keith haring, Signiert (53 Ergebnisse)

Zustand: Fair. 2019. 2nd Edition. 57 pages. Signed by the author. Blue paperback book with pictorial cover. Flat signed by Author. Book is in better condition than most examples of this age. Neat, clean, well bound pages with very minimal foxing, tanning and thumbing. Small inscriptions and neat labels may be present. Paper covers are clean and bright, and appear almost good as new. With minimal rub wear and creasing.

Zustand: Sehr gut. 4°. 30,5 x 30,5 cm. [10] Blatt. Original-Klammerbroschur. 1. Auflage. [Eins von ca. 300 Exemplaren, nicht das "FUN Book"]. 20 Offset-Lithografien mit Schwarz-Weiß-Zeichnungen von Keith Haring, in der Platte des Vorderdeckels im Druck signiert. Sehr gutes Exemplar. First edition. [One of around 300 copies, not the "FUN Book"]. 20 offset lithographs with black and white drawings by Keith Haring, signed in the plate for the cover. Original softcover with staple binding. Fine copy.

Amsterdam. Stedelijk Museum. K. HARING 1986: Paintings, drawings and a vellum. Shilderijen, tekeningen, en een velum . 83 pages illustrated throughout in color and b&w. Oblong 4to, wrappers, in a new cloth folding box. 1986. A fine copy of this scarce early catalogue of Haring's work. Signed by Haring on the title-page and with a small doodle.

70 x 100 cm. Littmann S. 78 (mit Farbabb.). - Im Druck signiert. - "This collaboration between Haring and Lucky Strike resulted in a visually arresting and intellectually stimulating series that embodies the artist's playful yet socially aware approach to his art. Recognized for his adeptness at blending popular culture, activism, and art, the Lucky Strike Series stands as a testament to this seamless fusion" (Guy Hepner). - Die Kunst des Siebdrucks "hat bei Uldry Tradition. Nachdem Albin und Noëlle Uldry den Betrieb 1964 eröffnet hatten, wurde das kleingedruckte «Uldry AG» auf Plakaten in der ganzen Schweiz mehr und mehr zu einem Brand für hochqualifizierten und -differenzierten Siebdruck. Es war die hohe Zeit dieser Drucktechnik, die im Rückblick als eigenes Medium neben Zeichnung, Malerei und den herkömmlichen Drucktechniken bezeichnet werden kann. Bei Uldry gingen sehr bald viele bekannte Grafiker heute heisst dieses Metier Visuelle Kommunikation ein und aus, Künstler und Künstlerinnen kamen, um ihre Serigraphien in Zusammenarbeit mit Meister Uldry nach ihren Vorstellungen zu realisieren" (Albin Uldry AG). Sprache: englisch.

The complete set of five lithographs in colours, 1989, on Arches Infinity paper, each signed, numbered and dated in pencil, from the edition of 90 (there were also fifteen artist's proof sets), published by Editions F. B., Paris, each sheet: 55.8 x 70.4 cm. (22 x 27 ¾ in.) In 1989, Keith Haring completed a series of five lithographs entitled 'Chocolate Buddha.' The series employs Haring's distinctive clear-line figurative style, while exploring more complex and integrated compositions. Limbs, objects, and creatures are all prominent, forming complex patterns of striking colours and intricate lines. By limiting himself to the use of two tone print, Haring's bold, thick lines maintain an eye-catching simplicity. In the 'Chocolate Buddha' series, each print speaks to the pervasive impacts of modern society and mass media. The outline of figures disintegrate among the swirling patterns, seamlessly melting together. Haring's composition of intertwined forms mirrors the loss of identity in a crowd, suggesting how swiftly we may lose ourselves within the confines of society. K. Littmann, 'Keith Haring: Editions on Paper 1982-1990', Hatje Cantz Publishers, Stuttgart, 1993, pp. 122-125.

Zustand: Near Fine. First Edition. First edition. Signed on the rear by Keith Haring and inscribed to a former owner dated 1986 with a drawing of his iconic Radiant Baby. Single pictorial sheet folded in half. Printed in Dutch and English. Near Fine with light edge wear with minor creasing to corners, light foxing and slight rubbing to covers. A scarce appendix to the exhibition catalogue published for the occasion of Keith Haring's art show at the Stedelijk Museum Amsterdam, March 15th May 12th, 1986. Haring created completely new pieces for the exhibit, including a spray painted hanging fabric installation and one of his largest murals Amsterdam Notes, a 125-foot black ink drawing of floating limbs, monsters and walking brains.

Zustand: Near Fine. First Edition. A fourteen-month calendar, signed by Keith Haring on the December 1986 leaf. Spiral bound in publisher's pictorial wraps. Near Fine with light edge wear and small sharpie pen mark to front cover at center. A calendar for the year 1987 featuring the late American pop artist's colorful, vibrant work. Can be used again in 2026. Scarce signed.

Zustand: Near Fine. Limited Edition. First edition, copy number 62 of a limited 200 copies. Signed by Keith Haring and facsimile signature of Brion Gysin posthumously stamped on the limitation page; additionally inscribed by Keith Haring in pencil, "For Allen - with love and admiration. Happy New Year 1989". Bound in publisher's red cloth stamped in gilt; house in black slipcase. Near Fine with light rubbing and soiling to slipcase; minor soiling to cloth. A scarce collection of erotic stories with collotype illustrations by Keith Haring and texts by Brion Gysin.

Soft cover. Zustand: Very Good. A VERY GOOD FIRST EDITION IN WRAPS GALLERY SHOW BOOK. SIGNED AND DATED 89 WITH DRAWING OF A BABY WITH TICKET TO THE GALLERY SHOW. Inscribed by Illustrator(s).

199 gelatin silver prints on baryta paper, mounted on light cardboard. Ca. 265 x 179 mm each, paper ca. 293 x 208 mm. Loosely stored in original wooden coffer. 1 of 25 numbered sets, signed by the sitters almost throughout and annotated by the photographer. An important collection of nearly 200 artists' portraits, including Joseph Beuys, Fernando Botero, Arno Breker, Paul Flora, Ernst Fuchs, Karl Otto Götz, Keith Haring, Jörg Immendorff, Loriot, Heinz Mack, Georg Muche, Meret Oppenheim, Gerhard Richter, H. A. Schult, Roland Topor, Günther Uecker, Tomi Ungerer, Wolf Vostell, Dondi White, Shizuko Yoshikawa and many more. - Heinz-Günter Mebusch, a student of Otto Steinert, one of Germany's most important postwar photographers, was active in more than 40 countrys in Europe, Africa, and America. His longest and most extensive project was his series of ca. 200 artists' portraits, created between 1978 and 2000 in close collaboration with the sitters. A limited set of 25 copies was produced in the years 1979-1992, often with additional signatures (and an overpainting by Ford Beckman), titled "Reise zum Planeten ARS". Almost all of the present prints are signed by the sitters. They are numbered 22 (of a total run of 25) and are presented in an elaborate wooden casket; all are annotated by Mebusch on the reverse and bear his fingerprint. - Now an obscure name, Mebusch in his day was acquainted with all notable artists of his time, exhibiting in Costa Rica, Luxembourg, Vienna, Hollywood ("Polytoxicomania"), Düsseldorf ("Schatzsuche"), San Francisco (Goethe Institute, 1998), and Venice (Biennale, 1999), taught at the Folkwangschule in Essen, and organised or curated numerous art and photo projects, including the 1991 Beuys Festival in Düsseldorf. A small selection of his works was recently shown by the documenta archive, which owns its own copy of the portrait series: "Taken at very close range, the headshots captivate the viewer through the sitters' intense, direct gaze". - Rarely encountered complete in the original coffer: the only copy sold at auction within the last decades comprised merely 179 portraits. A detailed list is available on request.

8vo. 1 page. Letter to Aurelie: [] It was really great and a nice pick-up to the day I was having If you'd like to visit my studio sometime, call me. I hope you like the drawing []" - In the lower left, Haring sketches one of his typical silhouette figures holding a large heart, signed again, Keith Haring." In very good to fine condition, with scattered light soiling and foxing, and a tiny hole to the lower right corner.

Softcover. Zustand: Fine. First English edition. Cover art by Keith Haring. Pictorial wrappers. Tiny nicks at the spine ends, else fine. Signed by Gurganus on the title page.

Siebdruck auf starkem Papier 70 x 100 cm, im Druck signiert u. datiert (19)89 --- Schönes Ex. !!! VERSANDKOSTEN NACH AUFWAND !!!

Screenprint in colours, 1988, on Lenox Museum Board, signed and dated in pencil, numbered 16th from the edition of 100, published by Martin Lawrence Limited Editions, New York, with their blindstamp, 75.9 x 101.9 cm. (29 7/8 x 40 1/8 in.) This piece is part of Keith Haring's 'Growing' series, consisting of five prints created in 1988 after the artist was tragically diagnosed with AIDS. Reflecting on the fragile state of the world at the time, this is an optimistic series alluding to his hopes for a world of socio-political harmony and unity. Here the artist uses his typical vibrant colours and bold outlines to guide the viewers eye around his figures which have been morphed into one singular being. In their interconnectedness, Haring's figures grow together, devoid of distinctions between sex, gender, race, or class. Littmann p. 90.

Screenprint in colours, 1988, on Lenox Museum Board, signed and dated in pencil, numbered 16th from the edition of 100, published by Martin Lawrence Limited Editions, New York, with their blindstamp, 75.9 x 101.9 cm. (29 7/8 x 40 1/8 in.) This piece is part of Keith Haring's 'Growing' series, consisting of five prints created in 1988 after the artist was tragically diagnosed with AIDS. Reflecting on the fragile state of the world at the time, this is an optimistic series alluding to his hopes for a world of socio-political harmony and unity. Throughout his career, Haring was strongly influenced by Australian Aboriginal and Aztec artistic motifs, which can be seen in the symmetrical compositions of his figures, rhythmic patterns and the flat, vibrant colour blocks he uses. Littmann p.91.

Screenprint in colours, 1988, on Lenox Museum Board, signed and dated in pencil, numbered 16th from the edition of 100, published by Martin Lawrence Limited Editions, New York, with their blindstamp, 75.9 x 101.9 cm. (29 7/8 x 40 1/8 in.) Littmann P.91.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Screenprint in colours, 1988, on Museum Board, signed, dated and numbered from the edition of 90 in pencil (there were also 20 artist's proofs and 5 hors commerce sets), published by George Mulder Fine Arts, New York, with the artist and publisher's copyright inkstamps on the reverse, 96.5 x 96.5 cm. (38 x 38 in.) The darker undertones hidden beneath Keith Haring's playful and graffiti-like art have always been present, long before the creation of the present work in 1988, where cynicism was at its most powerful and confrontational. His earlier works depict themes of violence, monsters, nuclear radiation, fallen angels and the crucifixion. This work was completed in the year that Haring was tragically diagnosed with AIDS, a period when the precariousness of life left visible imprints on his art. In 1988, he said that 'all of the things that you make are a quest for immortality. Because you're making these things that you know have a different kind of life'. When the dream for immortality is cut short, the artist created darker reflective imagery with greater urgency than ever before. Klaus Littmann pp. 98-109.

Eine von 27 kleinen Zeichungen von Keith Haring, die er für die Etiketten für die Videotapes für das Jazzfestival in Montreux 1983 schuf. - Mit einem illustrierten Faltblattt, signiert und numeriert von Dino Simonett, mit einer Erklärung "Die Geschichte dieser Zeichnung (so etwas wie ein Echtheitszertifikat): Im Sommer 1983 arbeitete ich als Videoarchivar für Claude Nobs am Jazzfestival in Montreux. Der Künstler des Festivals (Plakatgestaltung etc.) war ein damals 23jähriger Amerikaner; in Europa kaum und in der Schweiz gar nicht bekannt: Keith Haring. Wir schlossen Bekanntschaft, und nebst dem Beitrag für QUER Nr. 2 verzierte er die Etiketten für die Videotapes (siehe nebenan). Als Edition für die Vorzugsausgabe meines catalogue raisonnée 1994-1983 schien mir die Aufteilung des Blattes in 27 Original-Miniaturen als durchaus zur Geschichte passend. Die Zeichnung wurde mit säurefreier Klebefolie beschichtet und anschliessend auf eine Bütten-Unterlage gezogen. Ausführung: Ideereal Adlsiwil, Stefan Müller. Dino Simonett, Zürich im Dezember 1994. In Bleistift signiert und numeriert Dino Simonett 18/25». - Verso eine private Beschriftung in Bleistift.

London, Viking Penguin Books, 1991. [144] S. Mit zahlr., meist s/w Porträt-Fotografien. Folio (38 x 30 cm). OPp. mit SU (dieser angeändert). Von A. Thain (geb. 1961) SIGNIERT. -Thains schonungslose, oft die feinste Pore unbarmherzig ausleuchtende Porträts von Prominenten wie Annie Lennox, Beuys, Haring, Hockney, Gilbert and George, Warhol, Highsmith, Burgess, Scorcese, A.Hopkins, Tilda Swinton, Keith Richards u.v.m. Mit - teils bebilderten - Kurzbiographien der Porträtierten am Schluß. - Gutes Exemplar.

Vintage double weight photograph of British raconteur George Melly in 1974. INSCRIBED by Melly on the recto in faded red ink: "for Richard [illegible] / [illegible] George Melly." Stamp of photographer Harry Diamond on the verso. From the collection of artist and author Duncan Hannah. Duncan Hannah was a key figure in the burgeoning New York underground arts scene, befriending Andy Warhol and his superstars, Lou Reed, Allen Ginsberg, Patti Smith, Salvador Dali, and many others. A graduate of the Parsons School of Design, his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat, and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art. George Melly enjoyed a fruitful career spanning over six decades, working as a jazz and blues singer, cultural critic, author, and expert on surrealism. 8 x 10 inches. Very Good plus, inscription moderately faded, lightly foxed on the verso.

Zustand: BUONO USATO. TEA Varia ITALIANO IL LIBRO È USATO, PERTANTO POTREBBE PRESENTARE LIEVI DIFETTI/IMPERFEZIONI. LA FOTO CORRISPONDE AL LIBRO IN VENDITA. Dedica autografa dell' Autore. Le storie raccolte in questo volume sono una vera e propria dichiarazione d'amore verso il nostro Paese. Con i suoi racconti, Massimo Cannoletta dimostra che sapere è divertente e lo fa con uno stile semplice, coinvolgente, affabile e appassionato, come l'amico che con gli occhi che gli brillano ti dice:«Ma sai cos'ho scoperto?» E accompagna le sue parole con tante immagini a colori scelte appositamente per farci scoprire il particolare nascosto, la curiosità imperdibile, il dettaglio rivelatore. Un libro per tutti, amichevole, pieno di curiosità e, diciamolo anche, ottimista. Esattamente come il suo autore. Sapevate che il baccalà è stato scoperto grazie a un terribile naufragio? E che Keith Haring ha scelto Pisa per la sua ultima opera pubblica? E che il primo re d'Italia ha combattuto contro tutto e tutti per proteggere la donna che amava? L'Italia è un Paese relativamente piccolo, ma il suo patrimonio artistico e culturale è enorme ed è conosciuto in tutto il mondo. Sotto di esso, però, se ne cela un altro, assai meno noto: un patrimonio composto dalle vite di uomini e donne che l'Italia l'hanno popolata, amandola o odiandola, che l'hanno arricchita di arte e scienza, che l'hanno lasciata ma anche che l'hanno voluta raggiungere da molto lontano, che ne hanno fatto la Storia con la loro umanità, il loro coraggio, la loro unicità. L'Italia è così: dietro un monumento, un oggetto che usiamo tutti, una semplice targa su un muro spesso si nasconde un grande personaggio e dietro un grande personaggio c'è una storia che aspetta di essere raccontata. Questo libro è il frutto naturale di un amore per il sapere che si è manifestato in un'attività divulgativa ventennale, cominciata facendo conferenze in giro per il mondo e approdata in televisione, dove l'autore ha conquistato e messo d'accordo milioni di italiani. Con l'entusiasmo, la passione e l'intuizione che lo contraddistinguono, Massimo Cannoletta ci dimostra che la curiosità è il motore della conoscenza e che le storie sono l'anima della vita. E ora è pronto a raccontarcele. Numero pagine 304. Il copyright dei dati è di Informazioni Editoriali I.E. Srl.

Folio (35,5 x 26 cm.). 115, (1) S. mit 45 (3 farb.) Portraits. Illustr. OKart. Erste Ausgabe. - Text in Deutsch und Englisch. - Von G. Helnwein signiert. - "There is a basic misconception that any given face, at any given time, looks more or less the same, like a statue's face. Actually, the human face is as variable from moment to moment as a screen on which images are reflected, from within and from without. I have seen six pictures of the same subject taken in less than a minute - so different one from the other, as not to be recognizable as the same person. Gottfried Helnwein's paintings and photographs attack this misconception, showing the variety of faces of which any face is capable. And in order to attack the basic misconception, he must underline and exaggerate by distortion, by bandages and metal instruments that force the face into impossible molds. Images of torture and madness abound, as happens from moment to moment in the face seen as a sensitive reflection of extreme perceptions and experience. How can a self-portrait depict statuesque calm in the face of the horrors that surround us all? The torture, disease, fear and hatred that has come to be the daily fare of what the Pope calls "the banquet of life". These tortured faces all say: "This is what I mean. and this. and this. Look, and you will see." You can't show anyone anything he hasn't seen already, on some level - anymore than you can tell anyone anything he doesn't already know. It is the function of the artist to evoke the experience of surprised recognition: to show the viewer what he knows but does not know that he knows. Helnwein is a master of surprised recognition" (W. S. Burroughs). - Mit eindrucksvollen Portraits der Pop-Ikonen: Sting, Charles Bukowski, Keith Richards, Mick Jagger, David Bowie, W. S. Burroughs, Leo Castelli, Phil Collins, Michael Jackson, Clint Eastwood, Keith Haring, John Cale, Carl Barks, Elton John, Andy Warhol u. v. a. - "Depuis 1980, Helnwein travaille à une série appelée "Visages". Débutent alors ses rencontres avec des idoles. Des stars du show-business, du cinéma, de la politique de Mick Jagger à Billy Wilder, d'Andy Warhol à Sting et Willy Brandt. Ses dernières rencontres avec Charles Bukowski et David Bowie à Los Angeles l'an passé viennent compléter cette exposition de 50 portraits où ces personnages issus d'un monde apparemment factice, sont totalement dénudés par l'objectif pointilliste de Gottfried Helnwein" (Le Figaro 28. 10. 1992 zur Austellung in Goethe-Institut, Paris). - Sehr gutes Exemplar. Sprache: deutsch.

Vintage double weight portrait photograph of silent film actress Harriette Haddon. INSCRIBED by Haddon: "To Sunny / Whose Smiles Make Living Worth While / Harriette / 3/4/34." Insignia of photographer Murray Korman from the negative at the bottom right corner of the recto, and stamp of Norman E. Dowsing on the verso. From the collection of artist and author Duncan Hannah. Duncan Hannah was a key figure in the burgeoning New York underground arts scene, befriending Andy Warhol and his superstars, Lou Reed, Allen Ginsberg, Patti Smith, Salvador Dali, and many others. A graduate of the Parsons School of Design, his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat, and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art. Actress Harriette Haddon signed with Fox Film at the age of 17, going on to appear in over 60 films throughout the 1930s and early 1940s. 8 x 10 inches. Very Good plus, moderately edgeworn and age toned.

Vintage publicity photograph of actress Cecilia Parker in a sharkskin trench coat, slacks, and brown beret. Printed mimeo snipe and International News Photos stamp on the verso. From the collection of artist and author Duncan Hannah. Duncan Hannah was a key figure in the burgeoning New York underground arts scene, befriending Andy Warhol and his superstars, Lou Reed, Allen Ginsberg, Patti Smith, Salvador Dali, and many others. A graduate of the Parsons School of Design, his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat, and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art. Canadian-American actress Cecilia Parker signed with Metro-Goldwyn-Mayer in the mid-1930s, after appearing alongside Greta Garbo in "The Painted Veil" (1934). She is best remembered today for her performances in the popular "Andy Hardy" film series in the late 1930s. 8 x 10 inches. Very Good plus, lightly toned.