Andy Warhol from Tattooed Woman to Lenin

Andy Warhol
From
'Tattooed Woman
Holding a Rose'
(1955)
to
'Lenin' (1987)
January 14th – February 11th 2023

ANDY WARHOL
Tattooed Woman Holding a Rose
1955
74 x 28 cm
Offset Lithograph on Onion Skin Paper
Purchased directly from Andy Warhol
Foundation by Halcyon Gallery, London

ANDY WARHOL
Tattooed Woman Holding a Rose
Before he became famous for his Pop Art imagery, Andy Warhol was a
successful commercial artist.
He created this image and hand printed it onto Japanese printmaking paper to
use as a calling card when he was looking for graphic design work.
He would mail it to advertising firms rolled up like a scroll.
The woman's skirt contains his phone number and her tattoos show many
popular brands, some of which will show up later in Warhol’s iconic Pop Art
pieces.

ANDY WARHOL
In the Bottom of My Garden (F&S 86A-
105A)
Bound Hand Coloured Book containing
21 lithographs
1956
28 x 22 cm
21 Offset Lithographs
11 with hand colouring in Dr. Martin’s
Aniline Ink
CLICK HERE TO VIEW THE BOOK
Authenticated and stamped by the Andy
Warhol Foundation
From an unknown edition

ANDY WARHOL
In the Bottom of My Garden
Rare example of the complete book in excellent condition
Andy Warhol’s illustrated book of fairies and putti frolicking in a garden was one of his
several forays into bookmaking with offset lithography in the 1950s, with colouring done by
hand by Warhol and his friends
In the Bottom of My Garden by Andy Warhol incorporates both his commercial art
background and style with his budding fine art and Pop art career. The book combines his
blotted line technique and it has a playful nature to it. Like in many of Warhol’s other paper
works, his mother, Julia Warhola’s writes the text for the images. The overly decorated
cursive, is then combined with what would end up being themes in his later pop work –
androgynous “fairies,” flowers, and of course sex. Each image from In the Bottom of my
Garden is peopled with dumpy little putti frolicking amongst flowers, and it is probably the
nearest Warhol got to whimsy, however on close inspection there is an underlying naughty
sexiness to the prancing!
Most of the pictures are hand coloured with touches of fluorescent pink, orange, blue and
green watercolour, while others are just as pretty but in black and white. These early images
incorporate Warhol’s trademark irregular blotted lines and flat use of colour, which he learnt
at college while training as a commercial artist. One could say that these putti mark the
beginning of the artist’s artistic metamorphosis.

ANDY WARHOL
Tomato Soup (F&S II. 46)
1968
58 x 90 cm
Silkscreen on Paper
Signed by Andy Warhol
From the edition of 250

ANDY WARHOL
Tomato Soup
Campbell’s Soup Cans I: Tomato by Andy Warhol is a print from his 1968 Campbell’s Soup Cans I portfolio. It is also the
most collectable of the Soup Cans. The famous series exhibits Warhol’s ability to break the mold of his time and
champion the Pop Art movement. After painting 32 Campbell’s Soup Cans in 1962, Warhol returned to the soup can
concept to screen print the images. Using this technique, he was able to achieve an even closer replication to the actual
Campbell’s product. The design is simple and bold, and uses a small range of colours to create a pleasant contrast. Out
of all the different soup flavours Warhol created, the tomato flavour is perhaps the most famous. This portfolio, as well
as Campbell’s Soup Cans II (1969), contain some of Warhol’s most valuable screen prints.
When viewing works like Campbell’s Soup Cans I: Tomato it becomes evident why Warhol’s works were so difficult for
some audiences to digest. Popular artwork of the time focused on abstract composition, and the artist’s ability to
convey emotion through the canvas. Clearly, Warhol’s soup cans are not meant to be admired as a feat of technical skill,
or as a masterful showcase of painterly accomplishment. Instead, Warhol’s Campbell’s Soup cans are rich in a
conceptual sense. The significance of the work is linked closely with Warhol’s historical circumstance and the timing of
publication. Moreover, they are illustrative of Warhol’s philosophy as an artist.
In addition to being the most iconic representations of Warhol’s signature style, the Campbell’s Soup cans challenged
established norms of artistic value. With the soup cans, Warhol experimented with the context of art, and pushed the
limits of what society might accept as art. For instance, if you see a Campbell’s Soup can on a billboard, you probably
wouldn’t consider it as art, but as a mundane advertisement. However, by recreating the same image and placing it in a
gallery, Warhol urges us to pay closer attention.
Thus, with his early pop art creations like Tomato Soup, Warhol encourages us to view certain images differently, and
to reconsider our ideas of what “counts” as art. The soups thus attain a provocative quality, especially considering the
historical moment from which they originated. Overall, Warhol’s Campbell’s Soup cans redirected common views of
artistic merit, and challenged accepted norms of the art world. Campbell’s Soup I: Tomato helped popularise the Pop
Art genre and stands as a masterpiece of modern art.

ANDY WARHOL
Green Pea Soup (F&S II. 50)
1968
58 x 90 cm
Silkscreen on Paper
Signed by Andy Warhol
From the edition of 250

ANDY WARHOL
Green Pea Soup
Campbell’s Soup Cans I: Green Pea is heavy with Andy Warhol’s
fascinations and philosophy.
Warhol’s inspiration to paint and screen print the Campbell’s Soup
cans has to do with his fascination for simple commodities, and the
fact that he claimed to drink Campbell’s Soup almost everyday for
20 years.
He had a very positive view of capitalism and consumer culture.
Warhol thought that products like Campbell’s Soup cans, Coke, or
Life Savers, were amazing miracles of modern society.

ANDY WARHOL
Electric Chair (F&S II.77)
1971
122 x 90 cm
Silkscreen on Paper
Signed by Andy Warhol
From the edition of 250

ANDY WARHOL
Electric Chair
Andy Warhol was preoccupied with news reports of violent death—suicides,
car crashes, assassinations, and executions.
In the early 1960s he began to make paintings, such as Orange Disaster #5
(1963), with the serial application of images revolving around the theme of
death; this reiteration of the macabre also became the subject of print
portfolios, as in Electric Chair (1971).
“When you see a gruesome picture over and over again,” he commented, “it
doesn’t really have any effect.” Yet Electric Chair, with its eponymous chair
printed once on each of ten separate sheets of paper, belies this statement. The
work speaks to the constant reiteration of tragedy in the media, and becomes,
perhaps, an attempt to exorcise this image of death through repetition.
However, it also emphasizes the pathos of the empty chair waiting for its next
victim, the jarring array of colours only accentuating the horror of the isolated,
expectant seat.

ANDY WARHOL
Sunset (F&S II. 85-89)
This is a unique work
every print was coloured differently
1972
86 x 86 cm
Silkscreen on paper
Signed by Andy Warhol
From and edition of 40 (each unique)

ANDY WARHOL
Sunset
Andy Warhol’s Sunset series was produced in 1972, commissioned by renowned architects
Johnson & Burgee to be installed in their newly renovated Hotel Marquette in Minneapolis,
Minnesota.
The series consisted of 472 unique colour variations for installation in the hotel, in addition
to 160 prints that were assembled in to 40 unique portfolios.
We have one of the Hotel pieces (stamped on verso with Hotel Marquette) and also this
piece from the edition of 40.
Astonishingly, all of the Sunset prints were produced using only three screen prints: one to
apply the background strips of colour, one for the sun and one with a single-colour dot
pattern to provide texture. Warhol then inked the screens in a range of colour combinations
and printed them with varying registration to create a total of 632 unique screen prints on
smooth woven paper.
Warhol sought to comment on American capitalism whist creating some of the most iconic
and enduring images in the history of Pop Art.
However, the Sunset series, which is revered as one of the most expressive portfolios of
Warhol’s career, strays away from the territory of celebrity culture.

ANDY WARHOL
Sunset (F&S II. 85-88)
Hotel Maquette – unique
This is a unique work
every print was coloured differently
1972
87 x 87 cm
Silkscreen on Paper
Signed by Andy Warhol
Hotel Maquette stamp on verso
From an edition of 470 (each unique)

ANDY WARHOL
Sunset (Hotel Maquette)
Andy Warhol’s Sunset (Green/Red/Green), created in 1972, is a screen-print based off of
several reels of sunset photographs shot in East Hampton, San Francisco, and New York.
Warhol’s film is called Sunset, and it is one of the fifty films that has been preserved by the
Museum of Modern Art.
Each sunset image contains different colours thus evoking a different sensation based upon the
colours. This particular Sunset screen print depicts a red sun with a graduated green
background. Each print in the Sunset portfolio is unique, as they are all based off of different
stills from Sunset.
472 unique Sunset prints were used by architects Johnson & Burgee for the Hotel Marquette,
Minneapolis, Minnesota. In 1981 when the hotel was renovated, these prints were removed,
signed, numbered 1/470 – 470/470, and dated in pencil on verso, and two were marked “HC”.
They were also stamped in black on verso “Hotel Marquette Prints.”
The Sunset series was produced in 1972 on smooth wove paper. This series is an extreme
example of the concept of colour serialization. The screen-print was produced at an unheard of
472 unique colour variations with the use of only three screens. The sunset series is considered
to be one of Warhol’s more expressive projects he produced in his lifetime

ANDY WARHOL
Washington Monument (F&S IIIB. 2)
1974
111 x 75 cm
Silkscreen on Wallpaper
Estate Stamped
from an unknown edition
Directly from Andy Warhol Foundation

ANDY WARHOL
Washington Monument
Andy Warhol was a pioneer in the creation of artistic wallpapers and produced eight
wallpapers during his career, with the Cow pieces being the best know.
Warhol had found the subject of the cow in a book on agriculture. The bibliographical
source of the original black and white picture of the cow that he had used, which he
detached from the page, is still unknown to this day.
Warhol’s first three uses of wallpaper were primarily aimed at creating a space, an
installation in short, without any work hanging on the wallpaper. Warhol’s idea took a
decisive turn five years later, (an idea that he would retain for the rest of his career) when
he imagined wallpaper as a background for his paintings.
Warhol’s wallpapers are always consistent in terms of the motifs represented, namely the
multiplication of subjects imitating their multiple state in real life. Such as the many cows
that make up a herd on a farm, Warhol respects this co-existent seriality with the very
nature of the subject or object.
Only one wallpaper created in 1974 by the artist escapes this observation: representing
the American capital’s monument, Washington Monument’s origin and destination
remain unknown to this day, having never been used for an exhibition during the artist’s
lifetime.

ANDY WARHOL
Mick Jagger (F&S II.144)
1975
74 x 110 cm
Silkscreen on Arches Aquarelle
Signed by Andy Warhol and Mick Jagger
From an edition of 250

ANDY WARHOL
Mick Jagger
Andy Warhol and Mick Jagger met at a party in 1964 when the Rolling Stones were on their first US tour.
At this time both were rising to fame and establishing their image. The Rolling Stones were viewed as
the dirty alternative to the clean cut Beatles and art collectors may have viewed Andy Warhol in a
similar way compared to other artists at the time such as Jasper Johns and Tom Wesselmann. Their
relationships grew over the years and they attended many lavish rock star parties together.
In the summer of 1975 whilst Mick and his wife Bianca were staying at
Andy’s house in Mautauk, Andy took photographs of Mick all of which
were head and bare-chested shots, Andy wanted to capture different
emotions with Jagger playing up to the camera, he particularly liked
Jagger’s photogenic ‘Bad-boy’ image.
Back in the studio Andy created a series of 10 portraits of Mick Jagger as
screen prints using the photographs he had taken. He added hand drawn
stylized lines and incorporated blocks of irregularly shaped colour, which
although printed, appear like collaged fragments of coloured paper.
These works were more expressive than his earlier screen-prints and the
abstract quality of the blocks of colour show the development of
Warhol's interest in more non-representational art that was emerging in
the 1970’s.
These pieces are rare as they feature not only the signature of the artist, but also that of the sitter.
Also, very few of the subjects of Warhol’s works are still living.

ANDY WARHOL
After the Party (F&S II.183)
Rare signed version
1979
77 x 55 cm
Silkscreen on Arches 88 Paper
Signed by Andy Warhol
From an edition of 1000
(only a small number of this edition were
signed)

ANDY WARHOL
After the Party
After the Party is a black and white photo of a table with scattered glasses and plates, brought to life
by the rainbow gradient highlighting the subjects.
There is an inherent chaos in the work, a feeling of excess, in part due to the reflective quality and
haphazard arrangement of the glasses, the bright hues that outline the items, and the manner in
which the print was created and aligned.
The print evokes ideas of gilded wealth and excess and their perceived glory, hiding a plainness and
darkness behind them. Each print of After the Party has a unique colourful outlining around the
objects in the work, making no two prints completely alike.
The subject and the print itself suggest the residue of a frenzied yet enjoyable gathering through both
compositional arrangement and artistic liberties taken by Warhol in the creation of this print. “The
best kind of party I could give would be champagne and nuts and then take everybody dancing” (The
Philosophy of Andy Warhol: From A to B and Back Again p. 196).
Only a small amount of the edition of 1000 were signed by Andy Warhol – the rest were Estate
Stamped.

ANDY WARHOL
After the Party (AGFA)
Unique aside from the edition
1979
85 x 60 cm
Three Screen-prints in colours on Vinyl
Estate Stamped
Unique aside
Coming directly from Andy Warhol
Foundation in early 2023
Better image coming soon once piece arrives in UK

ANDY WARHOL
After the Party (AGFA)
This version of After the Party is a unique original piece on Vinyl that is an aside from the
edition.
Printed on three separate pieces of orange vinyl and collaged together on paper, this is a very
special pieces for any collector.
After the Party (AGFA) comes directly from the Andy Warhol Foundation, and has the
foundation stamp on the verso with unique code.

ANDY WARHOL
Beatles (F&S IIIB.5 a)
Unique Silkscreen
1980
102 x 61 cm
Silkscreen on Lennox Museum Board
Estate Stamped
Unique commissioned work

ANDY WARHOL
The Beatles
Original Book Cover made using the same screens
Based on a photograph by Dezo Hoffmann, London, England. Created for the jacket of the 1980 book
'The Beatles' published by Rolling Stone Press Books / Times Books,
the same year John Lennon was senselessly murdered.
Andy Warhol trialled several variations before selecting the image finally used as the cover.
A small number of these were created using silkscreen on collaged paper.
This is one of those rare unique collages.
Complete with full provenance from the Estate of Andy Warhol.

ANDY WARHOL
Mildred Scheel (Double) (F&S IIB. 239)
Unique AP
1980
109 x 78 cm
Silkscreen with diamond dust
on Arches 88 Paper
Signed by Andy Warhol
Artist Proof – each is unique
Coming directly from Andy Warhol
Foundation in early 2023
Better image coming soon once piece arrives in UK

ANDY WARHOL
Mildred Scheel
Mildred Scheel was published to raise funds for the German Cancer Society (Deutsche Krebshilfe),
which Scheel founded in 1974.
Scheel was admired by many for her philanthropic activism and was nominated as Germany’s
“Woman of the Year” in 1977, 1978 and 1979.
In 1980, Andy Warhol, Scheel’s long-time friend, immortalized her in this beautiful limited edition
double image screen-print.
This print of Mildred Scheel is one of the two prints that Warhol made of the famous philanthropist.
Though they are both based off of the same image, this print copies the portrait of Scheel and adds
more colour blocked layering. Each print is unique in its colourway.
Mildred Scheel was a German doctor and the second wife of former German president Walter Scheel.
Scheel devoted her life to the fight against cancer, but died from the disease in 1985.
This print is especially vibrant, which is creatively juxtaposed with the professional photo and poised
expression of Scheel. This portrait is a great departure from the ostentatiously glamorous portraits of
Liz Taylor and Marilyn Monroe.
This work has come directly from the Andy Warhol Foundation.

ANDY WARHOL
Edward Kennedy (F&S IIB. 240)
Unique
1980
81 x 102 cm
Silkscreen with diamond dust on Lennox
Museum Board
Signed by Andy Warhol
Trial Proof of 15 - each unique
Coming directly from Andy Warhol
Foundation in early 2023
Better image coming soon once piece arrives in UK

ANDY WARHOL
Edward Kennedy (Trial Proof)
Edward Kennedy by Andy Warhol is a print produced to raise funds for Kennedy’s 1980
Presidential campaign.
Andy Warhol's silkscreened portrait plays off the colours of the American flag and suggests the
glamour of politics by enhancing the candidate's features with red and blue diamond dust.
This work is rare because it was a small edition originally intended only for donors of Kennedy’s
campaign. Warhol was vastly interested in political figures, with his prints such as Mao, Vladimir
Lenin and Alexander the Great. However, he was doubly interested in the Kennedy family.
In addition to the Edward Kennedy set, Warhol produced Flash, a portfolio of the death of John F.
Kennedy, and a Jacqueline (Jackie) Kennedy portfolio.
Although Kennedy didn’t go on to win the Democratic nomination, he continued to pursue politics
and became known as the “Lion of the Senate.” While in office, Kennedy wrote hundreds of bills that
were passed and enacted into law. The image of Kennedy comes from a Polaroid taken by Warhol.
We have two unique pieces in this collection, one a signed Trial Proof and the other an aside from
the edition with Estate Stamps.
Both pieces have come directly from the Andy Warhol Foundation.

ANDY WARHOL
Edward Kennedy (Aside)
Unique Aside
1980
81 x 102 cm
Silkscreen with diamond dust
on Lennox Museum Board
Estate Stamped
Unique Screen-print – aside from edition
Coming directly from Andy Warhol
Foundation in early 2023
Better image coming soon once piece arrives in UK

ANDY WARHOL
Edward Kennedy (Unique Aside)
Elected to the United States Senate in 1962, Edward Kennedy owed his early success to his close
identification with his elder brothers, President John F. Kennedy, whose Senate term he completed, and
Attorney General Robert F. Kennedy. Praising their commitment to public service, he acknowledged, "I'm
very proud of that association."
Kennedy built on this legacy when he sought the presidency in 1980.
Andy Warhol's silkscreened portrait, created as a campaign fund-raiser, plays off the colours of the
American flag with each piece being unique. Warhol’s portrait of Kennedy is now on display at the
National Portrait Gallery, at The Smithsonian on the museum’s first floor.
Although Kennedy lost the 1980 Democratic nomination to Jimmy Carter, whom Warhol had portrayed
four years earlier, the long-serving senator became an influential leader in his party, addressing such
issues as health care, education, and immigration reform.
This copy is an aside from the edition using heavy diamond dust in red and blue.
Complete with stamps on the verso from The Andy Warhol Foundation.
Both ‘Edward Kennedy’ pieces have come directly from the Andy Warhol Foundation.

ANDY WARHOL
$ Unique
Rare Original Painting on Canvas
1981
40 x 50cm
Original Synthetic Polymer Paint and
Silkscreen Ink on Canvas
Estate Stamped
As featured in an exhibitions of original $’s at
Gagosian Gallery, California in 1997
Available to view by private appointment
only

ANDY WARHOL
$ - Dollar original
The Dollar Signs are among Andy Warhol's most powerful and essential images, perhaps equal to
the historic Campbell's Soup Cans of 1962, in their brash reinvention of what is allowed in a work
of art. In the Dollar Signs, Warhol unabashedly said that "big-time art is big-time money" and, with
his brutal truthfulness, bluntly printed the sign for money as the sign for art.
On the other hand, given their wild colour and flamboyant drawing and design, the Dollar Signs are
"artistic" in the extreme. Like his greatest works, they empty and glamorize in one stroke, making
the object blank and banal, yet lyrical and deliciously seductive. Recall the famous Marilyn's from
1962, where he screened the image of the dead movie star on candy coloured backgrounds and
titled the series The Flavors. The Dollar Signs exhibit the same panoramic understanding of the
commodity, in all its crassness and allure, but focus even tighter upon its essence: money.
The Dollar Signs are signature works in the extreme – the signature for cash, for art, and for
Warhol, himself. They also epitomize his deadpan genius for truth-telling and sizing-up the future.
When he completed the Dollar Signs in 1981, the worlds of art and business had just begun a
historically money-mad decade. The pertinence, originality, and affront of these paintings are even
more alive today, as the nations of the planet combine into the biggest commodity trading floor
mankind has ever known.
This amazing original work on canvas was featured in a major Gagosian Exhibition in 1997
Click here to read the original press release.

ANDY WARHOL
Superman (F&S II.260)
1981
97 x 97 cm
Silkscreen with Diamond Dust on Lenox
Museum Board
Signed by Andy Warhol
From and edition of 200

ANDY WARHOL
Superman (from ‘Myths’ portfolio)
Prints from the Myths collection re-situate our perception of 20th century cultural trends, while
also placing the enigmatic artist in a more vulnerable light. Each print is said to reveal distinct
facets of Warhol’s personality.
At eight years old, Andy Warhol found a new idol: Superman.
Diagnosed with an autoimmune disease, the young artist was bedridden for months after episodes
of involuntary shaking led to bullying at school.
At home, Warhol escaped into the world of comic books, especially the tale of Clark Kent.
As an insecure young boy, Warhol found hope in Kent’s transformation from underdog to
superhero.
Superman has become a universal symbol for goodness, truth, justice, and hope. He is the
embodiment of the perfect flawless male, from his chiselled physique to his meticulously gelled
forehead curl. Like many children, Warhol imagined himself in the shoes of his favourite comic
book heroes, scaling buildings, shooting webs, and defending mankind against all manner of
threats. While Warhol’s Superman depicts a larger-than-life hero, it also humanizes the artist,
reminding us of the difficulties he faced throughout his life.

ANDY WARHOL
Howdy Doody (F&S II.263)
1981
97 x 97 cm
Silkscreen with Diamond Dust on Lenox
Museum Board
Signed by Andy Warhol
From an edition of 200

ANDY WARHOL
Howdy Doody (from ‘Myths’ portfolio)
Andy Warhol regarded celebrity culture as the height of modern consumerism.
He had been drawn to the representation of public figures all his life, and created portraits of everyone from
Marilyn Monroe to Lenin. Aware of the power and ubiquity of his prolific subjects, Warhol’s perception of
celebrity only bloomed as he broadened his scope to include politicians, athletes, and even fictional characters
and his career unfolded.
Howdy Doody depicts a blue-eyed boy with prominent red hair, a gap-tooth grin, pronounced ears, and
freckled cheeks. The boy’s comically large head and hands occupy one-half of the frame. He beams happily as
he waves at the viewer. Dressed like a western-style cowboy, he sports a bright red bandana, checked blue
flannel, and yellow gloves. Warhol highlights these primary colours, setting the boy on a plain grey
background and tracing over him with a subtle pink-purple gradient, a technique he employed often to
accentuate his subjects (as can be seen in series like Reigning Queens and Endangered Species series). The
print is inlaid with “diamond dust:” crushed up pieces of glass that catches light and creates threedimensional
depth.
It is said that each character in the Myths series reveals specific facets of Warhol’s personality. Though Warhol
never stated his reasons for including Howdy Doody in the series, the print demonstrates his aptness for
recognizing what appealed to the fame-hungry masses. Howdy Doody possesses a strange sense of
insentience reflected in his animated smile and exaggerated features. That is because he is not a boy but a
marionette, the star of The Howdy Doody Show, a popular children’s program which aired on NBC from 1947
to 1960. The show’s host, former radio personality Robert E. Smith, nicknamed Buffalo Bob, invented the
marionette character and performed his voice on television. He made an indelible impression on American
audiences, garnering mass attention and popularity and a devoted fanbase.

ANDY WARHOL
$ (F&S II, 277)
Unique
1982
40 x 50cm
Silkscreen on Lennox Museum Board
Signed by Andy Warhol
From and edition of 60
Each silkscreen in this edition is a unique
colourway.

ANDY WARHOL
$ - Dollar screen-print
Although the design in Dollar Sign 277 is relatively simple, the use of complementary colours
makes for an exciting composition. The entire series includes multiple variations, printed on Lenox
Museum Board in a variety of bold unique colours.
This series represents Andy Warhol’s fascination with money and fortune. He once wrote in The
Philosophy of Andy Warhol, “I like money on the wall. Say you were going to buy a $200,000
painting. I think you should take that money, tie it up, and hang it on the wall. Then when someone
visited you the first thing they would see is the money on the wall.” By creating his Dollar Sign
portfolio, Warhol quite literally put money on the wall, welcoming the viewer to ponder the allencompassing
power of his pop-art.
Warhol is famous for his attraction to consumer culture and capitalism, and both are recurring
themes in his body of work. Warhol even dubbed his studio “The Factory,” seeking to create art in
an almost assembly line style. Inspired by the manufacturing methods of the post-war era, he
sought to reach an unprecedented level of artistic output. The Dollar Sign series strongly
encapsulates Warhol’s fascination for money and commerce.
This is from an edition of 60 copies, with each being a different colourway.

ANDY WARHOL
Dollar Quadrant (F&S II. 284)
Unique
1982
81 x 102 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol
From an edition of 60
Each silkscreen in this edition is a unique
colourway.

ANDY WARHOL
$ Quad
Printed in 1982, Dollar Sign (F. & S. II. 283) is a signed screen print in colour.
The print depicts four dollar signs in a grid formation, each rendered against a different coloured
background.
Each sign within the print is unique, composed of a different arrangement of bright colours. The
bold colours are layered with hand-drawn lines, bringing dynamism and a multi-dimensional
effect to the print.
This is one of Warhol’s most famous series and the focus on the US currency encapsulates his
interest in wealth and money. By adopting the dollar sign as the base symbol for the entire series,
Warhol highlights the value that American society puts on this simple symbol. The source image
for the prints in this series was created by Warhol himself. Warhol decided to draw the dollar sign
from scratch, which involved him drafting numerous different variations to get the perfect sign.
This makes the series stand out from others like the Campbell’s Soup series or Ads series in which
Warhol adopts and appropriates well known images.
The print was created during the commercial boom of the Reagan era, making its subject matter
highly pertinent to this period of American history. In this print, Warhol experiments with colour
and sketched shading, adding texture and vibrancy to the symbol of US currency. In doing this,
Warhol is able to transform an international symbol, recognised all over the word, into a 20th
century icon of Pop Art.

ANDY WARHOL
Jane Fonda (F&S IIB. 268)
Unique Trial Proof
1982
80 x 100 cm
Silkscreen with diamond dust
on Lenox Museum Board
Signed by Andy Warhol
From a T/P Edition of 25
Each Trial Proof is a unique colourway
This copy (TP 9/25) is illustrated in the
Catalogue Raisonne

ANDY WARHOL
Jane Fonda
Jane Fonda a celebrity sex symbol of her time remains part of American pop culture to
this day.
Fonda rose to fame in the 1960s for her roles in Cat Ballou (1965) and Barbarella (1968).
Later in her career, she began to devote much of her time to political activism.
In 1982, Warhol offered this print as part of a fundraiser for Fonda’s then husband, Tom
Hayden. The image is reminiscent of Warhol’s earlier portraits of movie stars, Liz Taylor
and Marilyn Monroe.
Signed and numbered TP 9/25 in pencil.
Each TP being unique.

ANDY WARHOL
Committee 2000 (F&S II.289)
1982
51 x 76 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol
From an edition of 2000

ANDY WARHOL
Committee 2000
Andy Warhol created Committee 2000 in 1982 to raise money the future projects by the
‘Committee 2000’.
Exemplary of Warhol’s take on the traditional still life painting, the pop artist used bright
colours accented with a multicolour gradient to give the impression of movement.
Andy depicted a scene of a party, with fallen champagne glasses and confetti. The
brilliant blue, purple, yellow and pink create a scene of excitement and celebration, as if
the scene of the artwork is still buzzing with activity. While traditional still life paintings
aim to recreate a scene in the most realistic way possible, Warhol’s signature colour
blocking technique, highly saturated colours, and use of vibrant outlines add life to the
still life, giving the impression that the party he depicted in Committee 2000 is
happening and allows the viewer to partake in the celebration.
Committee 2000 is one of many works that Andy Warhol was commissioned to create,
and is representative of the pop artist’s influence on the commodification of high art.

ANDY WARHOL
Kiku (F&S II.311)
H/C copy 8/17
The 17 H/C copies of II.311
were all signed twice
1982
66 x 50 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol
From an edition of 17 H/C copies
aside from the edition of 300

ANDY WARHOL
Kiku
In the early 1980’s, Andy Warhol was approached by the Gendai Hanga Center in Tokyo
to produce paintings of flowers.
Kiku is the Japanese word for chrysanthemum, a flower that traditionally represents the
Japanese emperor and Imperial House.
This work is from the Kiku Exhibition (Tokyo, 1984) and is signed.
Artists have looked to still life studies comprised of flowers as a subject matter for
paintings and drawings for centuries. Throughout Andy Warhol’s career, he created
numerous paintings and screen-prints that are based on flowers.

ANDY WARHOL
Love (F&S II. 311)
1983
50 x 66 cm
Silkscreen on Reeves BFK Paper
Signed by Andy Warhol
From an edition of 100

ANDY WARHOL
Love
In 1983, Andy Warhol created his Love series, which includes a portfolio of three
screen-prints on Rives BFK paper.
Each screen-print depicts a nude couple embracing one another in a different
position. The sequence of images seemingly implies a narrative, as if each image
represents a different movement leading up to sexual intercourse.
While the images are characterized by passion, lust and sexuality, they are not as
much pornographic as they are romantic.
There are no explicit sexual acts depicted nor is an emphasis of naked sexual
parts, as there is in Warhol’s 1978 Sex Parts series, which includes prints
focalizing on sexual acts and male sex organs.
His naming of this collection of prints as his Love series and his depiction of the
couple’s full bodies rather than their body parts, also imply deeper meaning
beyond sexual intercourse.

ANDY WARHOL
Blackglama (Judy Garland) F&S II.351
1985
93 x 93 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol
From an edition of 190

ANDY WARHOL
Blackglama (from ‘Ads’ series)
Andy Warhol’s Blackglama depicts actress Judy Garland as part of his Ads
portfolio.
Warhol was inspired by Judy Garland’s advertising campaign for Blackglama
Fur company and their ubiquitous tagline “What becomes a Legend most?”
Many legends of style and pop culture have modelled for the company over the
years, including Diana Ross, Bridget Bardot, Lauren Bacall, Julie Andrews, Ray
Charles and Marlene Dietrich.
Known for her starring role in the 1939 film, The Wizard of Oz, Judy Garland
was described by Fred Astaire as “the greatest entertainer who ever lived.” She
also had major roles in movies like Meet Me in St. Louis (1945) and had a brief
marriage to American director Vincente Minnelli.

ANDY WARHOL
New Spirit – Donald Duck (F&S II.357)
Artist Proof
1985
97 x 97 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol
From an Edition of 30 AP’s

ANDY WARHOL
New Spirit (from ‘Ads’ series)
The image of Donald Duck in Andy Warhol’s The New Spirit (Donald Duck) comes from a
Disney short about wartime propaganda and Disney humour.
It encourages the public to pay their income taxes without complaining too much. The film
was nominated for an Academy Award for Best Documentary Feature in 1943; Warhol
created the print 42 years later. Like most of the images used in the Ads series, Warhol was
commenting on the impact of mass media, and, in this case, the use of it for government
gain.
This was an entirely different type of marketing. In the image, Donald Duck is featured in
the middle, in front of a repeated Donald, giving the sense that he is on the move.
The Ads series exemplifies a form of advertisement for Warhol’s artwork.
It blatantly acknowledges the commercial nature of American society and urges consumers
to continue buying iconic imagery that will forever proposition them with a new and
exciting product.
The series took commonplace, iconic advertisements and elevated the product being
marketed to the status of art.
When viewed collectively, the series portrays the defining features of 1980s American
culture confident and consumer driven.

ANDY WARHOL
Turtle (F&S II. 360A)
1985
100 x 80 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol
From an edition of 250

ANDY WARHOL
Turtle
Turtle by Andy Warhol features a sea turtle that is layered with shades of purples
and blues.
The image is based on a photograph, which was then screen printed and illustrated
with different colours.
The print was made to coincide with the release of the 1985 film Turtle Diary.
Directed by John Irvin and based on the novel written by Russell Hoban, the film
featured stars such as Ben Kingsley and Glenda Jackson.
Warhol published his fair share of animal prints, including his Endangered Species
portfolio, which was commissioned to bring awareness to endangered animals and
environmental consciousness.

ANDY WARHOL
Pete Rose (F&S II. 360B)
Signed twice
(not all 50 were signed by Pete Rose)
1985
80 x 100 cm
Silkscreen on Lenox Museum Board
Signed by Andy Warhol & Pete Rose
From an Edition of 50

ANDY WARHOL
Pete Rose
Pete Rose Original Limited Edition Screen-print by Andy Warhol, Signed by both the artist and the
subject.
"So Andy calls me up and says that on some pictures he's batting on the left side, and some on the
right side, and I said, 'That's right - he's a switch hitter. And Andy broke up in hysterical laughing on
the other end of the phone line, but his context of 'switch hitter' was completely different."
It was an odd couple to say the least. Rose had never heard of Warhol, and Warhol had never heard
of Rose, but the most famous artist of his generation was not one to turn down a $100,000
commission. He'd been contacted by the Cincinnati Art Museum as the city's greatest baseball star
edged ever closer to Ty Cobb's career hits record, requesting an artwork to commemorate the
historic occasion. Carl Solway, a leading art dealer in Cincinnati, had suggested the commission,
correctly predicting that the museum could benefit from the enormous local and national fanfare.
Warhol had hoped to meet Rose in person to take Polaroids from which to create his screen-prints,
but scheduling conflicts necessitated the use of existing photography instead. In the end, Warhol
purchased the rights to an image from Cincinnati photographer Gordon Baer.
Warhol made four colour variations of the print, formatted to mimic the appearance of a baseball
card, and the quartet did indeed become the star of the Cincinnati Art Museum's collection in the fall
and winter of 1985. The commission also stipulated the production of fifty signed prints, which
quickly sold out at a price of $2,500. Today those prints are highly coveted by Warhol and baseball
collectors alike, though rarely encountered due to their tremendous scarcity.

ANDY WARHOL
Cologne Cathedral (F&S II.363)
1985
80 x 100 cm
Silkscreen with diamond dust
on Lenox Museum Board
Signed by Andy Warhol
From an Edition of 60

ANDY WARHOL
Cologne Cathedral
Cologne Cathedral by Andy Warhol is part of a series that features the Roman Catholic Church in
Cologne, Germany.
The Cologne Cathedral is Germany’s most visited landmark and houses the reliquary of the Three
Kings.
The construction was left incomplete in the Middle Ages. Despite this, it symbolized a
masterpiece of exceptional intrinsic value.
Additionally, it represented proof of the strength of Christianity in both medieval and modern
Europe.
Warhol produced these prints in different bold colours to demonstrate how a Pop image of Gothic
architecture can redefine its meaning.
By taking such a religious monument to create his new series of prints, Warhol demonstrates how
Pop colours can transform the structure to hold new meanings.
He slightly simplifies the details of the Gothic architecture through his silk-screening process to
emphasize the general beauty of the cathedral.
Warhol was known to take bold risks in conveying his interpretations of religious matters. The
Cologne Cathedral suite uses both colour and line work to obscure and abstract the original
image, making it almost unrecognizable as the cathedral and giving it an originality that is not
typically seen in artistic renditions of Gothic architecture.

ANDY WARHOL
Sitting Bull (F&S IIIA. 70)
1986
92 x 92 cm
Silkscreen on Lenox Museum Board
Estate Stamped
from an unknown edition

ANDY WARHOL
Sitting Bull
Sitting Bull was originally to be part of Andy Warhol’s Cowboys and Indians series.
The print is based on an archival photo of the Sioux Chief.
His stoic pose and placid facial expression makes it seem that he is posing for a photograph, rather
than an image of him in action hunting or in combat.
The vivid colouring of Sitting Bull’s face and the light highlights that outline his shape give the
traditional subject a modern twist.
Warhol returns to portraiture in this homage to the hero of the Battle of Little Big Horn, Sitting Bull.
Originally conceived as part of the portfolio, Cowboys and Indians, the first series to combine images
of people and objects, Sitting Bull was not included at the last minute and replaced with another
subject.
The choice of Sitting Bull as a subject for the series is bold, as the image is rivalled with that of
General Custer.
General Custer was one of the leaders of the south during the Civil War, and he was notably met by
Sitting Bull in an armed battle for Native American territory.
Custer was ultimately unsuccessful, and the battle is also known as “Custer’s Last Stand.”
This piece is Estate Stamped and from an unknown edition, yet even so is one of the most collectable
pieces.

ANDY WARHOL
Camouflage (F&S II. 407)
1987
97 x 97 cm
Silkscreen on Lenox Museum Board
Estate stamped
From an edition of 80

ANDY WARHOL
Camouflage
In this series, Warhol wholly embraces a pattern that heavily associated with its
utilitarian and military purpose. The prints are coloured in psychedelic colours,
completely altering the print’s original identity as a disguise.
The camouflage print dates to early 20th century and was originally created by
artists at military request. The versatile print was effective in concealing military
equipment and eventually used to create military uniforms.
The camouflage began appearing in Andy Warhol’s body of work in 1986. The artist
was intrigued by the all-over repetitive pattern which resembled an abstract
expressionist painting. Aside from the screen-prints, he created self portraits with
the print covering his face, juxtaposing his public persona and his private
insecurities.
Warhol also collaborated with Stephen Sprouse on a clothing line using the patterns.
Unfortunately, Warhol passed away in the midst of this series. This remarkable
series would be his last contribution to the pop art.

ANDY WARHOL
Lenin (F&S II.402)
1987
75 x 100 cm
Silkscreen on Arches 88 Paper
Signed by Andy Warhol
from an Edition of 120

ANDY WARHOL
Lenin
Vladimir Ilyich Ulyanov, better known by his alias Lenin, was a Russian revolutionary,
politician, and political theorist. He served as the first and founding head of government of
Soviet Russia from 1917 to 1924 and of the Soviet Union from 1922 to 1924.
Lenin (black and red) is a series of 120 signed prints that were created in 1987, just months
before Warhol’s untimely death from surgical complications. The series marks a maturity in
the artist’s work and gone are the pop overlays of contrasting colours that can be found in the
Marilyn or Ingrid Bergman series. Instead here the colours are restricted – though not
restrained in tone – to a few, lending the work the air of the mass produced political posters
that made Lenin into a revolutionary figure.
It is also possible Warhol decided to produce Lenin for purely aesthetic reasons. In the most
famous version the red of the ground and Lenin’s suit are contrasted with the bright yellow of
his face and the blue of the drawn outline that contours his famous features. Similarly, the
black version sees Warhol giving the Russian leader an orangey red face and hand, again
highlighted by blue contours. In both Lenin has a foreboding look, his authority further
emphasised by the bold colours and the positioning of his hand on a book.
The ‘Black’ edition of 120 was signed, these were the last editions to be signed as Andy Warhol
unfortunately passed away. The ‘Red’ edition of 120 are Estate Stamped.

ANDY WARHOL
Red Lenin (F&S II.403)
1987
75 x 100 cm
Silkscreen on Arches 88 Paper
Signed on verso by the Estate of Andy
Warhol
From an edition of 120

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