"Who Are You ?", 2018, Mixed Media on Custom Altered Owl Print on Canvas.
Includes a SIGNED (blk. marker) Image of the Item Printed
on Epson Color Paper by Rob Pruitt.
Provenance:

• Acquired Directly from Artist (charity auction- Cystic Fibrosis Foundation, No More Deaths and Planned Parenthood).
  Original Shipping Box from RP's Studio Included (Senders label).
• Private Collection, Miami

Note:
Acquired Directly from artist (Rob Pruitt's Flea Market, Charity auction- Cystic Fibrosis Foundation, No More Deaths and Planned Parenthood).
These pieces are accompanied by a SIGNED authenticity photo by Rob Pruitt, 8.5 x 11 in.
on Epson archival paper, and original mailing box from Pruitt’s studio provided.

"Im Touching Myself Right Now", 2015, Marker on glass on vintage Photo/Frame,
Epson print (11 x 8.5 in.) of the image with added cloud background, UNIQUE,
8 x 6 in. (20.3 × 15.2 cm.) image.
Condition:
Excellent- age toning to vintage photograph & matte.
Provenance:
Acquired directly from artist (original shipping packaging included)
Private Collection, Miami

Note:
Acquired Directly from Rob Pruitt's Flea Market.
These pieces are accompanied by a SIGNED authenticity photo by Rob Pruitt, 8.5 x 11 in.
on Epson archival paper, and original mailing box from Pruitt’s studio provided.

"Do You Like Seamen ?", 2018, Paint on Vintage Photograph, Included is a SIGNED Epson print (11 x 8.5 in.) of the image with added cloud background.
8 x 6 in. (20.3 × 15.2 cm.) image.
Condition:
Excellent- age toning to vintage photograph & matte.
Provenance:
Acquired Directly from Rob Pruitt's Flea Market.
These pieces are accompanied by a SIGNED authenticity photo by Rob Pruitt, 8.5 x 11 in.
on Epson archival paper, and original mailing box from Pruitt’s studio provided.

"Rainbow Gradient Emoji Kickball", 2018,
Kickball (by Creatology) Painted (gradient) & Drawn Emoji (blk. marker),
10-in. Diameter,, Included is a SIGNED (blk. marker) Image of the Item Printed
on Epson Color Paper by Rob Pruitt, Ball is Not Signed, with Custom Acrylic Case,
UNIQUE.
Condition:
MINT
Provenance:
Acquired Directly from the artist (Rob Pruitt's Flea Market).
These pieces are accompanied by a SIGNED authenticity photo by Rob Pruitt, 8.5 x 11 in.
on Epson archival paper, and original mailing box from Pruitt’s studio provided.

"Now that all the beaches and parks are open for the summer,
score this gradient wonderball to amp up your fun in the sun.
Rob drew a face on the ball with black sharpie so it can be your very own Wilson.
Put a wig on it! Kick it! Lodge it in a tree.
Warm days are full of endless possibilities" RP

"Keith Haring", 1982, FIRST EDITION of 2000, One of Keith Haring's early shows at the Tony Shafrazi Gallery in New York. Includes essays on Haring and his work by Jeffrey Deitch, Robert Pincus-Witten, and David Shapiro.
Publisher:
Tony Shafrazi Gallery, NY
Condition:
Excellent- slight signs of use.
Provenance:
Tony Shafrazi Gallery, NY
Private Collection, NY

Pop Shop Designer Con Exclusive Colorway- Medicom, Bagged and Header Carded,
Made in China, Size: 9” Tall
Condition:
Excellent- slight age toning.
Provenance:
Private Collection, Zurich

"Keith Haring", 12-STICKER Exhibition Catalogue, 1983, Watari Gallery Japan,, 12-Silkscreen Stickers, Not Signed (as issued).
Condition:
Near MINT- very slight age toning, typical.
Provenance:
Private Collection, Japan

ALSO AVAILABLE THE CORRESPONDING EXHIBITION POSTER

"Keith Haring 84", Tony Shafrazi Gallery, 1984, Exhibition Street Advert Pasteup Poster, Lithograph on bond paper, 45 × 29 1/2 in. (114.3 × 74.9 cm)
Condition:
Excellent- slight age toning, very slight broken edges.
Provenance:
Tony Shafrazi Gallery, NYC
Private Collection, NY

"Keith Haring- Self Portrait", Exhibition Catalogue First Edition(1982), Tony Shafrazi Gallery, Signed/Dated (1987) with Doodle (self-portrait) on front cover, original spiral-bound neon pink pictorial wrappers, catalogue designed by Dan Friedman, printed at the Fleetwood Press New York, This is a unique work.
Condition:
Near MINT- few minor surface imperfections. (see pics)
Provenance:
Swann Auction Galleries, NY
Hemphill Collection, NY

a UNIQUE piece of 1980's NYC ARTSEEN ephemera.

"HAPPY BIRTHDAY 1985 JOHN SEX- LOVE, KEITH",
Brooke Shields by Richard Avedon and Keith Haring, Poster, 1985, UNIQUE Test Version, Double Image, Signed / Dated / Inscribed Twice- John Sex at upper left & lower right corners by KH (replicating double image), offset print in colors on smooth wove paper, published by Andrew Grenshaw Ltd. New York,
25-1/2 x 36 in. (64.8 x 91.4 cm).
Condition:
Near MINT- slight crease at right bottom corner(see pics).
Provenance:
John Sex, NY (performance artist)
Heritage Auctions, NY
Private Collection, Miami

Note:
John Sex (John McLaughlin), attended the School of Visual Arts in New York City, where he knew Keith Haring and Jean-Michel Basquiat. He often used the print studio there to create punk-style posters for downtown bands, and later for himself. He exhibited some of his word-based art at the "Beyond Words" show at the Mudd Club – alongside artists such as Haring, Kenny Scharf, and Futura 2000 and performers Iggy Pop, Fab Five Freddy and Alan Vega – and at the "New York / New Wave" exhibition at P.S. 1, both in 1981.

original version of this poster is available

"To Timothy Leary", 1988 Calendar, Keith Haring 1988 Calendar, signed / addressed to his dear friend Timothy Leary (Tim) and family Barba-ra, Zach (letters "RA" is a continuation of the name Barba-ra), with letter from the Estate of Timothy Leary & Zach's (son) DL both notarized.
A historical/cultural significant piece of the Haring and Leary's friendship a important piece of late 20th century Americana.

Condition:
Excellent- slight wear on covers, smeared "R" when signed in person and thus fresh.
Provenance:
Timothy Leary Estate, NY
Hemphill Collection, NY

"Time Shift Video", 1987,
Store brochure (graphics by Haring), card stock, video production Time Shift Video-659 Broadway NYC,
9 x 4 in. (folded).
Condition:
Excellent-slight crease on corner/minor scuffing
(see pics).
Provenance:
Private Collection, Zurich

"Three Eyed Condom Case", Belt Clip, Black and White. Bought directly from the POP Shop NYC in the 80's, Condoms not included .
Condition: Near MINT, very RARE

With an Original Photo of the POP SHOP 1980's, on Kodak Paper.
ONLY 2 CASES FOR SALE ONE WITH ORGINAL WRAPPED CONDOM AS ISSUED.

"KAWS...10", Signed/Dated (metallic sharpie), 2010, First Edition, Publisher- Rizzoli, First comprehensive survey of the artist's work. Signed during Kaws exhibition in Japan.
Condition:
MINT- only opened for signature.

"KAWS", 2010, Signed / Tagged (rare without dedication), 1st Edition, Author: Monica Ramirez-Montagut, Published by Rizzoli, Purchased from Honor Fraiser Gallery in Los Angeles years ago .

Condition: Near MINT- no issues.

"KAWS...10", Signed & Dated Cloud Drawing (first page), 2010, exhibition catalogue, Publisher Skira Rizzoli for the Aldrich Museum, metallic marker on paper, hardcover cloth & clear plastic dust jacket, inscribed KAWS...10, Author: Ramirez-Montagut & Monica Germano Celant, 256 pages, signed in Japan, 8-1/2 x 11 in.
Condition:
Near MINT- no issues.
Provenance:
Private Collection, Japan
Note:
A vibrant look at the celebrated artist and designer KAWS known for his work as a graffiti artist and his subversive approach to popular imagery on bus shelter and phone booth advertisements. This is the first comprehensive survey of the artist's body of work.

"BETON BLUMEN-Street Art Passage Vienna- Quartier 21",
2006, UNIQUE SIGNED DRAWING, Edition 29/100, Magazine Museum Vienna, 20 pages + signed insert, staple-bound, German/English, 13 x 18 cm.
Condition:
MINT
Provenance:
Museumsquarter, Vienna
Private Collection, NY

Note:
Featuring the invasion of vienna 2006 on the occasion of the opening
of the invader bridge at Museumsquarter Vienna 2008.

Exhibition (15) postcards for the Musee en Herbe Paris, hand stamped by INVADER, sold out,

Condition: MINT

Provenance: Private Collection, NY

Exhibition Catalog, 2009 (009), Signed, Sketched and numbered (10/50), Johnathan LeVine Gallery, NYC. Edition of 50 signed and numbered copies, and 550 not signed.
Softcover, 8.26" x 8.26"in. 64 pages, Featuring exhibited works and a mini-guide of the Invasion of New York.

"BALLOON ART 4- SPACE MIAMI", 2012, limited edition for Art Basel Miami Beach,
Polyurethane/plastic/screen-print, vacuumed sealed, never opened, 4 x 4.5 in.
Condition:
MINT- never opened.
Provenance:
Art Basel Miami Beach, 2012
Private Collection, NY

Set of 75 Puffy Stickers, Limited Edition of 1000, not signed.
75 space invaders which were installed in Hong Kong from August 2001 to November 2014.

Condition: Mint

Manufacturer: INVADER

"Wipe Out, Kung Fu Club", T-Shirt, Yellow, Size Medium, New in Vacuum Sealed Invader Space-Bag W/ Label. Very Limited Edition.

"STICK YOUR SPACE",2015
Pack of TEN Silk Screened Vinyl Stickers, Still Sealed.,
4-3/10 × 3-1/2 in. (11 × 9 cm.)
Condition:
MINT- never opened.
Provenance:
Private Collection, Japan

Mike Kelley- "Little Friend", 2007, Plush Doll. Edition of 800, Doll Only NO BOX, Voice function doesn't work.
Sold as is.

Purchased at the Museum of Contemporary Art, Los Angeles.

"Jean-Michel Basquiat- December 1982", Galerie Delta Rotterdam, 1982, First edition, Square octavo. Exhibition catalogue published for the the exhibition at Galerie Delta, Rotterdam December 1982. This is the first catalogue ever published on Basquiat's work, it was his sixth one man show. The catalogue features five color plates, a photo of Basquiat, and a biographical text in Dutch by Hans Sonnenberg.
Condition:
Excellent example(see pics).
Provenance:
Galerie Delta Rotterdam, Germany
Private Collection, NY

2 PIECE SET-"Jean-Michel Basquiat", 1984, Exhibition INVITE & CATALOGUE,
Mary Boone/Michael Werner Gallery NYC, not signed (as issued).
Condition:
Near MINT (see pics).
Provenance:
Mary Boone Gallery NY
Hemphill Collection, NY

"Jean-Michel Basquiat, Milan Italy 1984", 1986, Silver Gelatin Print (matte),
Edition of 5/25, Closed edition signed on verso.
Also included original exhibition invitation signed by JK.
Image 19.5 x 16 in. (49.53 × 40.64cm)
Condition:
MINT (front), hing residue (verso)
Provenance:
Acquired directly from artist (email correspondence included).
VRW Hemphill Collection, NY

"DRAWINGS," 1985, SIGNED Edition Bruno Bischofberger/Boone, SIGNED & Numbered xxx/1000,
Illustrated book of 32 full-page reproductions.
Published on the occasion of the exhibition of the artist organized
by the Bischofberger gallery Zurich in 1985.
Condition:
Near MINT- no issues, no fading.
Provenance:
Hemphill Collection, NY

ARTFORUM, “The Radiant Child”, December 1981, not signed,
Publisher: Artforum International.

Author-René Ricard’s essay entitled “The Radiant Child.” Not only was it written by someone who knew him, it’s also one of the first in-depth critical responses to his art.
The article first appeared in the December 1981 issue of Artforum. What surprised me most about the essay perhaps is that even though the article is most closely associated with Basquiat’s career, it discusses other artists as well. It’s so associated with Basquiat today, by the way, that a documentary on him produced in 2009 was called The Radiant Child even though that title comes from work made by Basquiat’s contemporary Keith Haring. Basquiat is talked about at length in the article for sure, but other artists are mentioned and discussed in an effort to place graffiti art squarely within art historical practices.

The goal of “The Radiant Child” is not to only bolster Basquiat’s career, but to place him within a history of art making that was evolving outside of the traditional art museum and art education system. Basquiat is held up as an exemplar of that movement, but he is part of a movement that also includes other important artists. Basquiat (as well as Haring and Judy Rifka) are the artists who were transforming graffiti art into in to fine art. In Ricard’s words:

“Artists have a responsibility to their work to raise it above the vernacular. Perhaps it is the critic’s job to sort out from the melee of popular style the individuals who define the style, who perhaps inaugurated it … and to bring them to public attention.”

-René Ricard, “The Radiant Child”, ArtForum International, December 1981

That statement really brings into focus that reasons why Ricard saw Basquiat as so transformative. He came from the realm of street art, but his paintings weren’t just re-creations of his graffiti tags. They referenced graffiti art, but looked like works of art that belonged in an art gallery. Again, Ricard says it best:

“…what the pictures are internally about is what matters. If you’re going to stand up there with the big kids you’ve got to be heavy, got to sit on a wall next to Anselm Kiefer next to Jonathan Borofsky next to Julian Schnabel and these guys are tough they can make you look real sissy. There’s only one place for a mindless cutie and it ain’t the wall, Jack”

V I N C E fine arts/ephemera
miami, florida usa
tel. 305 205 5820
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email. info@vincefinearts.com

"Food for the Soup Kitchens", 1983, Fashion Moda, Exhibition Poster,
Offset lithograph on semi-gloss paper, Mounted to foam board with original wood/glass period frame,
17-3/4 × 12 in. (45.1 × 30.5 cm).
Condition:
Excellent- slight age toning (see pics).
Provenance:
Private Collection, NY
Note:
Basquiat created a special drawing for the poster to publicize the "Food for the Soup Kitchens" benefit exhibition held in 1983 at Fashion Moda in the Bronx and the Store for Art and Architecture in downtown NYC. The bottom portion of the poster lists the participating artists including Basquiat, Daze, Keith Haring, Carolee Schneeman, Kiki Smith, David Wojnarowicz, and Taylor Mead, bottom prints the schedule for various exhibitions and performances at the two venues. A work from very early in Basquiat's career.

THE TIME SQUARE SHOW- "The First Radical Art Show of the "80s", 1980, FIRST REVIEW OF THIS HISTORIC SHOW, The Village Voice- Vol. XXV No. 24, written by Richard Goldstein, now-famous participants such as Jenny Holzer, Nan Goldin, Keith Haring, Kenny Scharf, and Basquiat were all just beginning their careers, and it was Basquiat’s first show as both the graffitist SAMO and a painter. NOT FULL NEWSPAPER- ONLY PAGES RELATING TO THE SHOW.
Condition:
Very good- age toning throughout (see pics).
Provenance:
Estate Private Collection, NY

Note:
In the spring of 1980, sculptors Tom Otterness and John Ahearn noticed a “for sale or rent” sign on an abandoned building just off Times Square, at 41st Street and 7th Avenue. They were members of Collaborative Projects, Inc., or Colab, an artists’ organization whose approximately fifty members considered themselves social activists as much as artists. Several months earlier, members of Colab had worked with an affiliate group based in the Lower East Side, ABC No Rio, to mount The Real Estate Show in an abandoned building on Delancey Street in the Lower East Side of Manhattan without permission of the landlord. The artists broke into the building on December 30, 1979, more artists and community members joined them to stage performances and install artworks, and three days later the police evicted them at the bidding of the Department of Housing Preservation and Development (Committee).
Although records were not kept to document the identity of the participants, the organizers deemed the show a success in terms of community outreach and involvement. The intention had been to draw attention to buildings that languished decrepit at a time when the need for affordable housing was dire: city offices and landlords seemed to conspire in favor of future profits rather than address the immediate needs of low-income New Yorkers. Colab recognized the 41st Street building as another site from which to critique systems of power as articulated in the control of property. Times Square was a vital if seedy public space that Mayor Abe Beame had targeted for renewal. With the exhibition they planned, Colab wanted to speak to and for the neighborhood’s multi-racial and economically-diverse population of residents, visitors, and contributors to legal and illegal enterprises. They negotiated with the building’s owner Mark Finkelstein, who agreed to lend them use of the space for a month in June (Deitch 60). Backed with funds from the National Endowment for the Arts and a dozen other organizations, Colab solicited proposals for site-specific installations and received a landslide (Lippard 78).
John Ahearn explained the appeal of the Times Square site like this: “Times Square is a crossroads. A lot of different kinds of people come through here. There is a broad spectrum, and we are trying to communicate with society at large” (Sedgwick 21). The Times Square Show would investigate how art could communicate across race, class, and gender divides and represent a complex urban identity. Colab organized the show with the founders of an alternative space, Fashion Moda in the South Bronx, and benefitted from their experience practicing democratic outreach. Times Square was a potent realization of late capitalist culture, where an economy of signs dominated. In such an environment, themes of sex and violence in a raunchy hand-made style were most likely to stand out amidst the cacophony of commerce. Paintings based on pulp novel covers, drawings of policemen, prints of dollar bills and rats, and life-casts of the disenfranchised: these rough and ready images communicated futility and desperation. Thus, The Times Square Show established a model for collaboration and a mode for addressing a broad audience that shaped the downtown art world of the early 1980s.
Approximately one hundred artists contributed to The Times Square Show. Some were selected on the basis of their applications, others installed their work guerrilla-style in the unsecured building. There were no wall texts to identify the artists, who picked whatever available space appealed. Recognizable imagery dominated as did a do-it-yourself aesthetic; finish and craftsmanship were strenuously avoided. The “Money Love and Death” room featured pictures of money, guns, plates, and rats as wall paper;
The Times Square Show demonstrated the cultural possibilities that existed in the neighborhood already by attracting both art professionals and local workers through its doors. Unlike virtually all museums or commercial galleries, about half the participants were women and more than one-tenth were artists of color (Goldstein 31). Women and minorities were highly visible in the Times Square marketplace to a degree that they were not in the established art world institutions, so including their points of view was a sensible strategy for community outreach. Some women and black artists took the opportunity to engage in identity politics. Aline Mayer and Jane Sherry mounted a protest against violence against women which, they implied, was fueled by the pornography industry just outside The Times Square Show’s doors and reiterated in language used to demean women. They hung nightgowns and dresses slashed with “CUNT” and “WHORE” in paint, alongside collages of porn magazine photos of vaginas. One compelling element in their installation was a girl’s frock strewn with candy nipples, which alludes to the sexual exploitation of children, the infantilization of women, and cultural pressure on girls to take on the accoutrements of adult women, all of which were concerns that occupied feminists. Other artists explored a sex-positive feminist politics as a strategy of empowerment. Erika Van Dam, in the persona “Chi-Chi” performed a striptease in The Times Square Show lobby, wagering that the art show context was sufficient to differentiate it from similar performances in Times Square strip clubs. One of the most powerful pieces by a black artist, noted by several reviewers, was Candace Hill Montgomery’s large, multi-panel drawing of a black man, beaten and lynched. It was framed in plexiglass and hung by chains from the ceiling, a striking juxtaposition of formal restraint and physical violence and a metaphor for racism (Deitch 63, Lippard 78). Alongside professional artists, untrained artists also participated, such as Willie (Bill) Neale who sculpted canes out of tree branches, and SAMO (soon to be better known as Jean-Michel Basquiat), whose gnomic graffiti were familiar sights on SoHo walls but here contributed an abstract canvas to the fourth floor Fashion Lounge (Goldstein 31).

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