Andy Warhol Art

Screenprint in colours on wove paper Edition 150 of 250 88.9 x 58.4 cm (35 x 23 in) Signed in ball-point pen and numbered, lower right on the reverse Condition upon request Printed b...

Color screen print on Becket High White wove paper, realized by Warhol in 1972. Verso hand signed by the Artist in pen, as well as with the stamp numbering and the stamp "Copyright ...

Andy Warhol Deluxe Signed Edition of Film Festival Lincoln Center (Feldman & Schellmann, II.19), 1967 Silkscreen, die-cut on opaque acrylic Edition 2/200 (Signed and numbered on the back with engraving pen) Hand-signed by artist, As this work was done on acrylic, Warhol signed and numbered it by hand on verso with an engraving needle. Printed date with copyright Frame included: Elegantly framed in a museum quality wood frame with UV plexiglass. A die-cut window has been created in the back of the frame to reveal Warhol's incised signature and edition Publisher: Leo Castelli, New York Printer: Chiron Press, New York Catalogue Raisonne: Feldman & Schellmann, II.19 This work is often hung and displayed both vertically and horizontally - see photos for inspiration This work is one of only 200 done on opaque acrylic rather than wove paper, signed and numbered on the opaque acrylic by Andy Warhol with an engraving pen. (Separately, there was an unsigned edition of 500 on wove paper). What distinguishes this rare, extremely desirable signed edition of 200, other than that it is signed and numbered by hand by Andy Warhol, is that the black graphic text FIFTH NEW YORK is placed directly over the text Film Festival of Lincoln Center; whereas in the edition of 500, the text black text FIFTH NEW YORK is placed on top of the white text. An innovative feature that appears in this special edition is a perforated line running across the surface of the print, at its triangular cut out sides, mimicking the tear line present in real commercial movie admissions tickets. Chiron Press commissioned by Lincoln Center, devised a special process expressly to imprint the edition with this perforation using a die cut stamp. This work is quintessential early Warhol, with characteristic bright neon colors, featuring text, along with the artist's very recognizable flower motif. The Lincoln Center ticket...

Andy Warhol Deluxe Collectors' Edition of Exposures (Hand Signed and Numbered), 1979 Hardcover Monograph in leather with gilt edge and stamped in gilt. Hand signed by Andy Warhol on...

Original Andy Warhol 1968 Vintage Poster "Gaudy Savings by RCA Color Scanner" Authentic Pop Art Collectible First Edition Print. Archival linen-backed in excellent condition, Grad...

From the iconic Flowers portfolio of ten individual floral prints created by Andy Warhol in 1970, Flowers #71 is an original color screenprint, hand-signed in ballpoint pen, and numb...

Artist: Andy Warhol Title: Wayne Gretzky #99 Medium: Screenprint on Lenox Museum Board Date: 1984 Edition: AP 32/50 Sheet Size: 40" x 32" Signature: Hand signed by Andy Warhol and Wa...

This is a vintage exhibition poster for an Andy Warhol exhibition held at The Tate Gallery in London from February 17 to March 28, 1971. The poster features Andy Warhol's iconic ima...

Andy Warhol To Earl and Camilla, Love Andy Warhol, 1979 Original Heart Drawing held in book with unique dedication to Earl and Camilla McGrath (Signed Twice by Andy Warhol) This uniq...

This poster, part of a series by Andy Warhol for Chanel No. 5 features the sophisticated design of the bottle in the center of the image. Aiming for simplicity, the bottle is the foc...

Andy Warhol Baroness de Waldner, ca. 1975 Unique Acetate positive This piece comes with a signed letter of provenance from the representative of Chromacomp, Warhol's printer. Frame i...

Andy Warhol Nicola (Nicky) Weymouth, ca. 1976 Acetate positive, acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. Accompanied by a Letter of Provenance from the representative of Chromacomp Unique Frame included: Elegantly framed in a museum quality white wood frame with UV plexiglass: Measurements: Frame: 18 x 15.5 x 1.5 inches Acetate: 11 x 8 inches This is the original, unique photographic acetate positive taken by Andy Warhol as the basis for his portrait of Nicky Weymouth, that came from Andy Warhol's studio, The Factory to his printer. It was acquired directly from Chromacomp, Inc. Andy Warhol's printer in the 1970s. It is accompanied by a Letter of Provenance from the representative of Chromacomp. This is one of the images used by Andy Warhol to create his iconic portrait of the socialite Nicola Samuel Weymouth, also called Nicky Weymouth, Nicky Waymouth, Nicky Lane Weymouth or Nicky Samuel. Weymouth (nee Samuel) was a British socialite, who went on to briefly marry the jewelry designer Kenneth Lane, whom she met through Warhol. This acetate positive is unique, and was sent to Chromacomp because Warhol was considering making a silkscreen out of this portrait. As Bob Colacello, former Editor in Chief of Interview magazine (and right hand man to Andy Warhol), explained, "many hands were involved in the rather mechanical silkscreening process... but only Andy in all the years I knew him, worked on the acetates." An acetate is a photographic negative or positive transferred to a transparency, allowing an image to be magnified and projected onto a screen. As only Andy worked on the acetates, it was the last original step prior to the screenprinting of an image, and the most important element in Warhol's creative process for silkscreening. Warhol realized the value of his unique original acetates like this one, and is known to have traded the acetates for valuable services. This acetate was brought by Warhol to Eunice and Jackson Lowell, owners of Chromacomp, a fine art printing studio in NYC, and was acquired directly from the Lowell's private collection. During the 1970s and 80s, Chromacomp was the premier atelier for fine art limited edition silkscreen prints; indeed, Chromacomp was the largest studio producing fine art prints in the world for artists such as Andy Warhol, Leroy Neiman, Erte, Robert Natkin, Larry Zox, David Hockney and many more. All of the plates were done by hand and in some cases photographically. Famed printer Alexander Heinrici worked for Eunice & Jackson Lowell at Chromacomp and brought Andy Warhol in as an account. Shortly after, Warhol or his workers brought in several boxes of photographs, paper and/or acetates and asked Jackson Lowell to use his equipment to enlarge certain images or portions of images. Warhol made comments and or changes and asked the Lowells to print some editions; others were printed elsewhere. Chromacomp Inc. ended up printing Warhol's Mick Jagger Suite and the Ladies & Gentlemen Suite, as well as other works, based on the box of photographic acetates that Warhol brought to them. The Lowell's allowed the printer to be named as Alexander Heinrici rather than Chromacomp, since Heinrici was the one who brought the account in. Other images were never printed by Chromacomp- they were simply being considered by Warhol. Warhol left the remaining acetates with Eunice and Jackson Lowell. After the Lowells closed the shop, the photographs were packed away where they remained for nearly a quarter of a century. This work is exactly as it was delivered from the factory. Unevenly cut by Warhol himself. This work is accompanied by a signed letter of provenance from the representative of Chromacomp, Andy Warhol's printer for many of his works in the 1970s. About Andy Warhol: Isn’t life a series of images that change as they repeat themselves? —Andy Warhol Andy Warhol’s (1928–1987) art encapsulates the 1960s through the 1980s in New York. By imitating the familiar aesthetics of mass media, advertising, and celebrity culture, Warhol blurred the boundaries between his work and the world that inspired it, producing images that have become as pervasive as their sources. Warhol grew up in a working-class suburb of Pittsburgh. His parents were Slovak immigrants, and he was the only member of his family to attend college. He entered the Carnegie Institute of Technology (now Carnegie Mellon University) in 1945, where he majored in pictorial design. After graduation, he moved to New York with fellow student Philip Pearlstein and found steady work as a commercial illustrator at several magazines, including Vogue, Harper’s Bazaar, and the New Yorker. Throughout the 1950s Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Directors Club and the American Institute of Graphic Arts. He had his first solo exhibition at the Hugo Gallery in 1952, showing drawings based on the writings of Truman Capote; three years later his work was included in a group show at the Museum of Modern Art for the first time. The year 1960 marked a turning point in Warhol’s prolific career. He painted his first works based on comics and advertisements, enlarging and transferring the source images onto canvas using a projector. In 1961 Warhol showed these hand-painted works, including Little King (1961) and Saturday’s Popeye (1961), in a window display at the department store Bonwit Teller; in 1962 he painted his famous Campbell’s Soup Cans, thirty-two separate canvases, each depicting a canned soup of a different flavor. Soon after, Warhol began to borrow not only the subject matter of printed media, but the technology as well. Incorporating the silkscreen technique, he created grids of stamps, Coca-Cola bottles, shipping and handling labels, dollar bills, coffee labels...

Artist: Andy Warhol (1928-1987) Title: Jacqueline Kennedy (Jackie II) Year: 1966 Medium: Silkscreen in colors on wove paper Size: 24 x 30 inches Condition: Excellent Inscription: Sig...

Artist: Andy Warhol Title: Cow Medium: Screenprint on wallpaper Date: 1976 Edition: Unnumbered Frame Size: 52 1/2" x 36 1/4" Sheet Size: 45 1/2" x 29 3/4" Signature: Unsigned Refere...

Original serigraph: Andy Warhol Brillo soap pads. Artist: Andy Warhol. Size 26" x 30" Year: 1970. Archival linen-backed original serigraph ready to frame. Warhol's Billo ...

Andy Warhol Portrait of Roy Lichtenstein, 1975 Polaroid dye-diffusion print Authenticated by the Andy Warhol Foundation for the Visual Arts, bears the Foundation stamp verso Frame included: Framed in white wood frame with UV plexiglass; with die-cut window in the back to show official Warhol Foundation authentication stamp and text Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (Artwork) Authenticated and stamped by the Estate of Andy Warhol/Warhol Foundation for the Visual Arts An impressive piece of Pop Art history! A must-have for fans and collectors of both Andy Warhol and Roy Lichtenstein: This is a unique, authenticated color Polaroid taken by one Pop Art legend, Andy Warhol, of his most formidable contemporary and, in many respects, rival, Roy Lichtenstein. One of only a few portraits Andy Warhol took of Roy Lichtenstein, during one tense photo shoot. Both iconic artists, colleagues and, perhaps lesser known to the public, rivals, would be represented at the time by the renowned Leo Castelli Gallery. The truth is - they were really more rivals than friends. (the rivalry intensified when Warhol, who was working with Walt Disney, discovered that Lichtenstein painted Mickey Mouse before he did!!) Leo Castelli was committed to Roy Lichtenstein, and, it's easy to forget today, wasn't that interested in Warhol as he considered Lichtenstein the greater talent and he could relate better with Roy on a personal level. However, Ivan Karp, who worked at Castelli, was very interested in Warhol, as were some powerful European dealers, as well as many wealthy and influential American and European collectors. That was the start of Warhol's bypassing the traditional gallery model - so that dealers like Castelli could re-discover him after everybody else had. Warhol is known to have taken hundreds of self-portrait polaroid photographs - shoe boxes full - and he took many dozens of images of celebrities like Blondie and Farrah Fawcett. But only a small number of photographic portraits of fellow Pop Art legend Roy Lichtenstein -- each unique,- are known to have appeared on the market over the past half a century - all from the same photo session. This is one of them. There is another Polaroid - from this same (and only) sitting, in the permanent collection of the Getty Museum in California. There really weren't any other collaborations between these two titans, making the resulting portrait from this photo session extraordinary. It is fascinating to study Roy Lichtenstein's face and demeanor in this photograph, in the context of the great sense of competition, but perhaps even greater, albeit uneasy respect, these two larger than life Pop art titans had for each other: Like Leo Castelli, Roy Lichtenstein was Jewish of European descent; whereas Warhol was Catholic and quintessentially American, though also of European (Polish) descent. They were never going to be good friends, but this portrait, perhaps even arranged by Leo Castelli, represents an uneasy acknowledgement there would be room at the top for both of them. Floated, framed with die cut back revealing authentication details, and ready to hang. Measurements: 9 9/16 x 8 9/16 x 9/16 inches (frame) 3 1/2 x 2 3/4 inches (window) 4.16 x 3.15 inches (sheet) Authenticated by the Estate of Andy Warhol/The Andy Warhol Foundation for the Visual Arts. Estate Stamped: Stamped with the Andy Warhol Estate, Warhol Foundation for the Visual Arts stamp, numbered "B 512536P", with the Estate of Andy Warhol stamp and inscribed UP on the reverse. Bears the Warhol Foundation unique inventory number. Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

“Grace Kelly” is a color screenprint by American Pop artist, Andy Warhol from 1984. The work is edition AP 22/30 and is signed in pencil, lower right, "AP 22/30 Andy Warhol" Andy Wa...

Artist: Andy Warhol Title: Untitled (Plate 1) Portfolio: 1956 In the Bottom of My Garden Medium: Offset lithograph and watercolor on paper Date: 1956 Frame Size: 15 3/4" x 18 3/8" Sh...

This poster, part of a series by Andy Warhol for Chanel No. 5 features the sophisticated design of the bottle in the center of the image. Aiming for simplicity, the bottle is the foc...

Artist: Andy Warhol (1928-1987) Title: Mao 90 Year: 1972 Medium: Silkscreen in colors on Lenox Museum Board Size: 36 x 36 inches Condition: Excellent Inscription: signed in ball-poin...

Signed Andy Warhol Interview Magazine 1978: A handsomely signed 1970s Warhol Interview magazine featuring a striking Bianca Jagger cover & a bold, well-preserved Warhol signature. Standout highly decorative 1970s pop art that is well-suited for framing. Magazine on newspaper stock. The full edition of the magazine. Measures: 11 x 17 inches. Well-preserved bold signature. Magazine: good overall vintage condition. Private collection New York, NY. Further background: Interview Magazine, founded in 1969 by Andy Warhol and John Wilcock, was a pop culture magazine known for its celebrity interviews and Warhol's influence. Originally a film journal, it evolved into a major player in celebrity culture, especially in the 1970s, with a focus on glamour and pop culture After starring on the cover of January 1973 edition, Interview founder Andy Warhol and then-editor Bob Colacello, went back in the saddle with Jagger twice by highlighting the Halston muse and humanitarian on covers in 1975 and 1978. Each image from the issues depicts Jagger as beguiling as the next, a total knockout that leaves little wonder why she became the seductress of Studio 54. Related Categories Signed Andy Warhol. Andy Warhol Interview Magazine. Warhol studio 54.

Andy Warhol Portraits of the 1970s (Deluxe Limited Edition Monograph with Slipcase, Hand Signed and Numbered by Warhol), 1979 Hand Signed and Numbered Hardback Monograph with 120 Bound offset lithographs and text, held in original slipcase (boxed set). Boldly signed by Andy Warhol and numbered 7, from the edition of 200 on the colophon page. 9 1/2 × 8 1/2 × 2 inches Provenance The original (uptown) Whitney Museum An amazing and historic gift! As dazzling as the Warhol show was in 2019 at the new Whitney Museum -- only his show in the late 1970s at the old Whitney Museum, could offer this Deluxe limited edition collectors item - hand signed and numbered by Andy Warhol - because the latter was published during his lifetime. This rare 1979 First (and only) Edition hardback monograph is held in the original slipcase, and is hand signed by Andy Warhol and numbered 108 out of only 200 on the first front end page (see image). This collectors item features text, accompanied by 120 full page color offset lithograph bound, double sided plates on regular pages. (Total pages are: 145) It was published by the Whitney Museum in collaboration with Random House, in conjunction with the exhibition held at the Whitney Museum of American Art, November 20, 1979 to January 27, 1980. Text foreword is by Tom Armstrong, the Whitney's director. Total pages are: 145. The Warhol portraits included are: Giovanni Agnelli, Marella Agnelli, Corice Arman, Marian Block, Irving Blum, Truman Capote, Cristina Caramati, Leo Castelli, Carol Coleman, Norman Fisher, Kay Fortson, Tina Freeman, Diane Von Furstenberg, Henry Geldzahler, Halston, Brooke Hayward...

This exquisite silkscreen by Andy Warhol (1928–1987), titled Birmingham Race Riot, originates from the landmark 1964 folio X + X (Ten Works by Ten Painters). Published by the Wadswor...

Andy Warhol Extremely rare, historic early hand made invitation to book launch of "In the Bottom of My Garden" Serendipity 3, 1954-1956 Offset lithograph invitation designed by Warho...

Artist: Andy Warhol (1928-1987) Title: Mao 97 Year: 1972 Medium: Silkscreen in colors on Lenox Museum Board Size: 36 x 36 inches Condition: Good Inscription: signed in ball-point pen...

The 1984 Winter Olympics in Sarajevo, Yugoslavia, marked a momentous occasion in Olympic history, and one of the most iconic pieces of memorabilia from this event is Andy Warhol’s striking official poster. Known for his revolutionary pop art style, Warhol was among several renowned artists commissioned to create promotional artwork for the XIV Olympic Winter Games. Warhol’s silkscreen-inspired poster captures the intensity and movement of a speed skater in full stride. Using bold neon outlines, a vibrant red body suit, and dynamic geometric background elements, the composition conveys a sense of urgency and athleticism. The contrasting colors—deep black, electric green, yellow, and blue—amplify the subject’s momentum, making the skater appear almost weightless against the abstract backdrop. While Warhol is best known for his depictions of celebrities and consumer goods, this Olympic commission demonstrated his versatility as an artist. His ability to distill movement and expression into a minimalist yet powerful composition makes this piece stand out among other Olympic posters. This official 1984 Sarajevo Winter Olympics poster is highly sought after by collectors and Olympic memorabilia enthusiasts alike. As one of Warhol’s few sports-related works, it embodies both his unmistakable artistic style and the spirit of global athletic competition. Warhol’s Sarajevo Olympics...

Original lithograph on paper Bears the AWAAB and Estate of Andy Warhol stamps, on verso Annotated with initials 'LC' and a unique authenticity number in pencil, on verso Accompanied ...

Andy Warhol Record Art 1982-1986: Set of 4 Andy Warhol illustrated record covers (accompanied by their original records): Warhol's classic rendition of Miguel Bose, Aretha Franklin, ...

The portfolio consists of six screen prints on Lenox museum board. Each hand-signed and numbered. Each print is unique. Printed by Rupert Jasen Smith, New York. Published by Andy War...

Unique screen print on paper. Hand signed and numbered on verso. Published by David Whitney, New York, with the ‘HOTEL MARQUETTE PRINTS’ ink stamp on the reverse. Feldman & Schellman...

"Neuschwanstein" was one of the last works that Andy Warhol completed before his untimely death in 1987. It was during this last decade that Warhol had a resurgence in both reputat...

Screen print on arches aquarelle (rough) paper. Hand signed lower right by Andy Warhol; hand signed lower left by Mick Jagger. Edition 35/250 (there were also 50 artist’s proofs)....

Screen Print on Lenox Museum Board Stamped by Estate, Sticker, Label, Unsigned, Authenticated by AWAAB, with COA

Screen print in colours Edition of 250 90 x 121.5 cm (35.4 x 47.8 in) Signed, numbered and dated on the back Condition on request Printed by Silk Print Kettner, Zürich, published by ...

Original Andy Warhol Poster, Perrier, 1983 (horizontal format). Description: The poster features three Perrier bottles seemingly floating in the air. The design is simple and reflect...

Screen print in colors on smooth wove paper. Hand signed in ballpoint pen on lower left verso by Andy Warhol. Stamp numbered 22/250 on lower left verso (there are also 26 artist pr...

Artist: Andy Warhol Title: Flowers (Hand-Colored) Medium: Screenprint hand-colored with watercolor on white wove paper Date: 1974 Edition: 238/250 Sheet Size: 40 7/8" x 27 1/4" Signa...

Andy Warhol's original poster for the 1982 film "Querelle" is a fascinating fusion of two artistic worlds: cinema and pop culture art. Directed by German filmmaker Rainer Werner Fassbinder, the film is based on Jean Genet's novel of the same name, exploring themes of desire, sexuality and mystery. Warhol, a celebrated figure of the Pop Art movement, brought his unique style to this iconic poster. Using vivid colors and striking contrasts, the poster highlights key elements of the film, including the unsettling sensuality of the main character, Querelle, played by Brad Davis. Warhol's association with the film gave a new artistic dimension to film promotion...

Andy Warhol Original vintage Christmas Card, ca. 1957 Offset lithograph card Plate signed on the front (see close up image) Unnumbered Frame included Offset lithograph card, ca. 1957...

Andy Warhol began using the big-shot Polaroid camera in 1971 and continued using it religiously until his death in 1987. Despite the camera being discontinued in 1973, he continued to use it to capture the actors, artists, dancers, politicians, socialites, and Factory members of his world. Warhol's Polaroids were often used as preparatory works for his iconic portraits and other artworks. They also revealed his immediate personal vision, chronicling his surroundings and social life. Shoes were a recurring motif throughout Warhol's oeuvre and helped launch his career and reputation. He became synonymous with shoes in the mid-1950s after a successful ad campaign for Miller & Sons. See an early example of Warhol's shoe drawings...

Black variation of the original poster (three variations were created: red - blue - black) for the exhibition "The Americans Indian Series" by Andy Warhol commissioned by the Ace Gallery...

Andy Warhol Interview Magazine (hand signed by Andy Warhol), 1985 Offset lithograph (hand signed by Andy Warhol) Signed in brown marker Frame included: Frame included: framed in a h...

Andy Warhol (1928-1987) Indian : War Bonnet, c. 1986 Original pencil drawing Unsigned On vellum 101.5 x 77.5 cm (c. 39.9 x 30.3 in) On the back of the drawing figures the stamp of t...

Original “Aretha” vintage music promotional poster featuring Aretha Franklin with the artwork created by Andy Warhol. Archivally backed linen is in very good condition and ready to...

Mao is a contemporary artwork realized by Andy Warhol in 1974. Colour screenprint on wallpaper. Includes frame: 113 x 86 x 3 cm Hand signed by lower left. Prov. Galerie Vayhinger...

Andy Warhol’s, S & H Green Stamps was created by the artist in 1965 for his first retrospective which was held at the Institute of Contemporary Art in Philadelphia. Created as the ex...

Andy Warhol Index (Book) 1967 Hand signed by Warhol on the cover and multiple other pages in the book Numbered 122/365 from the edition of 365. Publis...

Andy Warhol 1928–1987 Santa Claus (from the Myths series) 1981 screenprint in colors with diamond dust on Lenox Museum Board 37⅞ h × 37⅞ w in (96 × 96 cm) Signed and numbered to low...

Screen print in colors on Arches 88 wove paper. Unsigned edition, lacking the pencil signature, but with the Estate of Andy Warhol and the Andy Warhol Foundation for the Visual Arts,...

A wonderful piece of unknown edition by Andy Warhol. A silkscreen print on a Cellulose and Cotton dress. Fearing the artist's trade mark Campbell's soup can. In very good condition.

Artist: Andy Warhol Title: Wild Raspberries FS IV.126-143 The complete book, comprising 18 offset lithographs, 3 with hand-coloring, (one of which is a double plate), printed title page and two blank pages (as issued), with recipes by Suzie Frankfurt...

This work was acquired directly from The Andy Warhol Foundation for the Visual Arts. The work is in pristine condition and has never been framed. This is a unique work which comes w...

Andy Warhol Exhibition Poster for Andy Warhol Exhibition at the Denver Art Museum Double Elvis (Inscribed to Maryanne and hand signed twice by Andy W...

Synthetic polymer drawing on paper. Unsigned. Warhol Foundation stamp on verso. Sheet size 31.5 x 23.5 inches. Custom framed as pictured. Artwork is in excellent condition. Cert...

This is a unique photographic work taken by Andy Warhol of an unknown man. Stamped twice on the reverse by both The Estate of Andy Warhol and The Andy Warhol Foundation for the Visu...

Andy Warhol (American, 1928 – 1987) Pecans, circa 1956 Ink offset drawing with some pencil detail Inscribed in the reverse ‘Pecan varieties’ (mirror image) Unsigned. Estate of Andy ...

Artist: Andy Warhol (American, 1928-1987) Title: "Watermelon" Portfolio: Space Fruit: Still Lifes *Signed and numbered by Warhol in felt pen lower left Year: 1979 Medium: Original Sc...

Grevy's Zebra, from Endangered Species. Screen print in colors on Lennox Museum Board. Hand signed and numbered by Andy Warhol. Edition 61/150 (there were also 30 AP's, 5 PP's, 5 EP's, 3 HC's, 10 numbered in Roman numerals, 1 BAT, and 30 TP's). Printed By Rupert Jansen Smith, Ny. Published By Ronald Feldman Fine Art Inc., NY. Artwork is in excellent condition. All reasonable offers will be considered. From the Endangered Species portfolio, which premiered in 1983. Warhol was commissioned by environmentalists and gallerists Ronald and Frayda Feldman to depict 10 endangered animals, bringing attention to their fragility. The US federal government had passed the Endangered Species Act (ESA) in 1973, making clear criteria for assigning the status of “endangered” to animals that had seen massive attrition of their populations. This designation has been adopted internationally and Warhol’s Endangered...

An invitation to "Andy Warhol: A Print Retrospective 1963-1981" held at the Leo Castelli Gallery in New York City, printed with the iconic image of Marilyn Monroe. Published by Caste...

Artist/Designer: Andy Warhol (after) (American, 1928-1987) Marking(s); notes: copyright/publisher’s ink stamp, blind stamp; unknown edition size; 1986 Materials: screenprint in color...