Super Heros Metal Sign Spider man Silver Surfer DC Comic Book Avenger Bat Super

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Seller: checkoutmyunqiuefunitems ✉️ (3,712) 99.9%, Location: Manchester, Take a look at my other items, GB, Ships to: WORLDWIDE, Item: 276105424416 Super Heros Metal Sign Spider man Silver Surfer DC Comic Book Avenger Bat Super. Super Heroes Metal Sign This is a Tin Sign which shows Super Heros on a Girder It is taken from the Icon 1920s New York image "Lunch atop a Skyscraper" It Includes Super Heros Such as Wonder Woman, Captain America, Iron Man, Batman, Wolvene, The Incredible Hulk, Superman, The Human Torch, Spiderman and The Silver Surfer The Dimensions are 300 mm x 200 mm and it is made of Metal and weights 150 grams In Excellent Condition Would make an Excellent Wall Decoration maybe in a Man Cave ? or a great unique birthday or unusual christmas gift A Beautiful coin and Magnificent Keepsake Souvenir of  all great Superheros In Excellent Condition To see my other Similar Items please see my other items Bid with Confidence - Check My 100% Positive Feedback from over 600 Satisfied Customers I have over 10 years of Ebay Selling Experience - So Why Not Treat Yourself? I have got married recently and need to raise funds to meet the costs also we are planning to move into a house together     All Payment Methods in All Major Currencies Accepted. All Items Sent out within 24 hours of Receiving Payment. 

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Lunch atop a Skyscraper (New York Construction Workers Lunching on a Crossbeam) is a photograph taken atop the steelwork of 30 Rockefeller Plaza, during the construction of the Rockefeller Center, in Manhattan, New York City, United States. Overview The photograph depicts 11 men eating lunch, seated on a girder with their feet dangling 840 feet (260 meters) above the New York City streets. The photograph was taken on September 20, 1932, on the 69th floor of the RCA Building during the last months of construction. According to archivists, the photograph was in fact prearranged. Although the photograph shows real ironworkers, it is believed that the moment was staged by Rockefeller Center to promote its new skyscraper. Other photographs taken on the same day show some of the workers throwing a football and pretending to sleep on the girder.[1] The photo appeared in the Sunday photo supplement of the New York Herald Tribune on October 2, 1932.[2] Author Formerly attributed to "unknown", and often misattributed to Lewis Hine, it was credited to Charles C. Ebbets in 2003. Evidence confirming his authorship held in the Ebbets' Estate archives include original work orders showing invoices to Rockefeller Center for the time period surrounding the photo, letters of recommendation from his work at Rockefeller Center when the photo was taken, a copy of the original article from the NY Herald Tribune when the photo first appeared in 1932 in his own scrapbook of his work, photos from his office in NY taken in 1932 showing the image on a bulletin board display of his work, and a negative of him at work on the site that day.[3][4][5][6][7][8] Alternative candidates mentioned as possibly having taken the photo include two other photographers, William Leftwich and Thomas Kelley, who were seen in Rockefeller Center images around that time, but no evidence has ever been produced that either one of them took the image. Ebbets was also documented to have been an independent contractor working at the time with the Hamilton Wright Jr. ad agency, which is known to have been hired by Rockefeller Center in 1932 to help with PR for the project. Men in the image There have been numerous claims regarding the identities of the men in the image. The National Museum of the American Indian claimed to identify three Native Americans in the photo.[9] The movie Men at Lunch traces some of the men to possible Irish origin, and the director reported in 2013 that he planned to follow up other claims from Swedish relatives.[10] The film confirms the identities of two men: Joseph Eckner, third from the left, and Joe Curtis, third from the right, by cross referencing with other pictures taken the same day, on which they were named at the time.[3] The first man from the right has been identified as Slovak worker Gustáv (Gusti) Popovič from the village of Vyšný Slavkov in the Levoča District of Slovakia. Popovič was originally a lumberjack and carpenter. In 1932 he sent his wife Mária (Mariška) a postcard with this photograph on which he wrote, "Don´t you worry, my dear Mariška, as you can see I'm still with bottle. Your Gusti."[11][12] Gustáv and Mária's joint grave in the Vyšný Slavkov cemetery is decorated with the picture.[13] References Gambino, Megan (September 19, 2012). "Lunch Atop a Skyscraper Photograph: The Story Behind the Famous Shot". www.smithsonianmag.com. Retrieved November 29, 2017. "Lunch Atop A Skyscraper: The Story Behind The 1932 Photo". YouTube. Time. Anderson, John (November 8, 2012). "'Lunch Atop a Skyscraper' Uncovered". The New York Times. A photo finished | StarNewsOnline.com Parente, Audrey (August 15, 2012). "Ormond woman, daughter document legacy". Daytona Beach News-Journal. Perkins, Corinne (September 20, 2012). "Protecting an iconic image". Photographers' Blog. Reuters. Pollak, Michael (March 9, 2012). "Answers to Questions About New York". The New York Times. Robinson, Dean (September 2, 2011). "Reaching the Heights". The New York Times. Archived from the original on January 2, 2013. Cross, Ashley (October 26, 2003). "Up in the Air; Mystery Deepens in Old Pic". New York Post. Bergström, Håkan (January 5, 2013). "Högt över New York satt bondpojkarna från Okome". Hallandsposten (in Swedish). Vodička, Milan (October 1, 2013). "Oběd na vrcholu mrakodrapu: jak to opravdu bylo". Mladá fronta DNES (in Czech). Schniererová, Diana (August 12, 2016). "Tak stavjame Ameriku, písal Gusti zo slávnej fotografie". www.sme.sk (in Slovak).     "Okamih slávy Gusti Popoviča nad Manhattanom: Slovák, ktorý vošiel do histórie vďaka fotografii | Slovenskézahraničie.sk". www.slovenskezahranicie.sk (in Slovak). November 11, 2014. External links     Lunch Atop A Skyscraper: The Story Behind The 1932 Photo short documentary, part of TIME's 100 photos series     Contrera, Jessica (September 1, 2019). "One of the most iconic photos of American workers is not what it seems". Washington Post.     vte Rockefeller Center Buildings    Original complex        30 Rockefeller Plaza         Rainbow Room 1250 Avenue of the Americas 1270 Avenue of the Americas Radio City Music Hall Simon & Schuster Building         Center Theatre British Empire Building International Building International Building North La Maison Francaise Palazzo d'Italia 600 Fifth Avenue 1 Rockefeller Plaza 10 Rockefeller Plaza 50 Rockefeller Plaza Later buildings        75 Rockefeller Plaza 1211 Avenue of the Americas 1221 Avenue of the Americas 1251 Avenue of the Americas 1271 Avenue of the Americas History        Elgin Botanic Garden Construction Art        Atlas Lunch atop a Skyscraper Man at the Crossroads Prometheus Other structures        608 Fifth Avenue Christmas tree Nintendo New York NBC Studios Rockefeller Plaza St. Nicholas Church Subway station Notable figures        Raymond Hood Wallace Harrison Ivy Lee Rockefeller family         John D. Rockefeller John D. Rockefeller Jr. Nelson Rockefeller Owners        Beacon Capital Partners Rockefeller Group Tishman Speyer Books        Great Fortune: The Epic of Rockefeller Center Categories:     1932 works1932 in artRockefeller CenterBlack-and-white photographsWorks originally published in the New York Herald TribunePhotographs of the United States1930s photographs A superhero or superheroine is a stock character that possesses abilities beyond those of ordinary people, who typically uses his or her powers to help the world become a better place, or is dedicated to protecting the public, and stopping evil. Superhero fiction is the genre of fiction that is centered on such characters,[1] especially in American comic books since the 1930s (and later Hollywood films), as well as in Japanese media (including kamishibai, tokusatsu, manga, anime and video games) since the 1930s. Superheroes come from a wide array of different backgrounds and origins. Some superheroes (for example Batman and Iron Man) derive their status from advanced technology they create and use, while others (such as Superman and Spider-Man) possess non-human or superhuman biology or study and practice magic to achieve their abilities (such as Zatanna and Doctor Strange).[2][3][4] While the Dictionary.com definition of "superhero" is "a figure, especially in a comic strip or cartoon, endowed with superhuman powers and usually portrayed as fighting evil or crime",[5] the longstanding Merriam-Webster dictionary gives the definition as "a fictional hero having extraordinary or superhuman powers; also: an exceptionally skillful or successful person."[6] Terms such as masked crime fighters, costumed adventurers or masked vigilantes are sometimes used to refer to characters such as the Spirit, who may not be explicitly referred to as superheroes but nevertheless share similar traits. Some superheroes use their powers to help fight daily crime while also combating threats against humanity from supervillains, who are their criminal counterparts. Often at least one of these supervillains will be the superhero's archenemy. Some popular supervillains become recurring characters in their own right; and long-running superheroes and superheroines such as Batman, Superman, Wonder Woman, Spider-Man, Captain America and Iron Man have a rogues gallery of many such villains. History Main articles: Superhero fiction § History, History of comics, Superhero film, and Tokusatsu 1900-1939 Fox Feature Syndicate's 1930s–1940s superhero the Flame. The word superhero dates back to 1917.[7] Antecedents of the archetype include such mythologic characters like Gilgamesh, Hanuman, Perseus, Odysseus, David, and demigods like Heracles,[8][9] as well as folkloric heroes as Robin Hood, who adventured in distinctive clothing.[10] Real life inspirations behind costumed superheroes can be traced back to the "masked vigilantes" of the American Old West such as the San Diego Vigilantes[11][12] and the Bald Knobbers[13] who fought and killed outlaws while wearing masks.[14] The 1903 British play The Scarlet Pimpernel and its spinoffs popularized the idea of a masked avenger and the superhero trope of a secret identity.[10] Shortly afterward, masked and costumed pulp fiction characters such as Jimmie Dale/the Gray Seal (1914), Zorro (1919), Buck Rogers (1928), The Shadow (1930), Flash Gordon (1934), and comic strip heroes, such as the Phantom (1936) began appearing, as did non-costumed characters with super strength, including the comic-strip characters Patoruzú (1928) and Popeye (1929) and novelist Philip Wylie's character Hugo Danner (1930).[15] In August 1937, in a letter column of the pulp magazine Thrilling Wonder Stories, the word superhero was used to define the title character of the comic strip Zarnak by Max Plaisted.[16][17] In the 1930s, the trends converged in some of the earliest superpowered costumed heroes, such as Japan's Ōgon Bat (1931) and Prince of Gamma (early 1930s), who first appeared in kamishibai (a kind of hybrid media combining pictures with live storeytelling),[18][19] Mandrake the Magician (1934),[20][21][22] Olga Mesmer (1937)[23] and then Superman (1938) and Captain Marvel (1939) at the beginning of the Golden Age of Comic Books. The precise era of the Golden Age of Comic Books is disputed, though most agree that it was started with the launch of Superman in 1938.[24] Superman has remained one of the most recognizable superheroes,[24] and his success spawned a new archetype of characters with secret identities and superhuman powers.[25][26][27] At the end of the decade, in 1939, Batman was created by Bob Kane and Bill Finger. 1940s America's Best Comics #7 October 1943 During the 1940s there were many superheroes: The Flash, Green Lantern and Blue Beetle debuted in this era. This era saw the debut of one of the earliest female superheroes, writer-artist Fletcher Hanks's character Fantomah, an ageless ancient Egyptian woman in the modern day who could transform into a skull-faced creature with superpowers to fight evil; she debuted in Fiction House's Jungle Comic #2 (Feb. 1940), credited to the pseudonymous "Barclay Flagg".[28][29] The Invisible Scarlet O'Neil, a non-costumed character who fought crime and wartime saboteurs using the superpower of invisibility created by Russell Stamm, would debut in the eponymous syndicated newspaper comic strip a few months later on June 3, 1940.[30] In 1940, Maximo the Amazing Superman debut in Big Little Book series, by Russell R. Winterbotham (text), Henry E. Vallely and Erwin L. Hess (art).[31][32] Mr. Scarlet, the "Red Raider of Justice", a superhero appearing in Wow Comics (1940) Captain America also appeared for the first time in print in December 1940, a year prior to the attack on Pearl Harbor by the Japanese government, when America was still in isolationism. Created by Joe Simon and Jack Kirby, the superhero was the physical embodiment of the American spirit during World War II. One superpowered character was portrayed as an antiheroine, a rarity for its time: the Black Widow, a costumed emissary of Satan who killed evildoers in order to send them to Hell—debuted in Mystic Comics #4 (Aug. 1940), from Timely Comics, the 1940s predecessor of Marvel Comics. Most of the other female costumed crime-fighters during this era lacked superpowers. Notable characters include The Woman in Red,[33][34] introduced in Standard Comics' Thrilling Comics #2 (March 1940); Lady Luck, debuting in the Sunday-newspaper comic-book insert The Spirit Section June 2, 1940; the comedic character Red Tornado, debuting in All-American Comics #20 (Nov 1940); Miss Fury,[35] debuting in the eponymous comic strip by female cartoonist Tarpé Mills on April 6, 1941; the Phantom Lady, introduced in Quality Comics Police Comics #1 (Aug. 1941); the Black Cat,[36][37] introduced in Harvey Comics' Pocket Comics #1 (also Aug. 1941); and the Black Canary, introduced in Flash Comics #86 (Aug. 1947) as a supporting character.[38] The most iconic comic book superheroine, who debuted during the Golden Age, is Wonder Woman.[39] Modeled from the myth of the Amazons of Greek mythology, she was created by psychologist William Moulton Marston, with help and inspiration from his wife Elizabeth and their mutual lover Olive Byrne.[40][41] Wonder Woman's first appearance was in All Star Comics #8 (Dec. 1941), published by All-American Publications, one of two companies that would merge to form DC Comics in 1944. Pérák was an urban legend originating from the city of Prague during the German occupation of Czechoslovakia in the midst of World War II. In the decades following the war, Pérák has also been portrayed as the only Czech superhero in film and comics. 1950s In 1952, Osamu Tezuka's manga Tetsuwan Atom, more popularly known in the West as Astro Boy, was published. The series focused upon a robot boy built by a scientist to replace his deceased son. Being built from an incomplete robot originally intended for military purposes Astro Boy possessed amazing powers such as flight through thrusters in his feet and the incredible mechanical strength of his limbs. The 1950s saw the Silver Age of Comics. During this era DC introduced the likes of Batwoman in 1956, Supergirl, Miss Arrowette, and Bat-Girl; all female derivatives of established male superheroes. In 1957 Japan, Shintoho produced the first film serial featuring the superhero character Super Giant, signaling a shift in Japanese popular culture towards tokusatsu masked superheroes over kaiju giant monsters. Along with Astro Boy, the Super Giant serials had a profound effect on Japanese television. 1958 saw the debut of superhero Moonlight Mask on Japanese television. It was the first of numerous televised superhero dramas that would make up the tokusatsu superhero genre.[42] Created by Kōhan Kawauchi, he followed-up its success with the tokusatsu superhero shows Seven Color Mask (1959) and Messenger of Allah (1960), both starring a young Sonny Chiba. 1960s It is arguable that the Marvel Comics teams of the early 1960s brought the biggest assortment of superheroes ever at one time into permanent publication, the likes of Spider-Man (1962), The Hulk, Iron-Man, Daredevil, Nick Fury, The Mighty Thor, The Avengers (featuring a rebooted Captain America, Thor, Hulk, Ant-Man, Quicksilver), and many others were given their own monthly titles. Typically the superhero super groups featured at least one (and often the only) female member, much like DC's flagship superhero team the Justice League of America (whose initial roster included Wonder Woman as the token female); examples include the Fantastic Four's Invisible Girl, the X-Men's Jean Grey (originally known as Marvel Girl), the Avengers' Wasp, and the Brotherhood of Mutants' Scarlet Witch (who later joined the Avengers) with her brother, Quicksilver. In 1963, Astro Boy was adapted into a highly influential anime television series. Phantom Agents in 1964 focused on ninjas working for the Japanese government and would be the foundation for Sentai-type series. 1966 saw the debut of sci-fi/horror series Ultra Q created by Eiji Tsuburaya this would eventually lead on to the sequel Ultraman, spawning a successful franchise which pioneered the Kyodai Hero subgenre where the superheroes would be as big as giant monsters (kaiju) that they fought. The kaiju monster Godzilla, originally a villain, began being portrayed as a radioactive superhero in the Godzilla films,[43] starting with Ghidorah, the Three-Headed Monster (1964).[44] By the 1970s, Godzilla came to be viewed as a superhero, with the magazine King of the Monsters in 1977 describing Godzilla as "Superhero of the '70s."[45] 1970s In 1971, Kamen Rider launched the "Henshin Boom" on Japanese television in the early 1970s, greatly impacting the tokusatsu superhero genre in Japan.[46] In 1972, the Science Ninja Team Gatchaman anime debuted, which built upon the superhero team idea of the live-action Phantom Agents as well as introducing different colors for team members and special vehicles to support them, said vehicles could also combine into a larger one. Another important event was the debut of Mazinger Z by Go Nagai, creating the Super Robot genre. Go Nagai also wrote the manga Cutey Honey in 1973; although the Magical Girl genre already existed, Nagai's manga introduced Transformation sequences that would become a staple of Magical Girl media. The 1970s would see more anti-heroes introduced into Superhero fiction such examples included the debut of Shotaro Ishinomori's Skull Man (the basis for his later Kamen Rider) in 1970, Go Nagai's Devilman in 1972 and Gerry Conway and John Romita's Punisher in 1974. The dark Skull Man manga would later get a television adaptation and underwent drastic changes. The character was redesigned to resemble a grasshopper, becoming the renowned first masked hero of the Kamen Rider series. Kamen Rider is a motorcycle riding hero in an insect-like costume, who shouts Henshin (Metamorphosis) to don his costume and gain superhuman powers. The ideas of second-wave feminism, which spread through the 1960s into the 1970s, greatly influenced the way comic book companies would depict as well as market their female characters: Wonder Woman was for a time revamped as a mod-dressing martial artist directly inspired by the Emma Peel character from the British television series The Avengers (no relation to the superhero team of the same name),[47] but later reverted to Marston's original concept after the editors of Ms. magazine publicly disapproved of the character being depowered and without her traditional costume;[48] Supergirl was moved from being a secondary feature on Action Comics to headline Adventure Comics in 1969; the Lady Liberators appeared in an issue of The Avengers as a group of mind-controlled superheroines led by Valkyrie (actually a disguised supervillainess) and were meant to be a caricatured parody of feminist activists;[49] and Jean Grey became the embodiment of a cosmic being known as the Phoenix Force with seemingly unlimited power in the late 1970s, a stark contrast from her depiction as the weakest member of her team a decade ago. Both major publishers began introducing new superheroines with a more distinct feminist theme as part of their origin stories or character development. Examples include Big Barda, Power Girl, and the Huntress by DC comics; and from Marvel, the second Black Widow, Shanna the She-Devil, and The Cat.[50] Female supporting characters who were successful professionals or hold positions of authority in their own right also debuted in the pages of several popular superhero titles from the late 1950s onward: Hal Jordan's love interest Carol Ferris was introduced as the Vice-President of Ferris Aircraft and later took over the company from her father; Medusa, who was first introduced in the Fantastic Four series, is a member of the Inhuman Royal Family and a prominent statesperson within her people's quasi-feudal society; and Carol Danvers, a decorated officer in the United States Air Force who would become a costumed superhero herself years later. In 1975 Shotaro Ishinomori's Himitsu Sentai Gorenger debuted on what is now TV Asahi, it brought the concepts of multi-colored teams and supporting vehicles that debuted in Gatchaman into live-action, and began the Super Sentai franchise (later adapted into the American Power Rangers series in the 1990s). In 1978, Toei adapted Spider-Man into a live-action Japanese television series. In this continuity, Spider-Man had a vehicle called Marveller that could transform into a giant and powerful robot called Leopardon, this idea would be carried over to Toei's Battle Fever J (also co-produced with Marvel) and now multi-colored teams not only had support vehicles but giant robots to fight giant monsters with. 1980-present In subsequent decades, popular characters like Dazzler, She-Hulk, Elektra, Catwoman, Witchblade, Spider-Girl, Batgirl and the Birds of Prey became stars of long-running eponymous titles. Female characters began assuming leadership roles in many ensemble superhero teams; the Uncanny X-Men series and its related spin-off titles in particular have included many female characters in pivotal roles since the 1970s.[51] Volume 4 of the X-Men comic book series featured an all-female team as part of the Marvel NOW! branding initiative in 2013.[52] Superpowered female characters like Buffy the Vampire Slayer[53] and Darna[54][55] have a tremendous influence on popular culture in their respective countries of origin. With more and more anime, manga and tokusatsu being translated or adapted, Western audiences were beginning to experience the Japanese styles of superhero fiction more than they were able to before. Saban's Mighty Morphin Power Rangers, an adaptation of Zyuranger, created a multimedia franchise that used footage from Super Sentai.[56] Internationally, the Japanese comic book character, Sailor Moon, is recognized as one of the most important and popular female superheroes ever created.[57][58][59][60][61] Trademark status Most dictionary definitions[7][62] and common usages of the term are generic and not limited to the characters of any particular company or companies. Nevertheless, variations on the term "Super Hero" or "Superhero" are jointly claimed by DC Comics and Marvel Comics as trademarks. Registrations of "Super Hero" marks have been maintained by DC and Marvel since the 1960s,[63] including U.S. Trademark Serial Nos. 72243225 and 73222079. In 2009, the term "Super Heroes" was registered as a typography-independent "descriptive" US trademark co-owned by DC and Marvel.[64] Both DC Comics and Marvel Comics have been assiduous in protecting their rights in the "Super Hero" trademarks in jurisdictions where the registrations are in force, including the United States, the United Kingdom, and Australia, and including in respect of various goods and services falling outside comic book publications.[65] Critics in the legal community dispute whether the "Super Hero" marks meet the legal standard for trademark protection in the United States: distinctive designation of a single source of a product or service. Controversy exists over each element of that standard: whether "Super Hero" is distinctive rather than generic, whether "Super Hero" designates a source of products or services, and whether DC and Marvel jointly represent a single source.[66] Some critics further characterize the marks as a misuse of trademark law to chill competition.[67] To date, aside from a failed trademark removal action brought in 2016 against DC Comics' and Marvel Comics' United Kingdom registration, no dispute involving the trademark "Super Hero" has ever been to trial or hearing.[65] Minority superheroes In keeping with their origins as representing the archetypical hero stock character in 1930s American comics, superheroes are predominantly depicted as White American middle- or upper-class young adult males and females who are typically tall, athletic, educated, physically attractive and in perfect health. Beginning in the 1960s with the civil rights movement in the United States, and increasingly with the rising concern over political correctness in the 1980s, superhero fiction centered on cultural, ethnic, national, racial and language minority groups (from the perspective of US demographics) began to be produced. This began with depiction of black superheroes in the 1960s, followed in the 1970s with a number of other ethnic-minority superheroes.[68] In keeping with the political mood of the time, cultural diversity and inclusivism would be an important part of superhero groups starting from the 1980s. In the 1990s, this was further augmented by the first depictions of superheroes as homosexual. In 2017, Sign Gene emerged, the first group of deaf superheroes with superpowers through the use of sign language.[69] Female superheroes and villains Main article: Portrayal of women in American comics Female super heroes—and villains—have been around since the early years of comic books dating back to the 1940s.[70] The representation of women in comic books has been questioned in the past decade following the rise of comic book characters in the film industry (Marvel/ DC movies). Women are presented differently than their male counterparts, typically wearing revealing clothing that showcases their curves and cleavage and showing a lot of skin in some cases.[71][72] Heroes like Power Girl and Wonder Woman are portrayed wearing little clothing and showing cleavage[71][72]. Power Girl is portrayed as wearing a suit not unlike the swimsuits in the T.V. show Baywatch. The sexualization of women in comic books can be explained mainly by the fact that the majority of writers are male.[72] Not only are the writers mostly male, but the audience is mostly male as well.[73][72] Therefore, writers are designing characters to appeal to a mostly male audience.[73][74] The super hero characters illustrate a sociological idea called the "male gaze" which is media created from the viewpoint of a normative heterosexual male.[74][75] The female characters in comic books are used to satisfy male desire for the "ideal" woman (small waist, large breasts, toned, athletic body).[74][76][72] These characters have god-like power, but the most easily identifiable feature is their hyper sexualized bodies as they are designed to be sexually pleasing to the hypothetical heteronormative male audience.[71][75][76][72] Villains, such as Harley Quinn and Poison Ivy, use their sexuality to take advantage of their male victims.[72] In the film versions of these characters, their sexuality and seductive methods are highlighted. Poison Ivy uses seduction through poison to take over the minds of her victims as seen in the 1997 film Batman and Robin. Harley Quinn in 2016's Suicide Squad uses her sexuality to her advantage, acting in a promiscuous manner. Through the overdeveloped bodies of the heroes or the seductive mannerisms of the villains, women in comic books are used as subordinates to their male counterparts, regardless of their strength or power.[77] In 2017's Wonder Woman, she had the power of a god, but was still drawn to a much weaker, mortal male character.[75] This can be explained by the sociological concept "feminine apologetic," which reinforces a woman's femininity to account for her masculine attributes (strength, individualism, toughness, aggressiveness, bravery).[75] Women in comic books are considered to be misrepresented due to being created by men, for men.[74][76] The Hawkeye Initiative is a website satirizing the sexualized portrayal of women in comics by recreating the same poses using male superheroes, especially Marvel's Hawkeye.[78][79][80] Ethnic and religious minorities See also: Ethnic stereotypes in comics, African characters in comics, List of black superheroes, List of Asian superheroes, List of Latino superheroes, List of Native American superheroes, List of Jewish superheroes, List of Filipino superheroes, List of Middle Eastern superheroes, List of Russian superheroes, and List of Italian and Italian-American superheroes and villains In 1966, Marvel introduced the Black Panther, an African monarch who became the first non-caricatured black superhero.[81] The first African-American superhero, the Falcon, followed in 1969, and three years later, Luke Cage, a self-styled "hero-for-hire", became the first black superhero to star in his own series. In 1989, the Monica Rambeau incarnation of Captain Marvel was the first female black superhero from a major publisher to get her own title in a special one-shot issue. In 1971, Red Wolf became the first Native American in the superheroic tradition to headline a series.[82] In 1973, Shang-Chi became the first prominent Asian superhero to star in an American comic book (Kato had been a secondary character of the Green Hornet media franchise series since its inception in the 1930s.[83]). Kitty Pryde, a member of the X-Men, was an openly Jewish superhero in mainstream American comic books as early as 1978.[84] Comic-book companies were in the early stages of cultural expansion and many of these characters played to specific stereotypes; Cage and many of his contemporaries often employed lingo similar to that of blaxploitation films, Native Americans were often associated with shamanism and wild animals, and Asian Americans were often portrayed as kung fu martial artists. Subsequent minority heroes, such as the X-Men's Storm and the Teen Titans' Cyborg avoided such conventions; they were both part of ensemble teams, which became increasingly diverse in subsequent years. The X-Men, in particular, were revived in 1975 with a line-up of characters drawn from several nations, including the Kenyan Storm, German Nightcrawler, Soviet/Russian Colossus, Irish Banshee, and Japanese Sunfire. In 1993, Milestone Comics, an African-American-owned media/publishing company entered into a publishing agreement with DC Comics that allowed them to introduce a line of comics that included characters of many ethnic minorities. Milestone's initial run lasted four years, during which it introduced Static, a character adapted into the WB Network animated series Static Shock. In addition to the creation of new minority heroes, publishers have filled the identities and roles of once-Caucasian heroes with new characters from minority backgrounds. The African-American John Stewart appeared in the 1970s as an alternate for Earth's Green Lantern Hal Jordan, and would become a regular member of the Green Lantern Corps from the 1980s onward. The creators of the 2000s-era Justice League animated series selected Stewart as the show's Green Lantern. In the Ultimate Marvel universe, Miles Morales, a youth of Puerto Rican and African-American ancestry who was also bitten by a genetically-altered spider, debuted as the new Spider-Man after the apparent death of the original Spider-Man, Peter Parker. Kamala Khan, a Pakistani-American Muslim teenager who is revealed to have Inhuman lineage after her shapeshifting powers manifested, takes on the identity of Ms. Marvel in 2014 after Carol Danvers had become Captain Marvel. Her self-titled comic book series became a cultural phenomenon, with extensive media coverage by CNN, the New York Times and The Colbert Report, and embraced by anti-Islamophobia campaigners in San Francisco who plastered over anti-Muslim bus adverts with Kamala stickers.[85] Other such successor-heroes of color include James "Rhodey" Rhodes as Iron Man and to a lesser extent Riri "Ironheart" Williams, Ryan Choi as the Atom, Jaime Reyes as Blue Beetle and Amadeus Cho as Hulk. Certain established characters have had their ethnicity changed when adapted to another continuity or media. A notable example is Nick Fury, who is reinterpreted as African-American both in the Ultimate Marvel as well as the Marvel Cinematic Universe continuities. Sexual orientation and gender identity Main article: LGBT themes in comics See also: List of LGBT characters in comics In 1992, Marvel revealed that Northstar, a member of the Canadian mutant superhero team Alpha Flight, was homosexual, after years of implication.[86] This ended a long-standing editorial mandate that there would be no homosexual characters in Marvel comics.[87] Although some minor secondary characters in DC Comics' mature-audience 1980s miniseries Watchmen were gay, and the reformed supervillain Pied Piper came out to Wally West in an issue of The Flash in 1991, Northstar is considered to be the first openly gay superhero appearing in mainstream comic books. From the mid-2000s onward, several established Marvel and DC comics characters (or a variant version of the pre-existing character) were outed or reintroduced as LGBT individuals by both publishers. Examples include the Mikaal Tomas incarnation of Starman in 1998; Colossus in the Ultimate X-Men series; Renee Montoya in DC's Gotham Central series in 2003; the Kate Kane incarnation of Batwoman in 2006; Rictor and Shatterstar in an issue of X-Factor in 2009; the Golden Age Green Lantern Alan Scott is reimagined as openly gay following The New 52 reboot in 2011;[88][89] and in 2015, a younger time displaced version of Iceman in an issue of All-New X-Men.[90] Many new openly gay, lesbian and bisexual characters have since emerged in superhero fiction, such as Gen¹³'s Rainmaker, Apollo and Midnighter of The Authority, and Wiccan and Hulkling of the Young Avengers. Notable transgender or gender bending characters are fewer in number by comparison: the alter ego of superheroine Zsazsa Zaturnnah, a seminal character in Philippine popular culture,[91] is an effeminate gay man who transforms into a female superhuman after ingesting a magical stone. Desire from Neil Gaiman's The Sandman series, Cloud from Defenders, and Xavin from the Runaways are all characters who could (and often) change their gender at will. Alysia Yeoh, a supporting character created by writer Gail Simone for the Batgirl ongoing series published by DC Comics, received substantial media attention in 2011 for being the first major transgender character written in a contemporary context in a mainstream American comic book.[92] The Sailor Moon series is known for featuring a substantial number of openly LGBT characters since its inception, as Japan have traditionally been more open about portraying homosexuality in its children's media compared to many countries in the West.[93][94] Certain characters who are presented as homosexual or transgender in one continuity may not be presented as such in others, particularly with dubbed versions made for international release.[95] An animated short The Ambiguously Gay Duo parodies comic book superheros and features Ace and Gary (Stephen Colbert, Steve Carell). It originated on The Dana Carvey Show and then moved to Saturday Night Live. Language minority See also: List of deaf superheroes In 2017, Pluin introduced Sign Gene, a film featuring a group of deaf superheroes whose powers derive from their use of sign language. The film was produced by and with deaf people and deals with Deaf culture, history and language.[69][96][97] Subtypes     List of child superheroes     List of animal superheroes     List of metahumans in DC Comics See also     iconSpeculative fiction portal     Category:Parody superheroes     Real-life superhero     List of superhero debuts     List of superhero teams and groups     Puerto Rican comic books     Latino Superheros References "Definition of SUPERHERO". www.merriam-webster.com. Retrieved September 7, 2020. Niccum, John (March 17, 2006). "'V for Vendetta' is S for Subversive". Lawrence Journal-World. Lawrence, Kansas. Archived from the original on November 14, 2013. Gesh, Lois H.; Weinberg, Robert (2002). "The Dark Knight: Batman: A NonSuper Superhero" (PDF). The Science of Superheroes. John Wiley & Sons. ISBN 978-0-471-02460-6. Archived (PDF) from the original on November 6, 2015. Lovece, Frank (July 16, 2008). "The Dark Knight". (movie review) Film Journal International. Archived from the original on November 7, 2014. Retrieved February 5, 2009. "Batman himself is an anomaly as one of the few superheroes without superpowers…" "Superhero | Define Superhero at Dictionary.com". Dictionary.reference.com. Retrieved March 26, 2016. "Superhero | Definition of Superhero by Merriam-Webster". Merriam-webster.com. March 22, 2016. Retrieved March 26, 2016. "Superhero - Definition and More from the Free Merriam-Webster Dictionary". Archived from the original on November 5, 2014. Retrieved March 26, 2016. Coogan, Peter (July 25, 2006). Superhero: The Secret Origin of a Genre. Austin, Texas: MonkeyBrain Books. ISBN 1-932265-18-X. Roger Ebert. Roger Ebert's review of Watchmen rogerebert.com; March 4, 2009 Packer, Sharon (2009). Superheroes and Superegos: Analyzing the Minds Behind the Masks. Greenwood Publishing Group. p. 52. ISBN 978-0313355363. Crawford, Richard. "The Wild West : Executions Staged by Vigilantes Marred Justice in the 1880s". Los Angeles Times. April 30, 1992 San Diego Vigilantes Sokol, Tony. "The Punisher and The Dark Myth of the Real Life Vigilante". Den of Geek. January 20, 2019 Gavaler, Chris. On the Origin of Superheroes: From the Big Bang to Action Comics No. 1. University Of Iowa Press; 1 edition (November 1, 2015). p. 132. ISBN 978-1609383817 Lovece, Frank (November 11, 2013). "Superheroes Go the American Way on PBS". Newsday. New York / Long Island. Archived from the original on February 22, 2014. Retrieved November 15, 2013. Davin, Eric Leif (2006). Partners in Wonder: Women and the Birth of Science Fiction, 1926-1965. Lexington Books. ISBN 978-0-7391-1267-0. "Citations for superhero n." Davisson, Zack (December 19, 2010). "The First Superhero – The Golden Bat?". 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Archived from the original on January 29, 2015. Heintjes, Tom (May 11, 2012). "Not Seen but not Forgotten: The Invisible Scarlet O'Neil". Hogan's Alley (17). Archived from the original on June 12, 2013. Retrieved January 16, 2013. Schelly, Bill (June 18, 2013). The Best of Alter Ego Volume 2. Alter Ego. TwoMorrows Publishing. ISBN 978-1-60549-048-9. Carper, Steve (June 27, 2019). Robots in American Popular Culture. McFarland. ISBN 978-1-4766-3505-7. "Don Markstein's Toonopedia: The Woman in Red". Toonopedia.com. Retrieved March 26, 2016. "GCD :: Issue :: Thrilling Comics #v1#2 (2)". Comics.org. January 11, 1940. Retrieved March 26, 2016. "Don Markstein's Toonopedia: Miss Fury". Toonopedia.com. April 6, 1941. Archived from the original on April 9, 2012. Retrieved March 26, 2016. "Don Markstein's Toonopedia: The Black Cat". Toonopedia.com. Retrieved March 26, 2016. "GCD :: Issue :: Pocket Comics #1". Comics.org. Retrieved March 26, 2016. Jim Amash & Eric Nolen-Weathington, (2010), Carmine Infantino: Penciler, Publisher, Provocateur p.30-32 Curtis M. Wong (August 19, 2015). "Wonder Woman Officiates Her First Gay Wedding". Huffingtonpost.com. Retrieved March 27, 2016. Lamb, Marguerite (Fall 2001). "Who Was Wonder Woman?". Bostonia. Archived from the original on January 19, 2007. Malcolm, Andrew H. (February 18, 1992). "OUR TOWNS - She's Behind the Match For That Man of Steel - NYTimes.com". New York Times. Retrieved March 26, 2016. Japan Pop!: Inside the World of Japanese Popular Culture, p. 262 ISBN 0-7656-0560-0 Lankes, Kevin (June 22, 2014). "Godzilla's Secret History". Huffington Post. Retrieved March 19, 2018. Grebey, James (May 28, 2019). "The history of Ghidorah, Godzilla's rival for the title of King of the Monsters". Syfy Wire. NBCUniversal. Retrieved May 27, 2020. Glut, Donald F. (2001). "Godzilla, Saurian Superhero". Jurassic Classics: A Collection of Saurian Essays and Mesozoic Musings. McFarland & Company. p. 225. ISBN 978-0-7864-6246-9. Takeshobo, ed. (November 30, 1995). "BonusColumn「変身ブーム到来!!」" [Bonus Column 'The Henshin Boom Arrives!']. 超人画報 国産架空ヒーロー四十年の歩み [The Super Heroes Chronicles: The History of Japanese Fantastic Televisions, Movies and Videos, 1957-1995] (in Japanese). Takeshobo. p. 85. ISBN 4-88475-874-9. C0076. "We were all in love with Diana Rigg and that show she was on." Mike Sekowsky, quoted in Les Daniels, Wonder Woman: The Complete History (Chronicle, 2004), p. 129. Wonder Woman Wears Pants: Wonder Woman, Feminism and the 1972 “Women’s Lib” Issue, by Ann Matsuuchi[permanent dead link], in Colloquy: text theory critique, no.24 (2012); archived at Monash University W. Wright, Bradford (2001). Comic Book Nation: The Transformation of Youth Culture in America. United States: The Johns Hopkins University Press. p. 250. ISBN 0-8018-6514-X. Retrieved December 29, 2014. "lady liberators." Alter Ego #70 (July 1970): Roy Thomas interview, pp. 49-50 Kristiansen, Ulrik; Sørensen, Tue (May 1, 1996). "An Interview with Chris Claremont". Comic Zone. Archived from the original on September 28, 2007. Sunu, Steve (January 14, 2013). "Wood and Coipel Mutate "X-Men" for Marvel NOW!". Comic Book Resources. Retrieved January 14, 2013. By Maria Aspan. "What We Learned About Power From Buffy the Vampire Slayer". Inc.com. Retrieved March 26, 2016. "From Darna To Zsazsa Zaturnnah: Desire And Fantasy « Anvil Publishing, Inc". Anvilpublishing.com. Archived from the original on March 4, 2016. Retrieved March 26, 2016. "Darna ha ha ha!". Philippine Daily Inquirer. February 17, 2003. Retrieved July 19, 2014. "Zyu2". GrnRngr.com. October 24, 2006. Retrieved November 11, 2013. "Can Sailor Moon Break Up the Superhero Boys Club?". The Atlantic. Retrieved July 19, 2014. "Sailor Moon superhero may replace Power Rangers". Ludington Daily News. Retrieved July 19, 2014. Sailor Moon (superhero). The Superhero Book: The Ultimate Encyclopedia of Comic Book Icons. January 1, 2004. ISBN 9781578591541. Retrieved July 19, 2014. "Moon Prism Power! Why Sailor Moon is the perfect female superhero". Leslie IRL. Archived from the original on February 23, 2014. Retrieved July 19, 2014. Comella, Anthony (March 24, 2013). "Grrrl power: why female superheroes matter". Pop Mythology. Retrieved July 19, 2014. "Superhero | Define Superhero at Dictionary.com". Dictionary.reference.com. Retrieved March 26, 2016. Ulaby, Neda (March 27, 2006). "Comics Creators Search for 'Super Hero' Alternative". All Things Considered. NPR. Archived from the original on September 22, 2013. Marvel Characters, Inc.; DC Comics; United States Patent and Trademark Office (November 16, 2004). "Trademark Status & Document Retrieval". United States Patent and Trademark Office. Retrieved October 30, 2013. "US Serial Number: 78356610 [...] Standard Character Claim: Yes. The mark consists of standard characters without claim to any particular font style, size, or color." Stewart, DG (June 1, 2017). ""The "Superhero" Trademark: how the name of a genre came to be owned by DC and Marvel, and how they enforce it"". World Comic Book Review. Retrieved June 20, 2017. Coleman, Ron (March 27, 2006). "SUPER HERO® my foot". Likelihood of Confusion. Archived from the original on July 22, 2014. Doctorow, Cory (March 18, 2006). "Marvel Comics: stealing our language". Boing Boing. Archived from the original on August 18, 2014. Dowling, Jennifer (May 7, 2009). 'Oy Gevalt': A Peek at the Development of Jewish Superheroines. The Contemporary Comic Book Superhero. UK. ISBN 9781135213930. Retrieved August 22, 2015. "Sign Gene by Emilio Insolera arrives at cinema". ASVOFF. September 10, 2017. Comic Book Lecture Moore, Dr. Eric. 2019. TAMUCC. Nicosia, Matthew (2016). Performing the Female Superhero: An Analysis of Identity Acquisition, Violence, and Hypersexuality in DC Comics (Thesis). Bowling Green State University. Avery-Natale, Edward (January 1, 2013). "An Analysis of Embodiment Among Six Superheroes in DC Comics". Social Thought and Research. doi:10.17161/str.1808.12434. ISSN 1094-5830. Chute, Rebecca. 2016. "The" Pornographic Polemic": The Objectification and Inferiority of Female Comic Book Characters." UNBC Award for Academic Writing International Student Academic Writing Award William & Mary Wanka History:1. EMAD, MITRA C. (December 2006). "Reading Wonder Woman's Body: Mythologies of Gender and Nation". The Journal of Popular Culture. 39 (6): 954–984. doi:10.1111/j.1540-5931.2006.00329.x. ISSN 0022-3840. Wade, Lisa (Professor) (2019). Gender. Ferree, Myra Marx (Second ed.). New York. ISBN 978-0-393-66796-7. OCLC 1050142539. Crawshaw, Trisha L. 2015. "Truth, Justice, Boobs? Analyzing Female Empowerment and Objectification in the Graphic Novel Genre." Rubin, Alexandra. 2015. "The Female Superhero: Fighting Villains and Stereotypes." A Publication of the Critical Writing Program the University of Pennsylvania 3808 Walnut Street Philadelphia, PA 19104-6221:18. "The battle against 'sexist' sci-fi book covers". BBC News. January 18, 2013. Retrieved May 15, 2020. "The hilarious Hawkeye Initiative pokes fun at sexist comics art | Blastr". December 6, 2012. Archived from the original on December 6, 2012. Retrieved May 15, 2020. "Strong Female Superhero Pose meme gets a Hawkeye reboot". The Daily Dot. December 3, 2012. Retrieved May 15, 2020. Brown, Jeffrey A. (2001). Black Superheroes, Milestone Comics and their Fans. University Press of Mississippi. ISBN 1-57806-281-0. "Red Wolf (Old West, Johnny Wakely)". Marvunapp.com. Retrieved March 26, 2016. Kim, Jonathan (January 15, 2011). Why The Green Hornet's Kato Matters. The Huffington Post. Retrieved August 22, 2015. Kaplan, Arie (2008). From Krakow to Krypton: Jews and Comic Books. The Jewish Publication Society. p. 120. ISBN 978-0827608436. "In Uncanny X-Men #129 cover-dated Jan. 1979 and on sale in late 1978, writer Chris Claremont and the artist John Byrne created Katherine "Kitty" Pryde, aka Shadowcat, a young Jewish girl who possess the mutant ability to walk through walls." Lynskey, Dorian (March 25, 2015). "Kapow! Attack of the feminist superheroes". The Guardian. UK. Archived from the original on August 19, 2015. Kawasaki, Anton. "Northstar – GAY LEAGUE". Gayleague.com. Retrieved March 26, 2016. Hick, Darren. "The Comics Journal Performs a Public Service". The Comics Journal. Archived from the original on October 5, 2009. "Entertainment | Batwoman hero returns as lesbian". BBC News. May 30, 2006. Retrieved March 26, 2016. Neuman, Clayton (June 4, 2006). "Caped Crusaders". TIME. Retrieved March 26, 2016. Hanks, Henry (April 22, 2015). "'X-Men' character Iceman outed as gay". CNN.com. Retrieved March 26, 2016. "The return of Zsazsa Zaturnnah | Inquirer lifestyle". Lifestyle.inquirer.net. January 27, 2012. Retrieved March 26, 2016. Kane, Matt (April 10, 2013). "'Batgirl' Comic Introduces Transgender Character". GLAAD. Retrieved March 26, 2016. "Intersections: Male Homosexuality and Popular Culture in Modern Japan". She.murdoch.edu.au. Retrieved March 26, 2016. Anime, mon amour: Forget Pokemon - Japanese animation explodes with gay, lesbian, and trans themes - video - Charles Solomon "Sailor Neptune and Uranus Come Out of the Fictional Closet". Huffington Post. May 21, 2014. Trigari, Michela (September 12, 2017). "Sign Gene è il nuovo film di supereroi sordi". Corriere della Sera (in Italian).     "Quando il super eroe è sordo" (in Italian). Avvenire. September 10, 2017. Further reading     William Irwin (ed.), Superheroes: The Best of Philosophy and Pop Culture, Wiley, 2011. External links     The dictionary definition of superhero at Wiktionary     Media related to Superheroes at Wikimedia Commons     vte Comics Glossary of comics terminology Formats        Comic book         Ashcan comic Minicomic Comic strip         Comic strip formats Daily comic strip Lianhuanhua Sunday comics Topper Yonkoma Digital comics         Mobile comic Webcomic Webtoon Gag cartoon Graphic novel         Trade paperback Political cartoon Techniques        Film comic Motion comic Photo comics Text comics Creators        Cartoonists         list Colorists Editors Inkers Letterers Publishing companies Writers By format        Editorial         list Minicomics Webcomics By country        American         Jewish American Australian Canadian Cuban Japanese (manga) Macedonian Other        Female comics creators         list History        Years in comics American         Golden Age Silver Age Bronze Age Modern Age             events Japanese (manga) Webcomics Narratology    Genres    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girl Damsel in distress        Final girl Princess and dragon Masculine    Harlequin        Pierrot Father figure        Wise old man Elderly martial arts master Magical Negro Young        Ivan the Fool Jack Jock Nice guy Nice Jewish boy Superfluous man Himbo Prince Charming        Bishōnen Knight-errant Primitive        Feral child Noble savage Caveman Moleman Mountain man LGBT        Seme and uke Bad boy        Pachuco Black knight Others     Adolescent cliques Clown Dragonslayer Donor Fool Imaginary friend Innamorati ("The Lovers") Little green men Pop icon Redshirt Straight man Tokenism Town drunk White savior     vte Superhero fiction Media        Comics Film Television         American Animation Kamishibai Plot elements        Superhero Supervillain Superpower Secret identity Alter ego Comic book death Continuity        Continuity Canon Retroactive continuity Reboot Crossover     Category Superhero fiction The 100 Greatest Superheroes In The History of Comic Books 1. Spider-Man 2. Superman 3. Batman 4. Wonder Woman 5. Phoenix 6. Wolverine 7. Captain America 8. Thor 9. The Flash (Barry Allen) 10. Green Lantern (Hal Jordan) 11. Incredible Hulk 12. Daredevil 13. Catwoman 14. Jean Grey 15. Iron Man 16. Wally West 17. Dick Grayson 18. Invisible Woman 19. Black Panther 20. Northstar 21. Barbara Gordon 22. James Gordon 23. Professor X 24. Green Arrow 25. Thing 26. Human Torch 27. Shazam 28. Spawn 29. Mr. Fantastic 30. Martian Manhunter 31. Cyclops 32. Aquaman 33. Namor 34. Dr. Strange 35. Raphael 36. Hawkman 37. Hank Pym 38. Jonah Hex 39. Black Widow 40. Luke Cage 41. The Punisher 42. Hellboy 43. Storm 44. Deadpool 45. Swamp Thing 46. John Constantine 47. Silver Surfer 48. Bucky Barnes 49. Blue Beetle 50. The Spectre 51. Iron Fist 52. Cosmic Boy 53. Saturn Girl 54. Lightning Lad 55. Tim Drake 56. Nick Fury 57. Kitty Pryde 58. John Stewart 59. The Atom 60. Black Canary 61. Hawkeye 62. Beast 63. Moon Knight 64. Supergirl 65. Superboy 66. Leonardo 67. Dr. Manhattan 68. Falcon 69. Judge Dredd 70. Rorscach 71. Nova 72. Wasp 73. Black Lightning 74. Wonder Girl 75. Starfire 76. Raven 77. Scarlet Witch 78. Kilowog 79. Elongated Man 80. Zatana 81. Captain Britain 82. Hawkgirl 83. Blade 84. Gambit 85. Ghost Rider 86. Scott Lang 87. Nightcrawler 88. Dr. Fate 89. Kyle Rayner 90. Vision 91. Mister Miracle 92. Big Barda 93. Warlock 94. Beta Ray Bill 95. She-Hulk 96. Jessica Jones 97. Rocket Raccoon 98. Captain Marvel 99. Damian Wayne 100. Batwoman
  • Condition: New
  • Artist: DC Comics
  • Unit of Sale: Single Piece
  • Originality: Reproduction
  • Signed By: None
  • Size: Small (up to 12in.)
  • Date of Creation: Contemporary (1980-Now)
  • Item Length: 30 cm
  • Region of Origin: New York, USA
  • Framing: Unframed
  • Colour: Multi-Colour
  • Listed By: Dealer or Reseller
  • Year of Production: 2000
  • Width (Inches): 12
  • Item Height: 20 cm
  • Style: Americana
  • Features: Super Heroes
  • Item Width: 2 cm
  • Culture: Ngugi
  • Time Period Produced: 2000-2009
  • Image Orientation: Landscape
  • Signed: No
  • Material: Metal Sign
  • Certificate of Authenticity (COA): No
  • Original/Licensed Reprint: Licensed Reprint
  • Personalisation Instructions: None
  • Subject: Superheroes
  • Print Surface: Metal
  • Type: Print
  • Height (Inches): 8
  • Theme: Science & Medicine
  • Production Technique: Sign
  • Country/Region of Manufacture: United States
  • Personalise: No

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