SHEPARD FAIREY (B. 1970) (i) SF Fire Escape (ii) Bayshore Billboard (iii) SD Billboard (iv) 2nd...

SHEPARD FAIREY (B. 1970) (i) SF Fire Escape (ii) Bayshore Billboard (iii) SD Billboard (iv) 2nd Amendment 2011-2012 (i), (ii) and (iii): signed, numbered 1/2 and inscribed HPM; signed, numbered 1/2 and inscribed HPM on the reverse (iv): signed, numbered 2/2 and inscribed HPM; signed, numbered 2/2 and inscribed HPM on the reverse Each: silkscreen and mixed media collage on wood, HPM (wood), in the artist's frames Each: 61 by 45.7 cm. 24 by 18 in. (i), (ii) and (iii) were executed in 2011 and are number 1 from an edition of 2, and (iv) was executed in 2012 and is number 2 from an edition of 2. Footnotes: Provenance StolenSpace Gallery, London Private Collection, UK Acquired from the above by the present owner Bonhams are delighted to present for sale, a selection of important Street art from a distinguished Private Collection. Street art and graffiti can be traced back to the early 20th century and is deeply rooted in the urban landscapes of major cities. In the 1920s and 1930s, criminal groups marked cars and trains with symbols and messages, laying the groundwork for what would become a global movement. However, it was the 1960s and 1970s that truly marked the birth of modern street art, particularly in cities such as New York, Philadelphia, and London. During these transformative decades, graffiti evolved from rudimentary tags to more elaborate and stylised expressions. Pioneers like Cornbread and Cool Earl used graffiti to display their names and convey provocative messages, mirroring the social change and artistic revolution of the era. Amid the economic decline, social unrest, and deteriorating infrastructure of New York City in the 1970s, disenfranchised youth found their voice through Street art. Using spray paint as their medium, these artists transformed the city's walls into vibrant galleries where bold and thought-provoking messages sparked conversations and captured attention. Initially dismissed as mere vandalism, graffiti evolved into a powerful means of self-expression for marginalised communities. Figures like TAKI 183 and COCO 144 became synonymous with the movement, their tags proliferating across the city. Despite intensified crackdowns and increased surveillance by authorities, Street art symbolised resilience and artistic rebellion against societal neglect and inequality. The 1980s saw graffiti transcend local boundaries, evolving into a global phenomenon. Artists such as Keith Haring and Jean-Michel Basquiat bridged the divide between high art and street culture, collaborating with mainstream figures like Andy Warhol and capturing the art world's attention. Identified by bold lines, electric colours, and cartoonish figures, their work communicated meaning to a diverse audience, irrespective of background. This period marked a significant shift in perception; Street art began to be celebrated as a legitimate form of artistic expression. Exhibitions and commercial opportunities, such as Haring's Pop Shop, brought the movement to a wider audience, transforming its reputation from vandalism to a celebrated form of contemporary art. Today, works by these pioneers have become highly sought after by private collectors and public institutions alike, and regularly achieve record prices at auction. San Francisco native Barry McGee, known for his work under the moniker Twist, was influenced by the Mission School movement, which draws inspiration from urban realism, graffiti, and American folk art, with a strong emphasis on social activism. His graffiti, offers candid and insightful critiques of contemporary society, consistently advocating for marginalised communities. McGee addresses issues such as consumerism and social stratification through various artistic personas, including Ray Fong, Lydia Fong, P. Kin, Ray Virgil, and B. Vernon. In Untitled 5 (Blue Head, Geometric Group) 2006, McGee's signature motif, a male caricature with droopy eyes, reflects his deep empathy for those who call the streets their home. Combining diverse experiences, McGee has developed a distinctive visual language marked by geometric patterns, recurring symbols, and the innovative 'cluster method' which can be seen in the present work. He experiments with unconventional media, incorporating enamel, glass bottles and other found objects into his work. His recent large-scale murals and meticulous archive of paintings and drawings explore the dynamics of public versus private space and the accessibility of art, reinforcing his commitment to social engagement and artistic innovation. Similarly, Os Gemeos's Untitled from 2012 features bold geometric lines and illustrative characters, with long-limbed, yellow-skinned figures representing a universal figure transcending race and culture. Otavio and Gustavo Pandolfo, the Brazilian twins behind Os Gemeos, gained recognition for their work commenting on social and political issues in São Paulo. Their artistic journey took a pivotal turn in 1994 when they met Barry McGee in São Paulo. Despite the language barrier, the three artists bonded over their shared passion for graffiti. McGee, unable to speak Portuguese, and the Pandolfo twins, unable to speak English, would sit together, silently drawing for hours each night over the course of nine months. This profound collaboration inspired Os Gemeos to quit their jobs in a bank, allowing them to dedicate themselves entirely to their art and immerse themselves in their studio. Soon after, 12oz Prophet Magazine conducted an interview with them, significantly boosting Os Gemeos' fame. The resulting exposure marked the first time their work reached audiences beyond South America, signalling the beginning of their international recognition. Today, their work has been exhibited extensively worldwide and is part of numerous public collections including The Franks-Suss Collection, London and the Museu de Arte Moderna, São Paulo. Artists Shepard Fairey and José Parlá have masterfully blurred the lines between traditional and commercial art through their innovative use of type and imagery. Shepard Fairey, who was responsible for the iconic Barack Obama 'Hope' poster for the 2008 Presidential campaign, has created some of the most recognisable and highly priced street art globally. Fairey's influential work is characterised by a bold, iconic style that stylises and idealises images. In pieces like SF Fire Escape, Bayshore Billboard, SD Billboard, and 2nd Amendment (2011-2012), his signature OBEY logo is prominently featured, executed in his distinctive palette of black and red. These works, part of Fairey's HPM on wood archives, exemplify his talent for creating depth through layered imagery. José Parlá, who has previously collaborated with Fairey, is equally celebrated, with roots in the graffiti scenes of Miami and New York. Parlá's large-scale murals, photography, video, and sculpture blend paint, writing, and found objects in a dance of textures and decay, capturing the essence of urban environments. His abstractions, such as those in Inversed Reality (2006), reflect the ephemeral layers of city walls, revealing histories that are continually being rewritten. The present work showcases Parlá's signature chaotic yet mechanical lettering style over a backdrop reminiscent of a vandalised stone wall, where black and white text creates a striking visual language. Parlá's contributions to contemporary street and graffiti art are significant, with murals adorning the streets of Havana, Cuba. By the end of the 20th century and the dawn of the 21s For further information about this lot please visit the lot listing