Beschreibung:

Property of an Important European Collector Andy Warhol Self-Portrait 《自畫像》 1967 signed and dated 'Andy Warhol 1967' on the overlap; further stamped with The Andy Warhol Art Authentication Board Inc., and numbered A109.025 on the overlap acrylic and silkscreen ink on linen 20.3 x 20.3 cm. (7 7/8 x 7 7/8 in.) Painted in 1967.
Provenance Mr. Ross Friedmann, Miami Galerie 1900-2000, Paris Hilman Holland Gallery, Atlanta Jason McCoy Gallery, New York Anthony d’Offay Gallery, London Private Collection Phillips, New York, 16 May 2013, lot 12 Acquired at the above sale by the present owner Exhibited New York, Jason McCoy Gallery, Andy Warhol Self-Portraits, 30 January- 1 March 1990, n.p., no. 3 (illustrated) New York, Van de Weghe Fine Art, Andy Warhol Self Portraits 1963-1986, 20 April - 27 May 2005 Literature G. Frei and N. Prinze, eds., The Andy Warhol Catalogue Raisonné of Painting and Sculpture 1964-1969, New York, vol. 2B, 2004, cat. no 1960, pp. 305, 312 (illustrated) Andy Warhol Self Portrait 1963 - 1986, exh. cat., New York, 2005, pp. 50 - 51 (illustrated on the inside cover) Catalogue Essay Andy Warhol’s instantly recognisable face—depicted in his own works or in photographs by others—is one that is undoubtedly a ubiquitous part of Contemporary artistic discourse. Turning to his self-portraits, the works allow us momentary proximity into the mystery behind the artist himself. The present lot, the 1967 Self-Portrait, is an early iteration of the artist’s self-portraits, and is from the artist’s second ever series of self-pictures. Warhol’s first commissioned self-portrait was in 1963, and to this mode he returned roughly every five years throughout his artistic career. His first self-portraits were deeply influenced by celebrity portraiture, and thus the earliest of these were silkscreens that heavily resembled rehearsed glamour-shots painted in a variety of colours. These works appeared alongside Warhol’s dazzling, newfound celebrity status, and often showed the young artist imitating his glamorous subjects both in posture and gesture. From the mid-1960s onwards, and in part due to his various encounters with actors and models, filmmaking became engrained in Warhol’s mode of production, and his works became much more nuanced and restrained. It was also likely that this extended time with filmstrips propelled the artist to turn to a more introspective, small scale, focusing on single images rather than multiple silkscreens. Using the aesthetics of a filmstrip, Warhol’s works from the mid-1960s onwards were much more candid, and experimented with monochromes, most prominently in violets and cadmium reds. Self-Portrait was executed at this moment of change, showing us an unadulterated, genuine shot of the artist in a brilliant, striking red. While much of his works can be explained by his interest in celebrity and consumerist culture, Warhol’s self-portraits are much more difficult to grasp. Though they present an intimate glimpse into the artist’s persona, they are deliberately self-effacing and vague. Self Portrait offers us Warhol’s slightly concealed boyish face, as if he is deliberately shying away from the camera. This image itself is perhaps one of the rarest of the artist—in stark contrast to the aloof, self-assured Warhol that is most commonly depicted, Self-Portrait captures an introverted and innocent version of the artist, the red cadmium an apt metaphor for perfect youth. 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 P