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Auktionsarchiv: Los-Nr. 14

Andy Warhol

Schätzpreis
250.000 $ - 350.000 $
Zuschlagspreis:
365.000 $
Auktionsarchiv: Los-Nr. 14

Andy Warhol

Schätzpreis
250.000 $ - 350.000 $
Zuschlagspreis:
365.000 $
Beschreibung:

Andy Warhol One Dollar Bill (Back) 1962 silkscreen ink on linen 8 x 12 in. (20.3 x 30.5 cm.) Signed and dated "Andy Warhol 1962" on the reverse; further stamped by the Andy Warhol Authentication Board and numbered A123.965 on the reverse.
Provenance Acquired directly from the artist Sotheby's, New York, Contemporary Art, Part II, May 3, 1988, lot 200 Galerie 1900-2000, Paris Bertrand Faure, Paris Perrin Royère La Jeunesse, Versailles, March 18, 1990, lot 101 Private Collection Christie's, London, Contemporary Art, May 25, 1997, lot 80 Acquired at the above sale by the present owner Exhibited Paris, Musée de la Poste, Les Couleurs de l'Argent, November 19, 1991–February 1, 1992 Literature Les Couleurs de l'Argent, exh. cat., Musée de la Poste, Paris, 1992, p.138 (illustrated) G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné Vol. 1: Paintings and Sculpture 1961-1963, London: Phaidon, 2002, cat. no. 156, p. 143 (illustrated) Catalogue Essay “It was one of those evenings when I’d asked around ten or fifteen people for suggestions that finally one lady friend of mine asked me the right question: ‘Well, what do you love most?’ That’s how I started painting money.” – Andy Warhol 1962 As the story goes, Warhol in conversation with Muriel Latow (interior designer and gallerist) in 1962 asked her for “fabulous ideas.” Muriel in response said it would cost him fifty dollars. Warhol wrote her a check and she replied, “Money. The thing that means more to you than anything else in the world is money. You should paint pictures of money.” (G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné Vol. 1: Paintings and Sculpture 1961-1963, Phaidon, 2002, p. 131) Andy Warhol famously stated: “Pop comes from the outside.” By 1960, the art world had become enervated by the limitations of abstraction and a new movement had taken a firm grip on the New York art scene. The glamorization of American everyday artifacts penetrated the Pop Art movement. Warhol’s first dollar bill paintings created in 1962 were produced with hand-cut stamps; this process, however, could not accurately capture the precise lines of printed currency. The dollar bill paintings marked a turning point not only within Warhol’s own repertoire of subject matter but also in his means of artistic production. “The silk screens were really an accident,” Warhol remarked, “the first one was the money painting, but that was a silk screen of a drawing. Then someone told me you could use a photographic image, and that’s how it all started.” (T. Scherman, D.Dalton, The Genius of Andy Warhol Pop, New York, 2009, p. 109) By capitalizing on the symbolic importance of the dollar as the first subject he experiments with on silkscreen, Warhol further emphasized his unique ability to turn images of currency into currency. Throughout the 1960s, Warhol produced monumental compositions of multiple gridded dollar bills, as well as single isolated studies of one and two dollars bills. The dollar bill, the Campbell Soup cans and the Coca-Cola bottles represent Warhol’s most powerful and historically memorable images. Individually they are careful examinations of observed iconic consumerism; collectively they illuminate Warhol’s endless quest for the poignant visual representation of the American dream and his own contested relationship to the power of the dollar. Read More Artist Bio Andy Warhol American • 1928 - 1987 A seminal figure in the Pop Art movement of the early 1960s, Andy Warhol's paintings and screenprints are iconic beyond the scope of Art History, having become universal signifiers of an age. An early career in commercial illustration led to Warhol's appropriation of imagery from American popular culture and insistent concern with the superficial wonder of permanent commodification that yielded a synthesis of word and image, of art and the everyday. Warhol's obsession with creating slick, seemingly mass-produced artworks led him towards the commercial technique of screenprinting, which allowed him to produce large editions of his painted subjects. The clean, mechanical surface and perfect registration of the screenprinting process afforded Warhol a revolutionary absence of authorship that was crucial to the Pop A

Auktionsarchiv: Los-Nr. 14
Auktion:
Datum:
11.11.2013
Auktionshaus:
Phillips
New York
Beschreibung:

Andy Warhol One Dollar Bill (Back) 1962 silkscreen ink on linen 8 x 12 in. (20.3 x 30.5 cm.) Signed and dated "Andy Warhol 1962" on the reverse; further stamped by the Andy Warhol Authentication Board and numbered A123.965 on the reverse.
Provenance Acquired directly from the artist Sotheby's, New York, Contemporary Art, Part II, May 3, 1988, lot 200 Galerie 1900-2000, Paris Bertrand Faure, Paris Perrin Royère La Jeunesse, Versailles, March 18, 1990, lot 101 Private Collection Christie's, London, Contemporary Art, May 25, 1997, lot 80 Acquired at the above sale by the present owner Exhibited Paris, Musée de la Poste, Les Couleurs de l'Argent, November 19, 1991–February 1, 1992 Literature Les Couleurs de l'Argent, exh. cat., Musée de la Poste, Paris, 1992, p.138 (illustrated) G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné Vol. 1: Paintings and Sculpture 1961-1963, London: Phaidon, 2002, cat. no. 156, p. 143 (illustrated) Catalogue Essay “It was one of those evenings when I’d asked around ten or fifteen people for suggestions that finally one lady friend of mine asked me the right question: ‘Well, what do you love most?’ That’s how I started painting money.” – Andy Warhol 1962 As the story goes, Warhol in conversation with Muriel Latow (interior designer and gallerist) in 1962 asked her for “fabulous ideas.” Muriel in response said it would cost him fifty dollars. Warhol wrote her a check and she replied, “Money. The thing that means more to you than anything else in the world is money. You should paint pictures of money.” (G. Frei and N. Printz, The Andy Warhol Catalogue Raisonné Vol. 1: Paintings and Sculpture 1961-1963, Phaidon, 2002, p. 131) Andy Warhol famously stated: “Pop comes from the outside.” By 1960, the art world had become enervated by the limitations of abstraction and a new movement had taken a firm grip on the New York art scene. The glamorization of American everyday artifacts penetrated the Pop Art movement. Warhol’s first dollar bill paintings created in 1962 were produced with hand-cut stamps; this process, however, could not accurately capture the precise lines of printed currency. The dollar bill paintings marked a turning point not only within Warhol’s own repertoire of subject matter but also in his means of artistic production. “The silk screens were really an accident,” Warhol remarked, “the first one was the money painting, but that was a silk screen of a drawing. Then someone told me you could use a photographic image, and that’s how it all started.” (T. Scherman, D.Dalton, The Genius of Andy Warhol Pop, New York, 2009, p. 109) By capitalizing on the symbolic importance of the dollar as the first subject he experiments with on silkscreen, Warhol further emphasized his unique ability to turn images of currency into currency. Throughout the 1960s, Warhol produced monumental compositions of multiple gridded dollar bills, as well as single isolated studies of one and two dollars bills. The dollar bill, the Campbell Soup cans and the Coca-Cola bottles represent Warhol’s most powerful and historically memorable images. Individually they are careful examinations of observed iconic consumerism; collectively they illuminate Warhol’s endless quest for the poignant visual representation of the American dream and his own contested relationship to the power of the dollar. Read More Artist Bio Andy Warhol American • 1928 - 1987 A seminal figure in the Pop Art movement of the early 1960s, Andy Warhol's paintings and screenprints are iconic beyond the scope of Art History, having become universal signifiers of an age. An early career in commercial illustration led to Warhol's appropriation of imagery from American popular culture and insistent concern with the superficial wonder of permanent commodification that yielded a synthesis of word and image, of art and the everyday. Warhol's obsession with creating slick, seemingly mass-produced artworks led him towards the commercial technique of screenprinting, which allowed him to produce large editions of his painted subjects. The clean, mechanical surface and perfect registration of the screenprinting process afforded Warhol a revolutionary absence of authorship that was crucial to the Pop A

Auktionsarchiv: Los-Nr. 14
Auktion:
Datum:
11.11.2013
Auktionshaus:
Phillips
New York
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