However, his story has never been told and credit for his work is unknown to the masses. In preface of his work that is part of this auction, we have provided Mr. Warford an opportunity to share his story with fans, which has never been published before, in his own words. When The Force Was With Me By Jack Warford George Mather was a good friend of mine. He was a general, all-around film person who belonged to Screen Actor's Guild and the Directors Guild, was occasionally a non-union cinematographer and usually had his fingers in more pies than Little Jack Horner. When he needed a photographer, he called me, whether it was to shoot a casting portfolio of his current girlfriend, and he had a lot of those, or to do working portraits of all the staff members of an entire studio. On one particular occasion, he called to see if I would be free on a certain Sunday in 1977 to take some pictures of some models. I had photographed many models for their portfolios, for ads, and I was a staff photographer for the short-lived fashion magazine, California Girl, so I said Sure. He told me to call Gary Kurtz, the producer of this picture he was working on for details. I did. It seems that the models in question were not the breathing, posing, photogenic female kind, but models of space ships for a science fiction movie shooting at this rented barn near the Van Nuys Airport that had been dubbed Industrial Light and Magic. The pictures were to be for publicity and promotion. I calculated a price for that and agreed at five hundred for the afternoon. When I arrived at the studio, accompanied by my wife, Sue, and my next door neighbors, Tom and Peggy Marks, who had been invited to come and watch by George, we were given coffee and the grand tour of the works in progress by John Dykstra, the special photographic effects supervisor. The model makers had been having such a wonderful time building the space ships that they had fallen behind in production and schedule and were over budget. When George was hired as production manager and whip cracker, only one shot had been completed, the shot of the pod with C3PO and R2D2 (named for a roll of magnetic tape, roll 2, dialog 2) blasting down to the planet below from the blockade runner. The part of the movie with the live action had been completed months before and the actors had all gone home. The Millennium Falcon that had served for a set in England for the actors, only showing a quarter of the whole ship, had cost less than a third of the three foot diameter model used by Industrial Light and Magic, henceforth referred to as ILM, for the full-body shots in action. On the day we arrived, they had just finished what turned out to be the opening shot of the movie. The three-foot long model of the Imperial Cruiser was upside down on a plexiglass pedestal with a blue neon light inside chasing a two inch model of the blockade runner. For the reverse shots of the blockade runner, carrying Princess Leah and the two droids, they used the largest model they made, being over six feet long. In some photographic processes, called Blue Screen, blue will disappear, and it is easy to strip in another piece of film. It goes back to the dawn of movies, in The Great Train Robbery when the train comes rolling by the open window in the telegraph office. If you cover an actor's face and hands in blue, presto, the invisible man. It explains why newscasters can never wear blue shirts. John showed me the setup of the shot they had just taken. The camera was mounted on a dolly running on railroad tracks beside the models and the wide angle lens was only a couple inches above the model as the computer oozed it by very slowly. Nearby was a monitor. He turned it on. The picture was in black and white negative, inverted so you were looking at it from underneath instead of above. The tiny blockade runner flashed across the screen and then the imperial cruiser came by. It kept coming. It still kept coming until it passed by and the engines were visible I was completely blown away. You just got my three bucks, (the cost of a movie ticket then) I said. In most, if not all, of the shots of the ships, it was the camera that moved in a predetermined path, operated by instructions from a computer, not the ships. Backgrounds would be added later along with the blasts from the engines. ILM had made a deal with a Japanese model maker to send them all the rejects of their model cars or whatever. For example, where the mandibles or jaws of the Millennium Falcon join the main body between the upper and lower plates, you can see the oil pan and transmission of a model Mercedes Benz. The sprues that held the plastic parts together during the casting were put to work as piping. The model makers at ILM had a wonderful time playing, as evidenced by the missing plate on the Millennium falcon with a skeleton curled up inside that no one would ever see - one of the reasons George Mather was called in as expediter. It was time to go to work. Gary Kurtz showed me the different models he wanted shot - the Millennium Falcon, several different X-wing fighters, some Y-wing fighters, the set up shot with the tiny blockade runner and the Imperial Cruiser, the full size blockade runner, used in reverse shots of the interception, which was the largest model they had made, being over six feet long, and some surface shots of various scales of the surface of the Death Star to use as backgrounds. Whatever lighting I needed would be provided. Since this was supposed to be outer space where there is no atmosphere to diffuse the light, I used one large floodlight for a single source with no fill, as if the model were lit by a nearby star. I set up my Linhoff 4 X 5 camera, using a six-inch Golden Dagor lens, about as fine a photographic setup as is available. After setting up each shot as if the ships were in action, not merely static models, I called in Gary to take a look at the lighting and setup before I tripped the shutter. One shot I was particularly proud of was of an X-wing fighter, front on with one laser on a wingtip pointed right at the camera. This shot was the one that wound up on lunch buckets, game box covers, and t-shirts as well as publicity shots and posters and may have been the most published photograph of 1977. An animated copy showed up in the Star Wars computer game. The next day, I took the Ektacolor negatives to Spectra Color Lab in Burbank. My wife and I were going out of town on a shoot, so we arranged to have the negs and the contact proofs picked up. Upon our return, I called George. He said he was appalled I rushed to his office to take a look and some of the shots had blue flashes on them, something I had never seen before. I found out this was caused by the high degree of static electricity at the studio that made sparks when the dark slides were pulled out of the film holders. I called Gary Kurtz, apologizing and offering to do a reshoot. He said the pictures were just fine and since the images would be stripped out and stuck on starfield or Death Star backgrounds, there would be no problems since most of the flashes were not on the ships bodies and the others could easily be taken out. I asked Gary Kurtz if I could borrow the negatives and make some prints With Gary's blessing, I made several copies of each of what I considered to be the best shots, mostly in 16 X 20 with a few 8 X 10s. It would be awhile before I heard from Lucasfilm again. And then when I did it was an invitation to the cast and crew screening of Star Wars, not THE Star Wars as it was under the shooting title, at the Directors Guild Theater on Wilshire Boulevard, lunch to follow at Dr. Munchie's. George and Marcia Lucas had just finished editing the film, and no one else had seen so much as a working print. It was not Episode IV, A New Hope, but just Star Wars. There was no scene between Han Solo and Jabba the Hut; that would be added later. There was a burst of applause from the cast and crew on the opening shot that I described, another when the modified elephants made up like bantas appeared and when the stars took on a Doppler effect as the Millennium Falcon jumped into faster than light speed. When the lights came on, it was plain that the audience was more than pleased with what they had done, Almost everyone, that is. The feeling was jubilant, Mark Hamil was surrounded by a heard of friends and relatives, but as the theater emptied, Harrison Ford, shoulders hunched, hands in pockets, staring at the floor in front of him, slouched down the aisle very much the loner wearing a cloud of gloom. Wearing our May the Force Be With You buttons that had been passed out as we walked in, we proceeded to Dr. Munchies where we were adequately wined and dined. After eating, Sue and I were sitting on some steps talking to John Dykstra when Harrison Ford ambled up, still wearing his dark cloud. He had enjoyed maybe one too many glasses of wine. I asked him why he was so depressed. He replied that he hadn't worked as a actor in nine months since the live action was finished and he didn't know if he would ever work again. We all tried to cheer him up in vain. He was convinced this was the bottom point in his life and his career. We all know he did work again, quite a few times and the world may have gained a movie star, but it lost a wonderful carpenter. A few days later the film opened and was an immediate smash hit. My pictures, uncredited, were splashed all over Time magazine that called it The best film of the year. The edition of Newsweek put the first thorns in my side, when my pictures were credited to Richard Edlund, the special effects cinematographer.I wrote a letter to Gary Kurtz suggesting that I put out a special edition of signed and numbered photographs I heard from Lucasfilm asking if I thought they should get a slice of the pie, to which I agreed, and I later heard from Fox that I should forget the whole idea. At least I had the prints I had made for myself. Another thorn appeared when I found my photographs used on lunch buckets, t-shirts, and games, and all sorts of ancillary items going along with the movie. Another was to see a set of three fighters made from the same image with that tell-tale electric blue splash on their sides advertising Nikkor lenses. The original agreement was for publicity and promotion and this was going way beyond that. Star Wars may have been shot with Nikkor lenses, but the illustration was not. I called Gary Kurtz to complain. I was informed that everyone who worked for ILM was an employee whether for one day or the whole run and the product of their labors with all rights was the property of Lucasfilm/Twentieth Century Fox. Oh, yeah? If I was an employee instead of an independent contractor, where was my W-2 form? It was time to call a lawyer. It would seem that according to copyright laws, while the image may belong to the creator, the rendering belongs to the photographer. In the course of the lawsuit amidst depositions, questions and answers, there were some numbers discovered on the edge of the negatives. No one had the faintest idea what they were for. Richard Edllund excluded the photos of the surface of the Death Star and such as had blue static electricity streaks and claimed all the rest as his. My attorney was not an intellectual properties lawyer and did not cut me the best settlement. While the financial settlement was about what I would have been paid if I had collected what I should have plus the lawyer's cut, the credits went to Richard Edlund and all rights went to Lucasfillm/Twentieth Century Fox. A man who became one of my closest friends and was an intellectual properties lawyer and he claims he would have cut a much more attractive deal, that would have included penalties for copyright violation. We did eventually discover the reason for the numbers on the edge of the negatives, they were placed there by the photo lab that processed them in the first place. Those numbers were on the photos Edlund conceded were mine. They were also on the rest of the photos I claimed as mine and Edlund claimed as his, proving rather conclusively that they were mine, but that is not part of the official settlement. So, I had the money, but no credits and no rights. I did, however, have the prints I had made with Gary Kurtz blessing. I gave a few away and the rest lay in an Ektacolor paper box for the next thirty three years. Jack Warford -
A set of nine 16x20 full-color original prints featuring photos of models used in Star Wars (20th Century Fox, 1977), photographed by Jack Warford on set during the production of the film. Warford, a Magnum photographer, was hired by George Mather and Gary Kurtz to photograph all of the principal starship models on set during the production of the film and was given permission to make prints of his work. All photography was done by Warford with his 4x5 Linhoff camera, and the prints have been in dark storage since 1977. Some of his work was used in marketing, promotion, and on merchandise with the release of the original film, and some have never before been published.

This lot is for a set of 9 full-color original prints from the estate of Jack Warford, photographer Prints (all 16x20) include one Millennium Falcon, one Blockade Runner, three X-Wing Fighter, one Star Destroyer pursuing Blockage Runner, one Y-Wing Fighter, and two Tie Fighter. This collection of photography come from The Estate of Jack Warford (10/27/1932 - 04/25/2018), who lead a successful fine art photography career in Hollywood with his wife Sue (both Magnum photographers). Warford had made a mark on Star Wars (20th Century Fox, 1977) with his stunning photography work, shooting the iconic starship models on set and during production with his 4x5 Linhoff camera for Gary Kurtz. Some of his work would be very familiar to fans, as it appeared in some of the mass marketing of toys and books for the original film. However, his story has never been told and credit for his work is unknown to the masses. In preface of his work that is part of this auction, we have provided Mr. Warford an opportunity to share his story with fans, which has never been published before, in his own words. When The Force Was With Me By Jack Warford George Mather was a good friend of mine. He was a general, all-around film person who belonged to Screen Actor's Guild and the Directors Guild, was occasionally a non-union cinematographer and usually had his fingers in more pies than Little Jack Horner. When he needed a photographer, he called me, whether it was to shoot a casting portfolio of his current girlfriend, and he had a lot of those, or to do working portraits of all the staff members of an entire studio. On one particular occasion, he called to see if I would be free on a certain Sunday in 1977 to take some pictures of some models. I had photographed many models for their portfolios, for ads, and I was a staff photographer for the short-lived fashion magazine, California Girl, so I said Sure. He told me to call Gary Kurtz, the producer of this picture he was working on for details. I did. It seems that the models in question were not the breathing, posing, photogenic female kind, but models of space ships for a science fiction movie shooting at this rented barn near the Van Nuys Airport that had been dubbed Industrial Light and Magic. The pictures were to be for publicity and promotion. I calculated a price for that and agreed at five hundred for the afternoon. When I arrived at the studio, accompanied by my wife, Sue, and my next door neighbors, Tom and Peggy Marks, who had been invited to come and watch by George, we were given coffee and the grand tour of the works in progress by John Dykstra, the special photographic effects supervisor. The model makers had been having such a wonderful time building the space ships that they had fallen behind in production and schedule and were over budget. When George was hired as production manager and whip cracker, only one shot had been completed, the shot of the pod with C3PO and R2D2 (named for a roll of magnetic tape, roll 2, dialog 2) blasting down to the planet below from the blockade runner. The part of the movie with the live action had been completed months before and the actors had all gone home. The Millennium Falcon that had served for a set in England for the actors, only showing a quarter of the whole ship, had cost less than a third of the three foot diameter model used by Industrial Light and Magic, henceforth referred to as ILM, for the full-body shots in action. On the day we arrived, they had just finished what turned out to be the opening shot of the movie. The three-foot long model of the Imperial Cruiser was upside down on a plexiglass pedestal with a blue neon light inside chasing a two inch model of the blockade runner. For the reverse shots of the blockade runner, carrying Princess Leah and the two droids, they used the largest model they made, being over six feet long. In some photographic processes, called Blue Screen, blue will disappear, and it is easy to strip in another piece of film. It goes back to the dawn of movies, in The Great Train Robbery when the train comes rolling by the open window in the telegraph office. If you cover an actor's face and hands in blue, presto, the invisible man. It explains why newscasters can never wear blue shirts. John showed me the setup of the shot they had just taken. The camera was mounted on a dolly running on railroad tracks beside the models and the wide angle lens was only a couple inches above the model as the computer oozed it by very slowly. Nearby was a monitor. He turned it on. The picture was in black and white negative, inverted so you were looking at it from underneath instead of above. The tiny blockade runner flashed across the screen and then the imperial cruiser came by. It kept coming. It still kept coming until it passed by and the engines were visible I was completely blown away. You just got my three bucks, (the cost of a movie ticket then) I said. In most, if not all, of the shots of the ships, it was the camera that moved in a predetermined path, operated by instructions from a computer, not the ships. Backgrounds would be added later along with the blasts from the engines. ILM had made a deal with a Japanese model maker to send them all the rejects of their model cars or whatever. For example, where the mandibles or jaws of the Millennium Falcon join the main body between the upper and lower plates, you can see the oil pan and transmission of a model Mercedes Benz. The sprues that held the plastic parts together during the casting were put to work as piping. The model makers at ILM had a wonderful time playing, as evidenced by the missing plate on the Millennium falcon with a skeleton curled up inside that no one would ever see - one of the reasons George Mather was called in as expediter. It was time to go to work. Gary Kurtz showed me the different models he wanted shot - the Millennium Falcon, several different X-wing fighters, some Y-wing fighters, the set up shot with the tiny blockade runner and the Imperial Cruiser, the full size blockade runner, used in reverse shots of the interception, which was the largest model they had made, being over six feet long, and some surface shots of various scales of the surface of the Death Star to use as backgrounds. Whatever lighting I needed would be provided. Since this was supposed to be outer space where there is no atmosphere to diffuse the light, I used one large floodlight for a single source with no fill, as if the model were lit by a nearby star. I set up my Linhoff 4 X 5 camera, using a six-inch Golden Dagor lens, about as fine a photographic setup as is available. After setting up each shot as if the ships were in action, not merely static models, I called in Gary to take a look at the lighting and setup before I tripped the shutter. One shot I was particularly proud of was of an X-wing fighter, front on with one laser on a wingtip pointed right at the camera. This shot was the one that wound up on lunch buckets, game box covers, and t-shirts as well as publicity shots and posters and may have been the most published photograph of 1977. An animated copy showed up in the Star Wars computer game. The next day, I took the Ektacolor negatives to Spectra Color Lab in Burbank. My wife and I were going out of town on a shoot, so we arranged to have the negs and the contact proofs picked up. Upon our return, I called George. He said he was appalled I rushed to his office to take a look and some of the shots had blue flashes on them, something I had never seen before. I found out this was caused by the high degree of static electricity at the studio that made sparks when the dark slides were pulled out of the film holders. I called Gary Kurtz, apologizing and offering to do a reshoot. He said the pictures were just fine and since the images would be stripped out and stuck on starfield or Death Star backgrounds, there would be no problems since most of the flashes were not on the ships bodies and the others could easily be taken out. I asked Gary Kurtz if I could borrow the negatives and make some prints With Gary's blessing, I made several copies of each of what I considered to be the best shots, mostly in 16 X 20 with a few 8 X 10s. It would be awhile before I heard from Lucasfilm again. And then when I did it was an invitation to the cast and crew screening of Star Wars, not THE Star Wars as it was under the shooting title, at the Directors Guild Theater on Wilshire Boulevard, lunch to follow at Dr. Munchie's. George and Marcia Lucas had just finished editing the film, and no one else had seen so much as a working print. It was not Episode IV, A New Hope, but just Star Wars. There was no scene between Han Solo and Jabba the Hut; that would be added later. There was a burst of applause from the cast and crew on the opening shot that I described, another when the modified elephants made up like bantas appeared and when the stars took on a Doppler effect as the Millennium Falcon jumped into faster than light speed. When the lights came on, it was plain that the audience was more than pleased with what they had done, Almost everyone, that is. The feeling was jubilant, Mark Hamil was surrounded by a heard of friends and relatives, but as the theater emptied, Harrison Ford, shoulders hunched, hands in pockets, staring at the floor in front of him, slouched down the aisle very much the loner wearing a cloud of gloom. Wearing our May the Force Be With You buttons that had been passed out as we walked in, we proceeded to Dr. Munchies where we were adequately wined and dined. After eating, Sue and I were sitting on some steps talking to John Dykstra when Harrison Ford ambled up, still wearing his dark cloud. He had enjoyed maybe one too many glasses of wine. I asked him why he was so depressed. He replied that he hadn't worked as a actor in nine months since the live action was finished and he didn't know if he would ever work again. We all tried to cheer him up in vain. He was convinced this was the bottom point in his life and his career. We all know he did work again, quite a few times and the world may have gained a movie star, but it lost a wonderful carpenter. A few days later the film opened and was an immediate smash hit. My pictures, uncredited, were splashed all over Time magazine that called it The best film of the year. The edition of Newsweek put the first thorns in my side, when my pictures were credited to Richard Edlund, the special effects cinematographer.I wrote a letter to Gary Kurtz suggesting that I put out a special edition of signed and numbered photographs I heard from Lucasfilm asking if I thought they should get a slice of the pie, to which I agreed, and I later heard from Fox that I should forget the whole idea. At least I had the prints I had made for myself. Another thorn appeared when I found my photographs used on lunch buckets, t-shirts, and games, and all sorts of ancillary items going along with the movie. Another was to see a set of three fighters made from the same image with that tell-tale electric blue splash on their sides advertising Nikkor lenses. The original agreement was for publicity and promotion and this was going way beyond that. Star Wars may have been shot with Nikkor lenses, but the illustration was not. I called Gary Kurtz to complain. I was informed that everyone who worked for ILM was an employee whether for one day or the whole run and the product of their labors with all rights was the property of Lucasfilm/Twentieth Century Fox. Oh, yeah? If I was an employee instead of an independent contractor, where was my W-2 form? It was time to call a lawyer. It would seem that according to copyright laws, while the image may belong to the creator, the rendering belongs to the photographer. In the course of the lawsuit amidst depositions, questions and answers, there were some numbers discovered on the edge of the negatives. No one had the faintest idea what they were for. Richard Edllund excluded the photos of the surface of the Death Star and such as had blue static electricity streaks and claimed all the rest as his. My attorney was not an intellectual properties lawyer and did not cut me the best settlement. While the financial settlement was about what I would have been paid if I had collected what I should have plus the lawyer's cut, the credits went to Richard Edlund and all rights went to Lucasfillm/Twentieth Century Fox. A man who became one of my closest friends and was an intellectual properties lawyer and he claims he would have cut a much more attractive deal, that would have included penalties for copyright violation. We did eventually discover the reason for the numbers on the edge of the negatives, they were placed there by the photo lab that processed them in the first place. Those numbers were on the photos Edlund conceded were mine. They were also on the rest of the photos I claimed as mine and Edlund claimed as his, proving rather conclusively that they were mine, but that is not part of the official settlement. So, I had the money, but no credits and no rights. I did, however, have the prints I had made with Gary Kurtz blessing. I gave a few away and the rest lay in an Ektacolor paper box for the next thirty three years. Jack Warford -
Taki 183 (1954) - Untitled Acrylic on canvas - Hand signed - 2018 Original. 1/1. SIZE: 11 " x 14 " inches TAKI 183 THE MAN WHO CREATED THE NYC GRAFFITI CULTURE! Graffiti writers and street artists around the world know the name that started it all: TAKI 183. A kid from 183rd Street in Washington Heights in northern Manhattan, TAKI's simple signature captured the attention of a reporter and, in the summer of 1971, an article appeared in The New York Times. TAKI was the first New Yorker to become famous for writing graffiti. The floodgates opened. In the summer of 1969, Demetrius was bored. He lived uptown, north of Harlem, in a neighborhood full of Greek kids, like himself, and also a growing population of Cubans, Dominicans and Puerto Ricans. The Savage Nomads gang was headquartered a block away, but they didn't bother the locals. One afternoon that summer, Demetrius' friend Phil wandered down to 183rd and had some news for Demetrius and his friend Greg. A kid in Inwood, 20 blocks north, was writing his name and street number: JULIO 204. Demetrius and Greg thought that was pretty cool. They all started to write their names. Demetrius wrote 'TAKI,' a diminutive for a number of Greek names, and his street number. In the fall of 1970, TAKI went to high school in Midtown Manhattan, taking the 1 train down and back. Along the way, he wrote TAKI 183 on the subway stations and anywhere else he thought was a good spot. He had seen the election posters and stickers plastered around the city in 1968, and again in 1970, and emulated their campaign tactics. When he started working as a delivery boy in midtown, running packages of high-end cosmetics to fancy places like the Upper East Side, he held the box up against light poles, using it as cover while he wrote his name. It was probably one of these tags on the Upper East Side that caught the eye of the New York Times reporter, who tracked TAKI down near his home. On July 21, 1971, TAKI's fate was sealed: "TAKI 183 Spawns Pen Pals," read the headline of the Times article. Just like that, TAKI 183 became the father of contemporary graffiti. His legend grew, and rumors spread that TAKI even tagged a Secret Service car and the Statue of Liberty. -
Taki 183 (1954) - Untitled Acrylic on canvas - Hand signed - 2018 Original. 1/1. SIZE: 11 " x 14 " inches TAKI 183 THE MAN WHO CREATED THE NYC GRAFFITI CULTURE! Graffiti writers and street artists around the world know the name that started it all: TAKI 183. A kid from 183rd Street in Washington Heights in northern Manhattan, TAKI's simple signature captured the attention of a reporter and, in the summer of 1971, an article appeared in The New York Times. TAKI was the first New Yorker to become famous for writing graffiti. The floodgates opened. In the summer of 1969, Demetrius was bored. He lived uptown, north of Harlem, in a neighborhood full of Greek kids, like himself, and also a growing population of Cubans, Dominicans and Puerto Ricans. The Savage Nomads gang was headquartered a block away, but they didn't bother the locals. One afternoon that summer, Demetrius' friend Phil wandered down to 183rd and had some news for Demetrius and his friend Greg. A kid in Inwood, 20 blocks north, was writing his name and street number: JULIO 204. Demetrius and Greg thought that was pretty cool. They all started to write their names. Demetrius wrote 'TAKI,' a diminutive for a number of Greek names, and his street number. In the fall of 1970, TAKI went to high school in Midtown Manhattan, taking the 1 train down and back. Along the way, he wrote TAKI 183 on the subway stations and anywhere else he thought was a good spot. He had seen the election posters and stickers plastered around the city in 1968, and again in 1970, and emulated their campaign tactics. When he started working as a delivery boy in midtown, running packages of high-end cosmetics to fancy places like the Upper East Side, he held the box up against light poles, using it as cover while he wrote his name. It was probably one of these tags on the Upper East Side that caught the eye of the New York Times reporter, who tracked TAKI down near his home. On July 21, 1971, TAKI's fate was sealed: "TAKI 183 Spawns Pen Pals," read the headline of the Times article. Just like that, TAKI 183 became the father of contemporary graffiti. His legend grew, and rumors spread that TAKI even tagged a Secret Service car and the Statue of Liberty. -
Taki 183 (1954) - Untitled Acrylic on canvas - Hand signed - 2018 Original. 1/1. SIZE: 11 " x 14 " inches TAKI 183 THE MAN WHO CREATED THE NYC GRAFFITI CULTURE! Graffiti writers and street artists around the world know the name that started it all: TAKI 183. A kid from 183rd Street in Washington Heights in northern Manhattan, TAKI's simple signature captured the attention of a reporter and, in the summer of 1971, an article appeared in The New York Times. TAKI was the first New Yorker to become famous for writing graffiti. The floodgates opened. In the summer of 1969, Demetrius was bored. He lived uptown, north of Harlem, in a neighborhood full of Greek kids, like himself, and also a growing population of Cubans, Dominicans and Puerto Ricans. The Savage Nomads gang was headquartered a block away, but they didn't bother the locals. One afternoon that summer, Demetrius' friend Phil wandered down to 183rd and had some news for Demetrius and his friend Greg. A kid in Inwood, 20 blocks north, was writing his name and street number: JULIO 204. Demetrius and Greg thought that was pretty cool. They all started to write their names. Demetrius wrote 'TAKI,' a diminutive for a number of Greek names, and his street number. In the fall of 1970, TAKI went to high school in Midtown Manhattan, taking the 1 train down and back. Along the way, he wrote TAKI 183 on the subway stations and anywhere else he thought was a good spot. He had seen the election posters and stickers plastered around the city in 1968, and again in 1970, and emulated their campaign tactics. When he started working as a delivery boy in midtown, running packages of high-end cosmetics to fancy places like the Upper East Side, he held the box up against light poles, using it as cover while he wrote his name. It was probably one of these tags on the Upper East Side that caught the eye of the New York Times reporter, who tracked TAKI down near his home. On July 21, 1971, TAKI's fate was sealed: "TAKI 183 Spawns Pen Pals," read the headline of the Times article. Just like that, TAKI 183 became the father of contemporary graffiti. His legend grew, and rumors spread that TAKI even tagged a Secret Service car and the Statue of Liberty. -
Taki 183 (1954) - Untitled Acrylic on canvas - Hand signed - 2018 Original. 1/1. SIZE: 11 " x 14 " inches TAKI 183 THE MAN WHO CREATED THE NYC GRAFFITI CULTURE! Graffiti writers and street artists around the world know the name that started it all: TAKI 183. A kid from 183rd Street in Washington Heights in northern Manhattan, TAKI's simple signature captured the attention of a reporter and, in the summer of 1971, an article appeared in The New York Times. TAKI was the first New Yorker to become famous for writing graffiti. The floodgates opened. In the summer of 1969, Demetrius was bored. He lived uptown, north of Harlem, in a neighborhood full of Greek kids, like himself, and also a growing population of Cubans, Dominicans and Puerto Ricans. The Savage Nomads gang was headquartered a block away, but they didn't bother the locals. One afternoon that summer, Demetrius' friend Phil wandered down to 183rd and had some news for Demetrius and his friend Greg. A kid in Inwood, 20 blocks north, was writing his name and street number: JULIO 204. Demetrius and Greg thought that was pretty cool. They all started to write their names. Demetrius wrote 'TAKI,' a diminutive for a number of Greek names, and his street number. In the fall of 1970, TAKI went to high school in Midtown Manhattan, taking the 1 train down and back. Along the way, he wrote TAKI 183 on the subway stations and anywhere else he thought was a good spot. He had seen the election posters and stickers plastered around the city in 1968, and again in 1970, and emulated their campaign tactics. When he started working as a delivery boy in midtown, running packages of high-end cosmetics to fancy places like the Upper East Side, he held the box up against light poles, using it as cover while he wrote his name. It was probably one of these tags on the Upper East Side that caught the eye of the New York Times reporter, who tracked TAKI down near his home. On July 21, 1971, TAKI's fate was sealed: "TAKI 183 Spawns Pen Pals," read the headline of the Times article. Just like that, TAKI 183 became the father of contemporary graffiti. His legend grew, and rumors spread that TAKI even tagged a Secret Service car and the Statue of Liberty. -
Takashi Murakami- Pillow release by Kaikai Kiki designed by artist Madsaki, full size. SIZE: 60cm X 43cm Madaski: Born in Osaka in 1974 and relocated to New Jersey at a young age, MADSAKI graduated from the Parsons School of Design in New York (BFA, 1996) and was a member of international artist group Barnstormers before starting his solo career. Both satirical and sentimental, aggressive yet vulnerable, MADSAKI has used graffiti influences as a way to express the frustration and alienation of his bicultural identity and to critique the value of art. -
Takashi Murakami- Pillow release by Kaikai Kiki designed by artist Madsaki, full size. SIZE: 60cm X 43cm Madaski: Born in Osaka in 1974 and relocated to New Jersey at a young age, MADSAKI graduated from the Parsons School of Design in New York (BFA, 1996) and was a member of international artist group Barnstormers before starting his solo career. Both satirical and sentimental, aggressive yet vulnerable, MADSAKI has used graffiti influences as a way to express the frustration and alienation of his bicultural identity and to critique the value of art. -
Artist: Shepard Fairey Title: Universal Dignity Size: 15 inches x 19.5 inches Edition of 450 Letterpress on cream cotton paper with hand-deckled edges. Signed by Shepard Fairey. Obey publishing chop in lower left corner. Released: March 3, 2022 About the Artwork: The Universal Dignity print aims to promote peace, equality, and humanity. Id like to see a fundamental assumption that ALL people deserve respect and human dignity. This applies to the universal meaning of dignity, to be valued, respected for what you are, what you believe in, and how you live your life. I consider myself a global citizen, and though I think the nations serve a structural function, all people should be equal, and everyones life counts the same regardless of where they live. In line with the philosophy of this image, a portion of the proceeds will be donated to the IRC (International Rescue Committee) to support Ukrainian refugees. Thanks for caring. -
Artist: Shepard Fairey Title: Just Angels Rising Size: 18 inches by 24 inches Screen print on thick cream Speckletone paper. Original photo by Victoria Yarnish. Edition of 450. Release: June 23, 2021(Sold Out) Note From Artist: These prints, Just Angels Rising and Just Future Rising, are variations of the art I created for the Time VOTE cover just before the 2020 election. At the time, I wanted to address the very unique situation we were in as a country as we faced the Covid-19 pandemic, unrest around police brutality and racial discrimination, voter suppression, and intense political division. We are still facing all of those things, though the development of Covid vaccines has significantly improved public safety and benefitted the fight to end the pandemic. In this illustration, the usually clear-cut rebel symbol of a bandana covering a face takes on a different meaning during Covid, becoming an emblem of safety, respect for ones fellow citizens, and a sign that the wearer believes in science. The updated images on the bandana symbolize an activists aspiration for a more just future for all. The future is in part shaped by voting, but not voting alone. How we express our ideals and spend our money in alignment with our ideals helps to shape the future also. Anti-democracy forces are pushing voter suppression, so voting while you still can is essential. The future of our democracy and our world is in our hands!The subject of the portrait is my former co-worker Marin Takeshita who is Japanese. With the rise of hate crimes against Asians during Covid, Marin, and I thought it was important for proceeds from these prints to benefit the organization Stop AAPI Hate, which focuses on immigrants rights, and remedies for racial and social injustice. -
Artist: Shepard Fairey Title: Just Angels Rising Size: 18 inches by 24 inches Screen print on thick cream Speckletone paper. Original photo by Victoria Yarnish. Edition of 450. Release: June 23, 2021(Sold Out) Note From Artist: These prints, Just Angels Rising and Just Future Rising, are variations of the art I created for the Time VOTE cover just before the 2020 election. At the time, I wanted to address the very unique situation we were in as a country as we faced the Covid-19 pandemic, unrest around police brutality and racial discrimination, voter suppression, and intense political division. We are still facing all of those things, though the development of Covid vaccines has significantly improved public safety and benefitted the fight to end the pandemic. In this illustration, the usually clear-cut rebel symbol of a bandana covering a face takes on a different meaning during Covid, becoming an emblem of safety, respect for ones fellow citizens, and a sign that the wearer believes in science. The updated images on the bandana symbolize an activists aspiration for a more just future for all. The future is in part shaped by voting, but not voting alone. How we express our ideals and spend our money in alignment with our ideals helps to shape the future also. Anti-democracy forces are pushing voter suppression, so voting while you still can is essential. The future of our democracy and our world is in our hands!The subject of the portrait is my former co-worker Marin Takeshita who is Japanese. With the rise of hate crimes against Asians during Covid, Marin, and I thought it was important for proceeds from these prints to benefit the organization Stop AAPI Hate, which focuses on immigrants rights, and remedies for racial and social injustice. -
Shepard Fairey X Arkitip Obey Order of Independent Artistans (Red) Screenprint on paper. 10 x 7-1/2 inches (25.4 x 19.1 cm) (sheet) Ed. 4530/5000 Each print signed and dated in pencil lower right Published by Arkitip, Malibu. ABOUT THE ART In 2009 Shepard/OBEY collaborated with Arkitip on an exclusive issue reviewing the then current artwork featured in the Boston ICA 20 year survey and all of the outdoor installation that came along with the exhibition. It also included a selection of the newest fine art pieces of that time. The issue was a truly a classic release as it was a reunion collaboration that we had not seen since Arkitips issue edition No. 0003. OBEY recently acquired a few of these issues and decided to revive the collaboration with an addition of a new MAY DAY Flag print. The issue now comes with 3 prints; all 7.5 x 10 inches and Signed by Shepard. Shepard Fairey is arguably the most famous artist of the Arkitip Alumni group, and could quite possibly be the artist most remembered of his generation. We celebrate Shepards methods not only because they are beautiful and effective but also because he took on the mainstream art establishment and after 20 long years, he seems to be winning.His recent rise to popularity punctuated by his support of the Obama Presidential campaign has made Shepard Fairey a household name. His iconic portrait of Barack Obama has come to symbolize the historic campaign of the first African American to be elected President and now that image graces the National Portrait Gallery at the Smithsonian. Hes an artist who stands by what he believes in and has done more to communicate his causes to the masses than most of his contemporaries, which is admirable on any level. His campaigns have done more to shape the public consciousness than any other artist because you don’t have go to a gallery to see his work, its ubiquity is well established.This issue will be truly historic, as we celebrate 20 Years of Shepards seminal Obey campaign. Because Shepard has not been a guest of Arkitip magazine since issue edition No. 0003, this reunion collaboration has been long overdue and is a guaranteed to be another groundbreaking Arkitip classic. -
Artist: Shepard Fairey Title: FACTORY STACKS (EARTH FIRST) 18 inches by 24 inches Edition of 350. Screen print on thick cream Speckletone paper. Signed by Shepard Fairey. May 24, 2022 These Factory Stacks images combine the austere, angular power of factory architecture with graphic elements commenting on what we promote and embrace as a society even when those things are destructive. The fossil fuel industries have tremendous power economically, but we now know that not only are fossil fuel sources finite but that using them is terrible for climate change and, therefore, the eco-systems that sustain life on our planet. Unfortunately, due to the political power of these industries and public apathy about climate change, the government subsidizes the fossil fuel industries for billions even as they damage the environment. The government works for the citizens, so the choice is ours. Do we support endless power for wealthy fossil fuel corporations? Or policies that put the earth first with the planet before profits? Please read Naomi Kleins THIS CHANGES EVERYTHING to better understand the conflict between economic interests and climate change. A portion of the proceeds from the sale of this print will go to Greenpeace to fight climate change. Thanks for caring. -
Artist: Shepard Fairey Title: FACTORY STACKS (EARTH FIRST) 18 inches by 24 inches Edition of 350. Screen print on thick cream Speckletone paper. Signed by Shepard Fairey. May 24, 2022 These Factory Stacks images combine the austere, angular power of factory architecture with graphic elements commenting on what we promote and embrace as a society even when those things are destructive. The fossil fuel industries have tremendous power economically, but we now know that not only are fossil fuel sources finite but that using them is terrible for climate change and, therefore, the eco-systems that sustain life on our planet. Unfortunately, due to the political power of these industries and public apathy about climate change, the government subsidizes the fossil fuel industries for billions even as they damage the environment. The government works for the citizens, so the choice is ours. Do we support endless power for wealthy fossil fuel corporations? Or policies that put the earth first with the planet before profits? Please read Naomi Kleins THIS CHANGES EVERYTHING to better understand the conflict between economic interests and climate change. A portion of the proceeds from the sale of this print will go to Greenpeace to fight climate change. Thanks for caring. -
Shepard Fairey (b. 1970) Media Target, 2016 Screenprint in colors on speckled cream paper 24 x 18 inches (61 x 45.7 cm) (sheet) Ed. 203/450 Signed, numbered, and dated in pencil along lower edge. Published by Obey Giant, Los Angeles No apparent condition issues. Framed under acrylic. Work has not been examined outside of the framed. Framed Dimensions 25 X 15 Inches Expanding on the legacies of artists such as Keith Haring and Andy Warhol, Shepard Faireys practice disrupts the distinction between fine and commercial art. A major artist of the street art movement, Fairey rose to prominence in the early 1990s through the dispersion of posters, stickers, and murals, related to his Obey Giant campaign, which yielded an international cultural phenomenon. Faireys iconic poster of President Barack Obama was adopted as the official emblem associated with the presidential campaign and encapsulates a number of recurring concerns in the artists work, including propaganda, portraiture, and political power. -
Shepard Fairey (b. 1970) Media Target, 2016 Screenprint in colors on speckled cream paper 24 x 18 inches (61 x 45.7 cm) (sheet) Ed. 203/450 Signed, numbered, and dated in pencil along lower edge. Published by Obey Giant, Los Angeles No apparent condition issues. Framed under acrylic. Work has not been examined outside of the framed. Framed Dimensions 25 X 15 Inches Expanding on the legacies of artists such as Keith Haring and Andy Warhol, Shepard Faireys practice disrupts the distinction between fine and commercial art. A major artist of the street art movement, Fairey rose to prominence in the early 1990s through the dispersion of posters, stickers, and murals, related to his Obey Giant campaign, which yielded an international cultural phenomenon. Faireys iconic poster of President Barack Obama was adopted as the official emblem associated with the presidential campaign and encapsulates a number of recurring concerns in the artists work, including propaganda, portraiture, and political power. -
Artist: Shepard Fairey Title: Mujer Fatale Silkscreen/Serigraph - Signed 61 x 91 cm (36 x 24 inch) offset print on cream Speckle Tone paper. Signed & Dated by Shepard Fairey. Expanding on the legacies of artists such as Keith Haring and Andy Warhol, Shepard Faireys practice disrupts the distinction between fine and commercial art. A major artist of the street art movement, Fairey rose to prominence in the early 1990s through the dispersion of posters, stickers, and murals, related to his Obey Giant campaign, which yielded an international cultural phenomenon. Faireys iconic poster of President Barack Obama was adopted as the official emblem associated with the presidential campaign and encapsulates a number of recurring concerns in the artists work, including propaganda, portraiture, and political power. -
Artist: Shepard Fairey Title: Mujer Fatale Silkscreen/Serigraph - Signed 61 x 91 cm (36 x 24 inch) offset print on cream Speckle Tone paper. Signed & Dated by Shepard Fairey. Expanding on the legacies of artists such as Keith Haring and Andy Warhol, Shepard Faireys practice disrupts the distinction between fine and commercial art. A major artist of the street art movement, Fairey rose to prominence in the early 1990s through the dispersion of posters, stickers, and murals, related to his Obey Giant campaign, which yielded an international cultural phenomenon. Faireys iconic poster of President Barack Obama was adopted as the official emblem associated with the presidential campaign and encapsulates a number of recurring concerns in the artists work, including propaganda, portraiture, and political power. -
ARTIST:Denial TITLE: Fashion Addict - SUPREME Numbered, Signed, Stamped on Reverse EDITION SIZE:100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - SUPREME Numbered, Signed, Stamped on Reverse EDITION SIZE:100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - SUPREME Numbered, Signed, Stamped on Reverse EDITION SIZE:100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
In hand and ready to ship! Damien Hirst - The Empress Nür Jahan - H10-2 Limited edition screenprint - Signed 100 cm x 100 cm - Mint The striking Empresses prints are constructed of beautiful images of red butterfly wings, which are intricately arranged with a filigree of red glitter to produce visually intoxicating kaleidoscope-like effects. The prints are named after five exceptionally influential female rulers: Wu Zetian, NÅ«r JahÄn, Theodora, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, which deals with themes such as life, war, power, anger, love, joy and luck. Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in The Empresses Hirst develops on the complex compositions he invented in his Kaleidoscope Paintings and Mandalas series. The Empresses prints are symmetrical, asymmetrical, and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life ““ the butterflies feel as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, screen printed with glitter, which allows the butterfly wings to be presented in such detail that they appear lifelike. The images of wings inspire awe and are framed by glitter, a fantastically tactile material previously used by Hirst in his paintings. Glitter is loved for its playfulness and joy ““ a sentiment echoed in the play-on-words of the series title itself, which alludes to both female rulers and the Empress Butterfly. Hirst has consistently used butterflies for their associations to freedom, religion, life and death. The Empresses illuminates and sheds light on these themes. Through this new series, these themes become intertwined with glory, female power and the development of nations, visible through the entrancing twists and turns of these five dazzling and vital visual celebrations. -
In hand and ready to ship! Damien Hirst - The Empress Nür Jahan - H10-2 Limited edition screenprint - Signed 100 cm x 100 cm - Mint The striking Empresses prints are constructed of beautiful images of red butterfly wings, which are intricately arranged with a filigree of red glitter to produce visually intoxicating kaleidoscope-like effects. The prints are named after five exceptionally influential female rulers: Wu Zetian, NÅ«r JahÄn, Theodora, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, which deals with themes such as life, war, power, anger, love, joy and luck. Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in The Empresses Hirst develops on the complex compositions he invented in his Kaleidoscope Paintings and Mandalas series. The Empresses prints are symmetrical, asymmetrical, and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life ““ the butterflies feel as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, screen printed with glitter, which allows the butterfly wings to be presented in such detail that they appear lifelike. The images of wings inspire awe and are framed by glitter, a fantastically tactile material previously used by Hirst in his paintings. Glitter is loved for its playfulness and joy ““ a sentiment echoed in the play-on-words of the series title itself, which alludes to both female rulers and the Empress Butterfly. Hirst has consistently used butterflies for their associations to freedom, religion, life and death. The Empresses illuminates and sheds light on these themes. Through this new series, these themes become intertwined with glory, female power and the development of nations, visible through the entrancing twists and turns of these five dazzling and vital visual celebrations. -
In hand and ready to ship! Damien Hirst - The Empress Nür Jahan - H10-2 Limited edition screenprint - Signed 100 cm x 100 cm - Mint The striking Empresses prints are constructed of beautiful images of red butterfly wings, which are intricately arranged with a filigree of red glitter to produce visually intoxicating kaleidoscope-like effects. The prints are named after five exceptionally influential female rulers: Wu Zetian, NÅ«r JahÄn, Theodora, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, which deals with themes such as life, war, power, anger, love, joy and luck. Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in The Empresses Hirst develops on the complex compositions he invented in his Kaleidoscope Paintings and Mandalas series. The Empresses prints are symmetrical, asymmetrical, and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life ““ the butterflies feel as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, screen printed with glitter, which allows the butterfly wings to be presented in such detail that they appear lifelike. The images of wings inspire awe and are framed by glitter, a fantastically tactile material previously used by Hirst in his paintings. Glitter is loved for its playfulness and joy ““ a sentiment echoed in the play-on-words of the series title itself, which alludes to both female rulers and the Empress Butterfly. Hirst has consistently used butterflies for their associations to freedom, religion, life and death. The Empresses illuminates and sheds light on these themes. Through this new series, these themes become intertwined with glory, female power and the development of nations, visible through the entrancing twists and turns of these five dazzling and vital visual celebrations. -
In hand and ready to ship! Damien Hirst - The Empress Nür Jahan - H10-2 Limited edition screenprint - Signed 100 cm x 100 cm - Mint The striking Empresses prints are constructed of beautiful images of red butterfly wings, which are intricately arranged with a filigree of red glitter to produce visually intoxicating kaleidoscope-like effects. The prints are named after five exceptionally influential female rulers: Wu Zetian, NÅ«r JahÄn, Theodora, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, which deals with themes such as life, war, power, anger, love, joy and luck. Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in The Empresses Hirst develops on the complex compositions he invented in his Kaleidoscope Paintings and Mandalas series. The Empresses prints are symmetrical, asymmetrical, and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life ““ the butterflies feel as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, screen printed with glitter, which allows the butterfly wings to be presented in such detail that they appear lifelike. The images of wings inspire awe and are framed by glitter, a fantastically tactile material previously used by Hirst in his paintings. Glitter is loved for its playfulness and joy ““ a sentiment echoed in the play-on-words of the series title itself, which alludes to both female rulers and the Empress Butterfly. Hirst has consistently used butterflies for their associations to freedom, religion, life and death. The Empresses illuminates and sheds light on these themes. Through this new series, these themes become intertwined with glory, female power and the development of nations, visible through the entrancing twists and turns of these five dazzling and vital visual celebrations. -
In hand and ready to ship! Damien Hirst - The Empress Nür Jahan - H10-2 Limited edition screenprint - Signed 100 cm x 100 cm - Mint The striking Empresses prints are constructed of beautiful images of red butterfly wings, which are intricately arranged with a filigree of red glitter to produce visually intoxicating kaleidoscope-like effects. The prints are named after five exceptionally influential female rulers: Wu Zetian, NÅ«r JahÄn, Theodora, Suiko and Taytu Betul. Their characters and stories are enhanced by the dominant red tone of the series, which deals with themes such as life, war, power, anger, love, joy and luck. Since the beginning of his career Hirst has interacted with the butterfly, one of his best-known motifs. Inspired by a chance encounter in his studio and the intricate patterns found on Victorian tea trays, in The Empresses Hirst develops on the complex compositions he invented in his Kaleidoscope Paintings and Mandalas series. The Empresses prints are symmetrical, asymmetrical, and spiral patterns of meticulously organised butterflies that nonetheless exude hope and life ““ the butterflies feel as if they are taking flight. This effect is in part aided by the material, laminated Giclée print on aluminium composite, screen printed with glitter, which allows the butterfly wings to be presented in such detail that they appear lifelike. The images of wings inspire awe and are framed by glitter, a fantastically tactile material previously used by Hirst in his paintings. Glitter is loved for its playfulness and joy ““ a sentiment echoed in the play-on-words of the series title itself, which alludes to both female rulers and the Empress Butterfly. Hirst has consistently used butterflies for their associations to freedom, religion, life and death. The Empresses illuminates and sheds light on these themes. Through this new series, these themes become intertwined with glory, female power and the development of nations, visible through the entrancing twists and turns of these five dazzling and vital visual celebrations. -
ARTIST:Denial TITLE: Fashion Addict - SUPREME Numbered, Signed, Stamped on Reverse EDITION SIZE:100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - SUPREME Numbered, Signed, Stamped on Reverse EDITION SIZE:100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Versace Pink Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Versace Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Versace Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Versace Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Rolex - AP Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Rolex - AP Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Rolex - AP Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship! -
ARTIST:Denial TITLE: Fashion Addict - Rolex - AP Numbered, Signed, Stamped on Reverse EDITION SIZE: 100 + APs MEDIUM: Archival Pigment Print on 330 GSM Canon Fine Art Paper. SIZE: 18"x 24" Fashion Addict Refill is a collection of works from the exhibition SHELF MEDICATION 2019. Unframed AP. In hand and ready to ship!
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