"This is Farrah Fawcett" ABC News documentary remembers America's golden girl 10 years after battle with cancer

Thursday, May 16, 2019 1:09PM

ABC News presents a two-hour primetime special on America's golden girl Farrah Fawcett. From that iconic red bathing suit poster to her role in the hit show Charlie's Angels, Fawcett took the 1970s by storm and captivated the nation with her every move. But in 2006 Fawcett was confronted with her biggest challenge when she was diagnosed with cancer and began an aggressive fight for her life. Now, almost ten years after her passing, ABC News reports on her life, career, fame and lasting legacy, told through new interviews with those who knew her best and rare footage from the intimate video diaries of her fight against cancer. "This is Farrah Fawcett" airs on Thursday, May 23 8 p.m. ET on ABC. Check your local listings.

The two-hour documentary features new interviews with actress Jaclyn Smith, Fawcett's co-star on Charlie's Angels; Alana Stewart, Fawcett's close friend who helped record her cancer battle for the two-hour documentary Farrah's Story; Bruce McBroom, the Hollywood photographer who shot Fawcett's iconic swimsuit poster; Mela Murphy, Fawcett's confidant and hairstylist; and Dr. Lawrence Piro, Fawcett's primary physician; and Dr. Ursula Jacob, Fawcett's physician in Germany who used alternative treatments for her cancer. The documentary also includes Barbara Walters' landmark interviews with Fawcett and with Ryan O'Neal, Fawcett's partner at the time of her death.

After attending the University of Texas Fawcett moved to Los Angeles and began her professional career. Fawcett first appeared in television commercials but quickly began starring in TV shows and then movies. Fawcett continuously sought out projects that she found challenging and worthwhile, including her groundbreaking roles in the films The Burning Bed and Extremities, which both exposed the dark truth of domestic violence and helped shine a light on victims. Fawcett's final project was Farrah's Story, which documented the harsh realities of cancer treatment. The film aired just weeks before Fawcett passed away at age 62.

The special is produced by ABC News. David Sloan is senior executive producer. Muriel Pearson is executive producer.

The memorable shampoo commercial starring Penny Marshall and Farrah Fawcett

Penny Marshall’s acting and directing career was decorated with legendary roles and memorable projects.

Penny Marshall

Marshall, who died Monday (December 19th, 2018) at the age of 75, got her acting start next to one of Corpus Christi’s most iconic former citizens, the late Farrah Fawcett, when both were aspiring actresses trying to make their way in Hollywood.

Marshall’s first television appearance was in a Head & Shoulders beautifying shampoo commercial filmed in 1972. She was hired for the role of a woman with basic brown hair playing opposite a then-unknown Fawcett and her glamorous blonde locks.

It’s been reported in many stories over the years that Fawcett has some empathy for Marshall before the commercial started filming. Fawcett reportedly crossed out the word “homely” for Marshall’s on-set placard and replaced it with a card that read “plain” to make Marshall feel better about her role as her roommate Lucy.

“I did my first commercial with Farrah when she first came out here (in Los Angeles),” Marshall told Entertainment Tonight in an interview several years ago in a commercial available on the You Tube channel Commercial Jukebox. “Guess who had the dandruff.”

The two remained friends throughout their lives. Fawcett passed away in 2009.

“I knew her before she was ‘Farrah,’ and I was anybody, ” Marshall said before her death.

Marshall got her start with a role as “Myrna Turner,” the secretary of Oscar Madison from 1972-74 on “The Odd Couple” that was developed by her brother, Garry Marshall. Her brother also served as the creator in her most memorable recurring acting role in “Laverne & Shirley” from 1976-83.

It led Penny Marshall to say that her unconventional appearance in Hollywood led her to having issues over the years.

“I just cannot bring myself to accept that the homely person on the screen is me,” Marshall told TV Guide in 1976. “I grew up believing an actress is supposed to be beautiful. After I saw myself in a Love, American Style segment, I cried for three days. I’ve had braces put on my teeth twice, but they did no good.”

Marshall’s fans certainly didn’t feel that way. And Fawcett tried to make sure she didn’t share any insecurities when they filmed their commercial together.

Entertainment Tonight is seen on KZTV at 6:30 p.m. Monday through Friday and at 11 p.m. on Saturday.

Original Post https://kztv10.com/news/2018/12/19/the-memorable-shampoo-commercial-starring-penny-marshall-and-farrah-fawcett/

The portrait of Farrah Fawcett

Professor Charles Umlauf and Farrah Fawcett work in his Austin studio, circa 1970. Photo: Umlauf Sculpture Garden & Museum

The portrait of Farrah Fawcett you never saw: artist Austin exhibit reveals a true artist behind the golden girl
By Molly Glentzer May 12, 2017 Updated: May 14, 2017 5:27pm Houston Chronicle Article Link We rarely know all we think we know about celebrities.
Not much about Farrah Fawcett, the '70s pinup queen, seemed private during the actress and model's nearly 40-year career: not the nipples she showed through a red bathing suit on the world's best-selling poster during her "Charlie's Angels" era. Not her volatile man troubles with Lee Majors, Ryan O'Neal and other less famous guys. Not the sad story of her drug-addicted son. Not her whole, gold-smeared body, at age 50, when she "painted" a self-portrait for Playboy. Not her unforgettably ditzy appearance on David Letterman's show.
And not even her death, which was documented in a film revealing the most excruciating, intimate details of the battle with cancer she lost when she was 62.
Eight years later, an exhibition at Austin's Umlauf Sculpture Garden & Museum is revealing a little-discussed, quieter facet of the vivacious beauty from Corpus Christi: her life as a classically trained sculptor.
"Mentoring A Muse: Charles Umlauf & Farrah Fawcett" includes 20 artworks created by Fawcett and 25 by her mentor Umlauf, who taught 40 years at the University of Texas at Austin. Fawcett often mentioned the "art shack" behind her Bel-Air mansion. Hollywood insiders must have known she brought drawing materials to work - she developed her on-screen characters by drawing, not conventional note-taking. The exhibition's works are drawn heavily from Fawcett's bequest to UT's Blanton Museum of Art, a gift that included 60 pieces of her own making plus works by others, including Umlauf. Houstonian Greg Walls, Fawcett's nephew, remembers seeing her home full of art when he was too young to question much about it. And it spilled over to the whole family: Walls' parents and grandparents often "horse-traded" Fawcett's works among their homes in the Champions neighborhood.

With her celebrity, Fawcett could have shown her work in any number of publicity-hungry galleries. But she didn't. Contemporary sculptor Keith Edmier, who spent two years in an intimate collaboration with Fawcett during the early 2000s, thinks art provided a retreat she craved. It took her to a happy place she didn't need to share, or want to spoil.
Katie Robinson Edwards, the Umlauf's curator, agreed: "Farrah seemed to be able to escape being 'Farrah Fawcett' when she made art."
The ultimate muse
Until recently, Fawcett's decades-long friendship with Umlauf had been one of the least-discussed relationships of her life. But it was important, and it endured until he died in 1994.
They met in 1966, her sophomore year at UT, when she changed her major from microbiology to art. The "UT goddess," as art students and faculty sometimes called her, caused a stir almost from her first moment on campus. She was named one of the school's 10 most beautiful women as a freshman sorority girl, when she wore her hair in that era's big, bouffant-y flip. An epic number of boys lined up to date her, filling her schedule with breakfasts, lunches and dinners that first year. (She finally settled on the top pick of the litter, handsome quarterback Greg Lott.) Hollywood agents came calling, too, enticing her with the promise of modeling and acting contracts. Like a football prospect who just couldn't wait another year to turn pro, she left college after her junior year, never graduating.
But Fawcett stayed close to Umlauf, writing, calling, visiting his studio to make art alongside him and shipping sculpture to him throughout the 1970s to be cast in bronze at the Italian foundries he used.
A notorious womanizer, the professor no doubt admired Fawcett's beauty. She modeled live for only one of the sculptures in the show - the 1973 bronze "Head of Farrah" - but she was second as a muse only to Umlauf's wife, Angeline, who had broader hips and a fuller belly.
Umlauf had a few other, shorter-term female models and sculpted a mysterious "Italian girl." (He spent summers without Angeline in Italy, and Edwards suspects he had another life there.) But those muses were not as equal, she said.

"Farrah was the ultimate muse: She was gorgeous and soon famous but also an artist who kept up her practice and relied on Umlauf for advice."
Letters hand-written in her neat but florid script suggest she kept the friendship proper, always addressing him respectfully as "Mr. Umlauf" or "Professor Umlauf."
Edwards thinks Umlauf appreciated having a "peer of sorts" with whom he could make art and talk shop - the unsexy business of hydrastone sources, bronze-casting processes and the colors of patinas.
Steeped in traditional, Renaissance-inspired lost wax carving, casting and figuration, Umlauf could bring pure, classical form to any subject, in virtually any medium - wood, stone, clay, bronze, even lard. His forte, oddly, became sensuous nudes and devotional figures as churches across the nation commissioned his religious sculptures.
But Umlauf's works are rarely realistic, with faces informed by some vaguely generic, classical ideal. And they were not trendy even in the 1960s. Frankly, his depictions of Fawcett don't look much like her. Another "Head of Farrah," from 1976, tames the then-new, tousled blond mane that millions of American women were copying. Other well-known Umlauf students built signature identities.
The late Luis Jiménez celebrated Hispanic and Southwest culture in monumental sculptures of polychromed fiberglass. The flamboyant Robert "Daddy-O" Wade once created the world's largest cowboy boots. Veteran Houston sculptor Ben Woitena embraced abstraction.
Many artists who stick with a practice as long as Fawcett did evolve stylistically, stimulated by new influences. But something about classicism kept her engaged for a lifetime.
Edmier said he didn't question her old-fashioned taste and reverence for Pierre August Rodin and Michelangelo. For their shared project, it was an asset. Today their collaboration would be labeled "performative" - 2017 code for edgy, intangible, time-based stuff - but they produced works that were "self-consciously connected to 19th-century sculpture," Edmier said.
The Umlauf show reveals her surprisingly sensitive eye, her desire to speak poignantly through her hands and, as Edwards put it, "some serious Catholic-girl taste."
Fawcett owned six versions of Umlauf's pietas, depictions of the Virgin Mary holding a dead Christ, and a dramatic drawing of Christ's head hanging from the cross.
"Who would want that?" Edwards mused.
Turning the tables

In the "Mentoring" show's Fawcett portraits and self-portraits, the famous megawatt, party-girl smile is absent. Her eyes are often lost in some faraway gaze, her lips closed and sometimes downturned.
She seems sad even in her small painting "Two Faces," which fuses the dark blue-black face of a male with that of a light-skinned, brunette female who sheds a subtle tear. Their heads are bound together by a gold-leafed floral crown.
"It's so anti-Umlauf, in a way, much more home-spun and Surrealistic," Edwards said. That painting belongs to a large series Fawcett made of the same two faces. Edwards believes the subjects represent O'Neal and Fawcett.
Fawcett also cast plaster or bronze sculptures in as many as 25 multiples.
Late in life, she told Pittsburgh Post-Gazette reporter Patricia Sheridan she loved the process: "I think you are never completely satisfied. You are never finished, you know."
A couple of nude female torsos in "Mentoring a Muse" show her exploring and learning. She was copying Umlauf pieces whose chopped limbs recall the ruined remains of antiquities.
Edwards sees him trying to solve the problem of cutting figures off at the neck and attenuating the shoulders and arms, and finds his solutions disturbingly misogynistic.
"It drives me crazy when he takes the clay, then it almost looks like he takes a wire and shaves off the head, but he leaves hair back here. No head! But look what she does, in class with him: the same thing but not so harsh."
Fawcett omits the hair, softens the shoulders so they look movable and gives her figure something to lean on other than a lost arm.
"Some part of her thought, 'This is not natural,' " Edwards said. "Part of what I wanted to do with this show, although I need to do more work on it, is make an argument for her as a proto-feminist."
Perhaps, in exploring the female form, Fawcett also could reflect on her own body image, or turn the tables and be the looker instead of the constantly looked-at.
Edmier doubts she was aware of feminist contemporary art theory when her Playboy escapade with the gold paint was published in 1997, but he knows it could have been respected today as more than a desperate publicity stunt.
A true artist
Fawcett let the world peek a little deeper inside her art head with the Edmier collaboration in 2000.

Edmier, 20 years her junior, built his reputation with works inspired by people who have "marked time" in his life. He had fantasized about Fawcett since he was a kid with that iconic poster in his bedroom. He was surprised, and thrilled, when her condition for posing turned the whole muse thing on its ear: He, too, had to pose for her.
During two years together, they produced six sculptures, many photographs and drawings, and a book. The big attention-grabber was their contrasting nudes of each other: He depicted her horizontally, in a marble inspired by Rodin, demurely leaning against a sandy-looking base that hides her front side. She re-created him vertically, leaning against a boulder in a full-frontal bronze inspired by Michelangelo's Adam.
At the Los Angeles County Museum of Art, "Keith Edmier and Farrah Fawcett 2000" yielded an avalanche of mostly fluff publicity and one scathing critical review. Three years later, at Pittsburgh's Andy Warhol Museum, earlier works by both artists were included.
Yet no one delved far into Fawcett's art history.
Edwards acknowledged she was "kind of a snob" about Fawcett's art the first time she saw it in the Blanton's storage vaults.
"I remember telling people, 'Well, she's adequate.' Which was really obnoxious of me. But you learn. I'm amazed at how good she was."
Edwards devotes a small wall of her show to Fawcett's "anti-Umlauf" side. She owned a few edgier works, including a 1947 drawing by the Dadaist Man Ray.
O'Neal introduced Fawcett to Warhol, who photographed her and eventually painted a matched pair of major portraits from his images. Fawcett's mouth is closed in those works, too, although Warhol renders her with pop-slicked red lips and bright teal eyes.
The Blanton now owns one of those Warhols, which hangs in its contemporary galleries. O'Neal sued UT to win the other.
Fawcett wasn't much of a collector. Sylvia Dorsey, a college chum who decorated Fawcett's homes, advised her to frame the napkin sketches by Warhol she'd thrown into a box.
Knowing that helps put Fawcett's attitude in context: She didn't care about the art market. Her work, and her interest, really were deeply personal.
"She would have preferred to be known as that kind of artist, rather than an actress," Dorsey said.
Fawcett's bequest to UT includes 168 of her own works - a legacy that warrants a "Farrah Part Two" exhibition that could include the Edmier project, Edwards said.

For now, "Mentoring a Muse" offers a rare chance to glimpse a more complex Farrah than all the tabloid stories could illuminate. And the most telling works are her own creations.
With intense, harmoniously chiseled features, "Head of Diane," a bronze of Fawcett's sister, easily holds its own next to Umlauf's sculptures. She captures a wild, primitive force in a sanguine drawing that depicts Majors.
Another standout is Fawcett's circa-1970 self-portrait, an oil on canvas. There, she renders herself as a solemn, long-haired beauty. The muse's muse seems to be materializing like a ghost through an oval opening in a softly clouded atmosphere of emptiness.
Maybe she just didn't want to bother with painting more than that, or couldn't. Artists can turn their technical issues into assets. Fawcett's self-portrait is more expressionistic than realistic, and slightly generic.
But once a painting enters a public realm, viewers will read into it whatever feeds their imagination. This woman is the antithesis of the gamine, giggly-looking girl in the red swimsuit, but in her way, no less alluring.

'Mentoring a Muse: Charles Umlauf and Farrah Fawcett'

When: Tuesdays-Fridays, noon-4 p.m. 
Saturdays-Sundays, through Aug. 20

Where: Umlauf Sculpture Garden and Museum, 
605 Robert E. Lee Road, Austin

1976's Favorite Mane would've been 70 tomorrow!

Feb 2, 1947 Farrah Leni Fawcett was born... she would've turned 70! Celebrate all things sevent-ish with a little Farrah Flashback! Pull out those Angels DVDs or iTunes episodes or get on to YouTube for some Farrah nostalgia... or visit http://www.myFarrah.com for some clips and revisit the phenomenon that was all things Fawcett!

MyFarrah.com debut!

Actually MyFarrah.com has been up for quite a long time but it's a new overall site debuting this morning featuring artwork by Alejandro Mogollo! Stop by and take a view... you can still peruse the original tribute site just click the link... designed and coded by stevemckinnis.com.

She's Back!

As Posted in VOGUE

Farrah Fawcett, Eat Your Heart Out! Fashion Has a New Favorite Poster—And It’s Even Sexier

JANUARY 5, 2017 4:45 PMby STEFF YOTKA

Whip out your gel-pen notebook and add poster culture to the list of nostalgic trends making a comeback in 2017. Even in the age of endlessly scrolling Instagrams, personalized Pinterests, and tailored-just-to-your-liking memes, nothing really has the same impact as unfurling an image from a magazine and plastering it up on your bedroom wall. Vogue’s September 2016 issue came with a foldout poster of cover star Kendall Jenner in a beige slip and wearing bright red lipstick. Farrah Fawcett in her red Norma Kamali swimsuit is the progenitor of this category of poster; earlier it was pinup girl Bettie Page smirking in the California sand.

The current resurgence of poster culture adds a new element—it not only celebrates the image, but the human form itself. You see, many of fashion’s new posters showcase models completely, or almost completely, nude. The most startling example of this provocation comes from one of its most daring provocateurs, Jonathan Anderson. In advance of his J.W.Anderson Fall 2017 menswear show in London on Sunday, Anderson has released a poster campaign of full-frontal nude men. Photographed by Alasdair McLellan, the pictures don’t hold anything back. They’re not sexy in the traditional sense—no oiled biceps or six-pack abs. Rather, they’re revealing looks at male nudity framed beside shots of pastel sunsets. Anderson’s frequent collaborator, photographer Jamie Hawkesworth, has his own nude poster out this month, too. As a part of the new magazine Print, Hawkesworth photographed model Mica Arganaraz wearing only undies with the name Jamie embroidered across the really nether regions. In all likeliness, fashion fans will be scooping up these posters in droves. Pro tip: Find a place to stash the framed nudes when your parents come over.

As this appears in VOGUE

change with your vote this election

"The fastest way to change society is to mobilize the women of the world." ~ Charles Malik.

It's election season. If you vote with your heart and your morales and you consider the impact this election could and would have on all women across the globe it makes that decision very clear.

visit: http://www.myFarrah.com

Flashback to Entertainment Weekly's feature on Fawcett in Dalva

She’s Still Touched by ‘Angels’

Farrah Fawcett can’t escape the ghost of a former hairstyle. Twenty years after the actress’ one-year stint on Charlie’s Angels, there are those who still see her as the ‘70s golden girl who gave curling iron manufacturers a reason to live. “I see T-shirts everywhere, with my face, my poster,” she says. “In Saudi Arabia they’re using photographs of me – not only form Charlie’s Angels but from when I did ads for Faberge shampoo to advertise everything: clothes, food, vitamins. It’s almost like I couldn’t stop (the image) even if I wanted to.”

Which makes her break from Jill Munroe even more impressive. Fawcett’s latest effort, the TV movie Dalva (ABC< March 3, 9 p.m.), is an adaptation of the novel by Jim Harrison (Legends of the Fall). As the title character, she plays a woman in search of a son she gave up at 16. “What I like about her,” says the actress, “is that she chooses to do this at a time when she’s come to terms with her independence and sexuality.”

The role is a change of pace for Fawcett, 49, whose attempt to break the Angels mold led to a string of crazed/victimized female parts, including the woman who torches her abusive husband in 1984’s The Burning Bed. “I feel responsible,” she says of the exploited-woman-of-the-week trend. “But in a positive way, too. Because there weren’t any roles like that (for women) before I did them. IT was either Dynasty bitches or the other woman.”

Dalva “fits in none of those categories. It’s the first time where I play a real woman,” says Fawcett, adding that her decision to do the role coincided with her decision to pose for last December’s Playboy. “Those two characters – because what I did in Playboy is a character – share a similarity in the security in their sexuality.”

Fawcett now has security in abundance: a longtime relationship with actor Ryan O’Neal, their son, Redmond, 11, and respect from the industry. In fact, as far as the networks are concerned, she can write her own ticket. “They say, ‘Let’s leave it to her. She delivers the numbers,’” says Fawcett. “It’s not out of the kindness of their hears. People trust my instincts.” – Kristen Baldwin.

For more about Fawcett and her career visit myfarrah.com.

Madonna and Child by Farrah Fawcett (Charcoal) up for sale

 

Madonna & Child, 

A Charcoal by Farrah

Fawcett. Another of Farrah’s works of art is for sale. Madonna and Child is a work Fawcett has talked about before with her mother. Fawcett surprised her mother and showed her the work after it had been on display.  You can purchase this piece for $20,000.oo via (click 1st dibs for link) 1st dibs. You can read all about Fawcett and her career via myFarrah.com.

From 1stdibs: Probably one of the most meaningful pieces ever for sale by the American icon. Pastel and wash work signed “Farrah” and dated 1971.  Originally from Corpus Christi, Farrah was a student at UT in the late 1960s. She modeled and worked with sculptor Charles Umlauf, and had a job at the Country Store Gallery on Lavaca street, a few steps away from the Austin campus, where she framed and sold art for Raymond Brown. 

This piece was purchased there by an Austin art collector in the late 1980s.  

Greatly influenced by Charles Umlauf’s realistic style and lyrical themes, this vibrant work is a meaningful testimony of Farrah Fawcett’s quest for truth as she made her debut in the art world. 

 Authentication in process.

the MyFarrah.com app!

Hello Monday! 

Make it a little brighter 

with the MyFarrah.com app... 

it's free! 

http://1480528.igenapps.com/myfarrah

Alejandro Mogollo on drawing Farrah

Alejandro Mogollo on drawing Farrah: Like many before me, I’ve been a fan of Farrah Fawcett since I watched her in

Charlie`s Angels when it first ran in Spain back in 1978. From that minute on I became obsessed with her. I was a kid who liked to draw and I luckily could express my fascination in sketch form. So, every Saturday afternoon I sat in from of the tv set with my notepad and a pencil and started to draw her. It became such an obsession that my parents started to worry. I may have done thousands of sketches that ended up in the trash, because they only served to express my fandom. I wish we had internet back then, because I couldn’t get enough of her in print. I bought every magazine that featured her that I could afford (remember I was a kid and didn’t have much money). When she left Angels, I followed her movie career like a madman. I dragged my older brother along since my parents wouldn’t let me go alone to the movies. God bless my brother, he had to endure such stinkers… but I found all of her movies to be great and she was great in them. Time has passed and I turned my interests to other icons and movie stars but even today, when I come across a picture of Farrah, something physical happens to me, like a chill, butterflies in my stomach. You can’t forget your first love.

A little bit more about Mogollo: I was born in Seville, Spain. Since I was a child I was obsessed with drawing and painting. So much so that, although it was something my parents

Alejandro Mogollo

didn’t think was easy to make a living off, they encouraged it because I had such a passion for it. I studied Fine Arts specializing in Graphic Design here in Seville. When I finished college I got a scholarship at Cornell University, Ithaca, New York, and studied there for a year. When I came back from the States I began working as a graphic designer and art director in a publicity studio, and I’ve been working there ever since. My illustration work is something I’ve been developing these last years. But only on personal projects and on subjects of high interest to me, like my recent contribution with a series of illustrations to the Encyclopedia Madonnica published by Matthew Rettenmund. (*Matthew Rettenmund is a writer, editor and blogger who lives in NYC with his Shih Tzus, his Madonna collection and his emotional baggage. His book, “Encyclopedia Madonnica”, is considered the bible on all things Madonna)

Although my day job is fulfilling and requires creativity on my part, I sometimes miss the sheer pleasure of drawing. The illustration software is so sophisticated now (Adobe Illustrator) that it allows me to create images very close to the organic ones, giving it a distinctive touch, close to airbrush. The process, though digital, remains the same, beginning with the blank canvas, but replacing the pencil or brush with the mouse. In those personal projects I wanted to blend my two passions, graphic art and movie stars. So I started doing these movie portraits that I shared only with friends, just for fun. Then I started sharing them online. Now I have a facebook and Instagram art pages with many followers. It’s been a great journey, being able to share my work with fellow fans all over the world and has brought me the opportunity to get in touch with them and received their wonderful response. As an artist that is so gratifying. I couldn’t ask for more.

Farrah Fawcett by Alejandro Mogollo

Farrah Fawcett by

this artist: 

Alejandro Mogollo 

(an illustrator from Spain obsessed with icons and movies) 

who is phenomenally talented!

Check out his great artwork https://www.instagram.com/alejandromogolloart/

You can also order some of his art on t-shirts and as stickers...

Visit http://www.redbubble.com/people/alemogolloart/shop

Farrah Fawcett Artwork up for Auction

A Farrah Fawcett Sculpture, Circa 1990s. Patinated metal, depicting a nude female form (possibly the star's own body), signed on the left leg "Farrah," affixed to a square-shaped marble base.

Height: 11"

A Farrah Fawcett Print, 1999. Depicting an image of a nude female form (possibly the star's own body), text on the lower center margin reads "Farrah 1999."

Framed: 30" x 35"; Work only: 24" x 29"

A Farrah Fawcett Sculpture, Circa 1990s. Flecked stone, depicting a reclining nude female torso (possibly the star's own body), unsigned, affixed to a rectangular black marble base, base affixed to a metal table/stand with an extended glass shelf in center.

Sculpture: 11" x 27" x 7"; Base: 18" x 31" 4"; Table/Stand: 18" x 32"; Extended Shelf: 14" x 63"

http://www.ha.com/ search for items under Farrah Fawcett

Farrah Fawcett’s 1993 visit helped victims of domestic violence

Caller-Times file Actress Farrah Fawcett signs autographs during an appearance at the Bay Area Medical Center atrium on Dec. 30, 1993. Fawcett was in town for a fundraiser benefiting the Women's Shelter of South Texas which included a telethon of her 1984 TV movie about domestic violence "The Burning Bed."

THROWBACK

Farrah Fawcett’s 1993 visit helped victims of domestic violence

By Allison Ehrlich of the Caller-Times

Farrah Fawcett may have been Charlie's angel in the '70s, but to others she was a crusader who lent her celebrity status to furthering awareness of domestic violence.

The Ray High School graduate's experiences starring in the 1984 TV movie "The Burning Bed" sparked her desire to help victims of domestic violence. The film tells the true story of Francine Hughes who killed her abusive husband of 13 years in 1977. Hughes was found not guilty and her story was chronicled in a book and later adapted into the movie starring Fawcett.

In this photo taken Dec. 30, 1993 Fawcett signs autographs during an appearance in the atrium of Bay Area Medical Center. Fawcett was in town for a private New Year's Eve fundraiser on behalf of the Women's Shelter of South Texas which included a three-hour telethon on KIII-TV of "The Burning Bed."

The actress, who was born and raised here until leaving to attend the University of Texas, traveled to the city with her parents Jim and Pauline Fawcett from Houston. The three had spent Christmas with Fawcett's longtime partner Ryan O'Neal and their young son. Fawcett commented that she knew exactly the last time she had visited the city, "because I was just six weeks' pregnant with my son, Redmond, who's now 8."

"I would go anywhere and do anything for a shelter," Fawcett told the Caller-Times' Elaine Liner in an interview. The telethon alone raised $324,000 toward the goal of $1.8 million to build a new shelter. Less than a year later in August 1994 the Women's Shelter opened their new building that doubled its client capacity.

Fawcett's dedication to domestic violence victims carried on until her death from anal cancer in 2009 at 62. Follow the Caller-Times’ examination of the city’s struggle with domestic violence and learn more at www.caller.com/behindbrokendoors. 

Allison Ehrlich is the archive coordinator for the Caller-Times. Contact her at allison.ehrlich@caller.com and follow her on Twitter @CallerArchives.