Gauntlet Gallery
What is Shepard Fairey’s piece called “Little Lions”?
Artist Statement
Screen printed 18 inches x 24 inches screen print on cream Speckle Tone paper. Numbered edition of 350. Signed by Shepard Fairey.
Summary
Little Lions is a 2016 screen print published by Noise Project, measuring 18 by 24 inches and printed on cream Speckle Tone paper. It was issued in a numbered edition of 350 and is signed by Shepard Fairey. Published outside Fairey's usual Obey Giant channel, the work falls within his collaborations-and-pop-culture output. The standard format, cream textured stock, and mid-size edition make it an accessible signed example. With limited descriptive detail in the source about its imagery, it reads as a music- or culture-adjacent collaboration rendered in Fairey's graphic print vocabulary.
Why It Matters
Little Lions is notable in part for its publisher: rather than Obey Giant, it was released through Noise Project, a music-oriented outlet, which signals its place among Fairey's culture- and music-adjacent collaborations. This kind of outside-publisher release broadens the contexts in which Fairey's work appears and adds interest for collectors who track the full range of his collaborative output beyond his own imprint. Signed by Shepard Fairey and issued in a numbered edition of 350 on cream Speckle Tone paper, the print carries the standard collectible credentials at an accessible scale and price. The cream Speckle Tone stock and 18-by-24-inch format tie it materially to other Fairey screen prints of 2016, giving it a consistent place within that year's body of work. The source provides limited interpretive detail about the imagery itself, so the work is best understood as a mid-edition collaborative screen print rather than a marquee statement piece. Its value to collectors lies in completeness, the Noise Project association, and the appeal of a signed Fairey original at an approachable level, making it a sensible building block for a collection oriented around his collaborations rather than a headline acquisition.
Collector Perspective
This print suits collectors who track Fairey's collaborations and outside-publisher releases, with the Noise Project imprint distinguishing it from his standard Obey Giant drops. The accessible 18-by-24-inch size, cream Speckle Tone stock, and signed edition of 350 make it an easy, affordable addition for those building breadth in their Fairey holdings. It pairs naturally with other 2016 collaboration prints of comparable scale and material. Buyers who value completeness, or who want a signed Fairey original without a premium price, will find it a practical, display-friendly piece. Its modest format makes it simple to frame and group alongside related releases from the same period.
Historical Context
Little Lions belongs to Fairey's mid-2010s collaborative output, released in 2016 through Noise Project rather than his own Obey Giant imprint. The outside-publisher context places it among the culture- and music-adjacent collaborations that periodically appear in his catalog. Materially, its cream Speckle Tone paper and 18-by-24-inch format align it with other Fairey screen prints of the period, while the signed, numbered edition of 350 reflects the standard distribution model for his accessible releases. It sits alongside contemporaneous collaboration prints such as I See Static and Black Sabbath - The End, part of the broad pop-culture stream that runs parallel to his political work.
FAQ
Who published Little Lions?
According to the source, Little Lions was published by Noise Project rather than Fairey's usual Obey Giant imprint. The outside-publisher context places it among his music- and culture-adjacent collaborations, of interest to collectors tracking his full collaborative range.
What are the size and edition?
The print measures 18 inches by 24 inches and was issued in a numbered edition of 350, printed on cream Speckle Tone paper. The standard size and mid-range edition make it an accessible signed example within Fairey's catalog.
Is it signed?
Yes. The source states the print is signed by Shepard Fairey. It is a screen print from 2016 on cream Speckle Tone paper, carrying the standard signed-and-numbered collectibility of his releases.
How does it fit a Fairey collection?
It works as an accessible, signed collaboration print that broadens a collection beyond Obey Giant releases. Its cream stock and 18-by-24-inch format tie it materially to other 2016 Fairey screen prints, making it easy to group with related work.
Related Works
About the Artist
Shepard Fairey (b. 1970, Charleston, South Carolina) is an American street artist, graphic designer, and activist, and a graduate of the Rhode Island School of Design. His 1989 “André the Giant Has a Posse” sticker grew into the global OBEY GIANT campaign — an ongoing experiment in propaganda, obedience, and visual culture. He reached worldwide recognition with the 2008 “Hope” portrait of Barack Obama, now held by the Smithsonian National Portrait Gallery. Across screen prints, stencils, murals, and collage, Fairey channels propaganda aesthetics toward themes of peace, justice, environmentalism, and civil rights. His work is in the collections of the Museum of Modern Art, the Victoria & Albert Museum, and LACMA.