Andy Warhol (1928 1987)

Biography | Published Prints | Unpublished Prints | Collecting Warhol Prints | Chronology of Printmaking Activity

Andy Warhol was born Andrew Warhola in Pittsburgh, Pennsylvania, in 1928. In 1945 he entered the Carnegie Institute of Technology (now Carnegie Mellon University) where he majored in pictorial design. Upon graduation, Warhol moved to New York where he found steady work as a commercial artist. He worked as an illustrator for several magazines including Vogue, Harper's Bazaar and The New Yorker and did advertising and window displays for retail stores such as Bonwit Teller and I. Miller. Prophetically, his first assignment was for Glamour magazine for an article titled "Success is a Job in New York."

Throughout the 1950s, Warhol enjoyed a successful career as a commercial artist, winning several commendations from the Art Director's Club and the American Institute of Graphic Arts. In these early years, he shortened his name to "Warhol." In 1952, the artist had his first individual show at the Hugo Gallery, exhibiting Fifteen Drawings Based on the Writings of Truman Capote. His work was exhibited in several other venues during the 1950s, including his first group show at The Museum of Modern Art in 1956.

The 1960s was an extremely prolific decade for Warhol. Appropriating images from popular culture, Warhol created many paintings that remain icons of 20th-century art, such as the Campbell's Soup Cans, Disasters and Marilyn Monroe screenprints. In addition to painting, Warhol made several 16mm films which have become underground classics such as Chelsea Girls, Empire and Blow Job. In 1968, Valerie Solanis, founder and sole member of SCUM (Society for Cutting Up Men) walked into Warhol's studio, known as the Factory, and shot the artist three times in the chest. Doctors had to perform a risky procedure to stop his heart from stopping and he nearly died.

At the start of the 1970s, Warhol began publishing Interview magazine and renewed his focus on painting. Works created in this decade include Maos, Skulls, Hammer and Sickles, Torsos and Shadows and many commissioned portraits. Warhol also published The Philosophy of Andy Warhol (from A to B and Back Again). Firmly established as a major 20th-century artist and international celebrity, Warhol exhibited his work extensively in museums and galleries around the world.

The artist began the 1980s with the publication of POPism: The Warhol '60s and with exhibitions of Portraits of Jews of the Twentieth Century and the Retrospectives and Reversal series. He also created two cable television shows, "Andy Warhol's TV" in 1982 and "Andy Warhol's Fifteen Minutes" for MTV in 1986. His paintings from the 1980s include The Last Suppers, Rorschachs and, in a return to his first great theme of Pop, a series called Ads. Warhol also engaged in a series of collaborations with younger artists, including Jean-Michel Basquiat, Francesco Clemente and Keith Haring.

Following routine gall bladder surgery, Andy Warhol died February 22, 1987. After his burial in Pittsburgh, his friends and associates organized a memorial mass at St. Patrick's Cathedral in New York that was attended by more than 2,000 people.

In 1989, the Museum of Modern Art in New York had a major retrospective of his works.


Published Prints

Published Prints (Section II) is divided into three parts: edition prints (II), unique edition prints (IIA), and trial proof edition prints (IIB).   Published prints catalogues works released in limited editions which are usually signed and numbered.   Prints completed but unsigned at the time of Warhol’s death bear a stamped certificate of authenticity on the verso with a signature of the executor of the Estate of Andy Warhol, the publisher, and the printer.   These include Wayne Gretzky (#99) trial proof edition prints (IIB.306), Frolunda Hockey Player trial proof edition prints (II.B 366), Beethoven (II.390-393), Hans Christian Andersen (II.394-401), and Moonwalk (II.404-405).   The Shadow (II.269A), Red Lenin (II.403), and Camouflage (II.406-413) are only signed by the executor of The Estate of Andy Warhol.   All are numbered.   There are also signed or signed and dedicated prints outside of the edition.

Edition Prints enumerates works published from 1962 through 1987 in limited impressions.   The entry numbers from the earlier editions of this catalogue raisonné have been retained, and the Roman numerals II precedes them to indicate the catalogue section.

Although most works are usually both signed and numbered in ball-point pen, felt pen, ink, and/or pencil, there are exceptions.   Banana (II.10), SAS Passenger Ticket (II.20), Marcia Weisman (II.122), and Sachiko (II.154-155) are signed and unnumbered.   Marilyn Monroe I Love Your Kiss Forever Forever (II.5), Purple Cows (II.17A), Flash-November 22, 1963 (II.32-42) are signed, and the number is on the colophon page.   Cooking Pot (II.1) and Kiss (II.8) are signed with an embossed signature, Portraits of the Artists (II.17) with an incised signature, Jacqueline Kennedy (Jackie I, Jackie II, Jackie III)(II.13, II.14, II.15), Purple Cows (II.17A), and Paris Review (II.18) with a rubber-stamped signature.   All are numbered.

Warhol specifically created works to coincide with gallery or museum exhibitions.   They are frequently considered to be posters but have been included in this volume because of their recurrent circulation in the print market.   The works are Campbell’s Soup Can (Tomato) (II.4, II.4A), Flowers (II.6), Liz (II.7), S & H Green Stamps (II.9), Cow (II.11, II.11A, II.12, II.12A), Self Portrait (II.16), Marilyn Monroe (Marilyn) (II.21), Mao (II.125A), and Self Portrait (II.156A).   Such entries are marked with a bullet after the date of the work, and the same indicator also appears in the Appendix to Published Prints and the CHRONOLOGY O.      

Warhol continued the experimentation he had begun in the 1960s by widely varying the colours and composition during the proofing process in the prints published in limited editions.   Pursuing his interest in serialization, he created the portfolio Marilyn Monroe (Marilyn) (II.22-30), which depicted the same subject in a variety of colours.   When extensive proofing was completed, Warhol chose ten proofs from the large selection and then published each of them in a uniform edition of 250.   Each of the 250 portfolios contained all ten images.   A similar process was used in Flowers (II.64-73), Electric Chairs (II.74-83), and Mao (II.90-99)

Warhol experimented with a different technique in the creation of editions such as Shadows I-V (II.204-225).   Rather than selecting proofs to be published in uniform editions, he assembled the proofs in mixed variations and published them in five different portfolios.   The prints are all unique, but they were released as standard editions.   The prints illustrated in the catalogue are orientated according to the location of the number and the signature, which in all cases appear on the lower right on the verso.   “There is no uniform edition, simply colour variations of several motifs, which can only be identified by the forms of the shadow and their accompanying space or brushstrokes” (Riva Castleman, The Prints of Andy Warhol, exh. cat. [New York: The Museum of Modern Art; Paris: Cartier Foundation for Contemporary Art, 1990], p.24.

Unique edition prints illustrates works such as Shadows that are signed, numbered, and released as regular editions even though each print is unique.   The majority of these prints were published by the artist himself, from 1975 to 1979 under the name “Andy Warhol Enterprises Inc.”   (Gems [IIA.186-189] and Grapes [Special Edition] [IIA.190A-195A]) and then “Andy Warhol New York,” from 1979 to 1987 (Shadows I-V [IIA.204-225] and $ [1], $ [4], $ [Quadrant], $ [9] [IIA.274-286]).   There are also unique works that were commissioned by outside publishers, such as $1.57 Giant Size (IIA.2), Mao (IIA.89), Sunset (IIA.85-88), Flowers (Hand Coloured) (IIA.110-119), Double Mickey Mouse (IIA.269), The Shadow (IIA.269A), and Anniversary Donald Duck (IIA.360).

Since only one example of each unique print is illustrated in Edition Prints, two or three others have been reproduced in Unique Edition Prints to emphasize the variations.   The subsection indication IIA is followed by the entry number, which corresponds to a specific print recorded in Edition Prints (e.g., IIA.2: $1.57 Giant Size in Unique Edition Prints relates to II.2: $1.57 Giant Size in Edition Prints).

In 1980, during the proofing of the Ten Portraits pf the Twentieth Century portfolio, Warhol chose a limited number of unique proofs of each subject that reflected colour and/or compositional changes.   Entitled trial proofs, they were released as a formal component of the edition.   Since many of the portfolios of the 1980s contained ten thematically related but diverse subjects, as opposed to the earlier portfolios such as Mao, which contained one subject in ten varied colour combinations, the trial proof editions enabled Warhol to publish an even greater selection of prints.

Trial proof edition prints documents these unique works.   Trial proofs are signed and numbered TP 1 etc.   Vesuvius (IIB. 365), Truck (IIB. 367-370), Josph Beuys in Memoriam (IIB.371), and Neuschwanstein (IIB. 372) are signed but unnumbered.   Each print is unique, and the differences range from colour variations, as in Grace Kelly (IIB.305) and Vesuvius (IIB.365) to colour and compositional variations as in The Marx Brothers (IIB.232) and Frolunda Hockey Player (IIB.366).   The subsection indication IIB is followed by the entry number, which corresponds to a specific print in Edition Prints (e.g., IB.378: Annie Oakley in Trial Proof Edition Prints relates to II.378: Annie Oakley in Edition Prints).   Three examples of each with the exception of Joseph Beuys (IIB. 245-247), are shown.

After the publication of Ten Portraits of Jews of the Twentieth Century, trial proofs continued to be released as a part of almost every major project on which Warhol worked, with the exception of Kimiko (II.237), Shoes (Deluxe Edition) (II.248-252), Shoes (II.253-257), Eric Emerson (Chelsea Girls) (II.287), Watercolour Paint Kit with Brushes (II.288), Committee 2000 (II.289), Magazine and History (II.304A) Kiku (II.307-309), Love (II.310-312), Frederick Weisman (II.328), Viewpoint (II.329) and Martha Graham (II.387-389).

In some cases, there are unnumbered and often unsigned unique prints that relate to those published editions which did not include a formal trial proof edition.   Several examples of these are illustrated in the Appendix to Published Prints, including Flowers (II.64-73), Electric Chairs (II.74-83), Space Fruit: Oranges (II.197), Kiku (II.307-309), Love (II.310-12), and Martha Graham (II.387-389).


Unpublished Prints 

Unpublished Prints (Section III) is divided into three parts: personal projects (IIIA), commissioned projects (IIIB), and portraits (IIIC).   The unnumbered prints documented in this section were produced in a limited number of impressions.   Prints in circulation prior to Warhol’s death in 1987, given to friends, colleagues, clients, or to those who proposed commissions, may be signed or signed and dedicated.   Those remaining in the artist’s estate are usually unsigned and bear an inventory number, the initials of a representative of The Andy Warhol Foundation for the Visual Arts, Inc., and are stamped The Estate of Andy Warhol or The Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc.

Several examples of each subject have been reproduced in this section and are marked with a letter beneath the illustrations.   No letter is used if there is one image; the first entry describing the paper and dimensions relates to that image.   If paper and dimensions are described for an unillustrated work, this indicates that at least one print exists on that type of paper with the given dimensions.

Most of the works in this section, created in the mid-1970s to 1987, are unique since Warhol explored colour and compositional variations during proofing.   Several examples of each subject are reproduced, whenever possible, to illustrate the distinctions.   However, only one example is illustrated if the composition and/or ink saturation do not greatly vary.   These include Beware of Dog (IIIA.48), Chocolate Bunny (IIIA.49), Steaks 99c (IIIA. 49), and Total $11.95 (IIIA.69).

Personal Projects (IIIA) catalogues a range of prints, most of which were created for special purposes.   Many were given to friends, clients, and colleagues as holiday gifts, including $ (1) (IIIA.28), Fish (IIIA.40), Candy Boxes (IIIA.42-45), Beware of Dog (IIIA.48), Chocolate Bunny (IIIA.49), Poinsettias (IIIA.50-52), Steaks 99c (IIIA.68), and Total $11.95 (IIIA.69).   Others, such as Skull (IIIA.1) and Gem (IIIA.17) were inspired by regular edition prints, which were published at approximately the same time.   The unique prints are often printed on different supports and vary in size from the edition prints.

In several instances, the proofing process was so extensive and experimental that more unique prints were produced than were required for a traditional commission proposal.   Therefore, Querelle (IIIA.27) and Flower for Tacoma Dome (IIIA.37) are included in this part even though they were made for commissioned projects.   Warhol was often inspired by his commissions to create other prints for his own use.   These include Daisy (IIIA.38), which relates to the Tacoma Dome proposal, and Fish (IIIA.40, III.41); the latter is based on Fish (IIIA.39), wallpaper used as a backdrop for a gallery exhibition.

The work in the After Munch series (III.58-62), based on lithographs by Edvard Munch, were originally intended to be released as editions but were not published.   Two hundred fifty uniform copies of Sitting Bull (IIIA.70) were printed to be part of the Cowboys and Indians portfolio (II.377-386) but were later replaced by another subject.

The entry numbers have been changed due to a revision of this subsection.

Commissioned projects (IIIB) enumerates prints that were created on commission, primarily during the 1980s, for commercial purposes.   Warhol provided images for book, magazine, and record covers; posters, advertising and promotional campaigns; and illustrations for several books.   The broad range of these works reflects his avid interest in advertising and celebrity images, which began in the 1950s and continued throughout his career.    Examples of the final commissions have been illustrated, whenever possible, to provide further insight into Warhol’s working process.

Isabelle Adjani, Jean Cocteau, Gerard Depardieu, John Gotti, Lee Iacocca, Michael Jackson, Princess Caroline, and Ted Turner were featured on magazine covers; Alfred Hitchcock, Prince and Diane Vreeland in magazine spreads; Miguel Bosé, the Rats & Star, and Billy Squier on record covers; and the Beatles on a book cover.   Annie Flanders, Stephen Sprouse and Bruce Weber, among others, were included in the book Council of Fashion Designers of America (CFDA Awards Dinner) 1984 Winners Book, commissioned by Perry Ellis.

Muratti Ambassador cigarettes, Perrier mineral water, La Grande Passion liquer, and Halston’s fragrance, cosmetics, and fashions were the subjects of newspaper and magazine advertisements and posters.   Warhol also created a proposal for an unrealised Time cover depicting the new coke can.

Portraits (IIIC) documents a selection of prints that relate to paintings commissioned during the 1970s and 1980s.   “[Warhol] was, in fact, the first artist for whom there was literally no difference between his work in painting and printmaking, except the material used to support the image; Andy used the same screens on canvas as he used on paper” (Henry Geldzahler, Andy Warhol Portraits, exh. Cat. [London: Anthony D’Offay Gallery, 1993], p.17).

The subjects range from artists (Paul Jenkins, Robert Mapplethorpe, Georgia O’Keeffe) to atheletes (Dorothy Hamill, Kareem Abdul Jabaar) to entertainers (Judy Garland, Grace Jones) to fashion designers (Giorgio Armani, Carolina Herrera) to political figures (Mohammad Reza Shah Pahlavi, Joseph Kennedy III) and to writers (Truman Capote, Herman Hesse), among others.   In addition, there is a selection of self portraits executed between 1967 and 1982.   Although Warhol often took his own photographs of each subject, publicity stills were used for some portraits, such as Mohammad Reza Shah Pahlavi and Judy Garland.

Certain subjects are not included in this subsection because they are either part of a series (Marilyn Monroe [Marilyn] [IIIA.3], Self Portrait [IIIA.10], and Mona Lisa [IIIA.13]) or part of an unpublished print commission (Eva Mudocci [IIIA.59], Madonna [IIIA.60], Self-Portrait with Skeleton’s Arm [III.62], and Sitting Bull [IIIA.70]).   Portraits created on commission for commercial purposes, such as magazines, record covers,a nd books are also not included (e.g., Miguel Bosé [IIIB.19], Princess Caroline of Monaco [IIIB.20], and Council of Fashion Designers of America [CFDA] [111B.29-40], respectively). 

As per Catalogue Raisonne Feldman & Schellmann IVth edition by Frayda Feldman and Jorg Schellman


Collecting Warhol Prints, Paintings, Drawings & Photographs

It is overall global appeal to people of all ages and cultures that makes Andy Warhol's works of art so collectable.  Warhol prices have been rising steadily over the past ten years in an industry where continuous demand for iconic works outstrips supply.   Warhol worked with an eclectic mix of images providing works of art to inspire us all. Historical events are forever captured in works such as the 'Moonwalker' celebrating America's first moonlanding in 1969 and the famous Jackie O portraits taken at Kennedy's funeral. Marilyn Monroe is immortalised for the American collector, likewise mount Vesuvius for lovers of Italy. Mickey Mouse, Donald Duck, Dracula, and oversized Campbell's soup cans are show stoppers  for the kids and shimmering diamond dust Shoes and Rothkoesque Shadows are the perfect addition to any home.  

His sporting legends include Muhammed Ali and the Mick Jagger porftolio co-signed by Jagger appeals not only to the Warhol collector but to anyone interested in rock and roll memorabila. In the famous portfolio  'Ten Portraits of Jews of the Twentieth Century' Warhol pays his respects to great Jewish thinkers, entertainers, authors, and composers. His unpublished projects are even more interesting for those who want to own a unique piece of history and these include Self-Portrait, Liza Minelli, the Shah of Iran, to name a few . Many of his portraits were shown for the first time in the UK in an exhibition we jointly held with the prestigious Andy Warhol Foundation.

As Europe's leading speciallist on Andy Warhol, Coskun FIne Art has a large inventory of works by Warhol and offers help and advice to all whether you are a first-time buyer or a collector. If we don't have the Warhol that you wish to acquire, we can find you one within the market price. We also provide a complete service to those wishing to buy at auction, by advising on price, providing condition reports, and bidding on behalf of clients. We can also sell works on behalf of clients as well as advising on framing, hanging, conservation and restoration.


Chronology of Printmaking Activity

For a general chronology, consult the one by Marjorie Frankel Nathanson in Andy Warhol: A Retrospective, exh. Cat. (New York: The Museum of Modern Art, 1989) and that by Margery King in The Andy Warhol Museum (New York: Distributed Art Publishers; Ostfildern, Germany: Cantz Verlag, 1994).


Andrew Warhola born in Pittsburgh, Pennsylvania, on August 6.   Changes his name to Warhol in 1948-49


Attends Carnegie Institute of Technology in Pittsburgh and begins to experiment with blotted line drawings, a technique which he later employs as a commercial artist.   Receives a BA degree in Pictorial Design in 1949.


Begins work as a commercial artist and moves to New York.


Vito Giallo (1953-59) and Nathan Gluck (1955-65) are his assistants.

Forms Andy Warhol Enterprises, Inc., in 1957, but does not publish prints under his name until 1975.

Translates the blotted line technique into an offset printing process and makes books in limited editions to be given as gifts for promotional purposes.   In collaboration with Ralph Thomas (“Corkie”) Ward, creates A Is an Alphabet (1953) (IV.1-26); Love Is a Pink Cake (1953) (IV,27-50).

Hand-colours books with his friends: 25 Cats Name[d] Sam and One Blue Pussy (ca. 1954) (IV.52-68), with text by Charles Lisanby; A la Recherche du Shoe Perdue (ca. 1955) (IV.69-84), with poems by Ralph Pomeroy and written in Warhol’s mother’s hand; In the Bottom of My Garden (ca.1956) (IV.86-105); A Gold Book (1957) (IV.106.124); Wild Raspberries, with Suzie Frankfurt (1959) (IV.126-143).   The only time that this hand colouring technique is used is for Flowers (Hand-Colored), 1974 (II.110-119).


Uses rubber stamps and later employs hand-cut silkscreens and photo-silkscreens to make paintings.   Considers the photo-silkscreen technique the most effective means to create multiple images.   Uses the rubber stamp method in the print medium only once, in Purple Cows (II.17A) in the 1966 group portfolio Stamped Indelibly.

“In August ’62 I started doing silkscreens.   The rubber stamp method I’d been using to repeat images suddenly seemed too homemade.   I wanted something stronger that gave more of an assembly line effect” (Andy Warhol and Pat Hackett, POPism: The Warhol ‘60s [New York: Harcourt Brace Jovanich, 1980], p.22).

Publishes his first print, Cooking Pot, 1962 (II.1), for the portfolio International Anthology of Contemporary Engraving: The International Avant-Garde, Vl.5, America Discovered, released in 1964.   Based on a newspaper advertisement, it is his only photoengraving and his first participation in a group portfolio.   (Continues to contribute to seventeen other such projects until 1986, with the publication of Joseph Beuys in Memoriam [II.371] in the portfolio for Joseph Beuys.)

Edition print published: Cooking Pot (II.1)


Gerald Melanga becomes Warhol’s assistant (through 1967 and 1968-70).

Creates Suicide (1.3), Race Riot (1.4), and Ambulance Disaster (1.5), which are derived from the Death and Disaster series of paintings based on images from mass media.   A 1938 film Angels with Dirty Faces, inspires Cagney (I.1); the source for The Kiss (Bela Lugosi) (I.2) is the 1931 film Dracula.

Makes unique screenprints for record covers, $1.57 Giant Size (II.2).   The phonograph record is a series of interviews with artists participating in “The Popular Image Exhibition” at the Washington Gallery of Modern Art, Washington D.C., April 18-June 2, 1963.

(Later designs the cover for and produces the Velvet Underground’s first record, The Velvet Underground and Nico, 1967.   Banana, ca. 1996 [II.10] relates to this record cover.   (Continues to create screenprints for record covers, especially in the 1980s: Billy Squier’s Emotions in Motion, 1982 [IIIB.7]; Miguel Bosé’s Made in Spain, 1983 [IIIB.19]; Rats & Star’s Soul Vacation, 1983 [IIIB.21].)

Meets Jonas Mekas, director of the Film-Makers Cinematheque in New York, who shows many of Warhol’s early films.   (In 1982, to help raise funds for Mekas’ Anthology Film Archives in New York, Warhol creates Eric Emerson [Chelsea Girls] [II.287], based on a frame from his 1966 film Chelsea Girls.)

Edition print published:

$1.57 Giant Size (II.2)


Executes a series of works from 1964 through 1967 that are released in large editions to coincide with exhibitions at galleries and museums: Campbell’s Soup Can (Tomato),1964 (II.4), and Campbell’s Soup Can (Tomato), 1966 (II.4A) are screenprints; Flowers, 1964 (II.6), Liz, 1964 (II.7), S&H Green Stamps, 1956 (II.9), and Self-Portrait, 1966 (II.16) are offset lithographs.    At the time of issue, these works were considered to be posters.

Andy said, “I felt that if everyone couldn’t afford a painting the printed poster would be available” (Gerard Malanga, “A Conversation with Andy Warhol” The Print Collectors Newsletter, 1 [January-February 1971], p.126).

Makes a later and different version of Race Riot, ca. 1963 (I.4), entitled Birmingham Race Riot (II.3) for the portfolio Ten Works by Ten Painters, the first edition print depicting a controversial current event.

Marilyn Monroe I Love Your Kiss Forever Forever (II.5), his first published edition lithograph, appears in 1c Life, an unbound book compiled by Walasse Ting and Sam Francis.   Adapted from his 1962 painting of Marilyn Monroe’s lips, it illustrates the poem “Jade White Butterfly” by Walasse Ting.   This is the first combination of text and image on the same page since the illustrated books of the 1950s.

Edition prints published:

Birmingham Race Riot (II.3), Campbells Soup Can (Tomato)· (II.4), Marilyn Monroe I Love Your Kiss Forever Forever (II.5), Flowers·(II.6), Liz· (II.7)


Makes Sleep (I.7) and Kiss (I.8), first of a small number of screenprints on plexiglass adapting frames from his films of the same titles.   (Later ones are: Eat, ca. 1966 [I.10]; Sleep, ca. 1966 [I.11]; Henry Geldhazler, ca. 1966 [1.12]; Empire State Building, ca. 1966 [I.13]; and Kiss, ca. 1966 [I.14].   Creates Sleep, ca. 1966 [I.9], screenprint on paper, and Blue Movie, 1968 [I.15], screenprint on paper and mylar, based on his films of the same titles.)

Edition prints published:

S&H Green Stamps· (II.9)


Fred Hughes becomes his business manager and then sole executor of his estate in 1987.

Publishes his first screenprint edition on plexiglass, Kiss (II.8), which was included in the portfolio Seven Objects in a Box.

Establishes factory Additions with David Whitney and produces Cow (II.11), the first screenprint on wallpaper.   (Continues to make prints on wallpaper throughout the 1970s and 1980s: Cow, 1971 [II.11A]; Cow, 1971 [II.12]; Mao, 1974 [II.125A]; Washington Monument, 1974 [IIIB.2]; Cow 1976 [11.12A]; Self-Portrait, 1978 [II.156A]; Fish, 1983 [IIIA.39].   Several if these commemorate and were used as backdrops for gallery and museum exhibitions.)

Creates Jacqueline Kennedy I, II, III, (Jackie I, II, III) (II.13, II.14, II.15) for the portfolios 11 Pop Artists I, II, III, using photographs of President Kennedy’s funeral from Life as source material.   These are the first edition prints since Birmingham Race Riot, 1964, (II.3) that document a historical event.   Uses a rubber-stamp signature for the first time in these prints and again in Purple Cows (II.17A) and Paris Review (II.18).

“I don’t always use a rubber stamp for my signature but I turned towards the idea of a rubber stamp signature because I wanted to get away from style.   I feel an artist’s signature is part of style and I don’t believe in style.   I don’t want my art to have a style” (Gerard Malanga, “A Conversation with Andy Warhol,” The Print Collector’s Newsletter, 1 [January-February 1971], p.127).

Edition prints published:

Campbell’s Soup Can (Tomato)· (II.4A), Kiss (II.8), Banana (II.10), Cow· (II.11), Jackie I, II, III (II.13, II.14, II.15), Self Portrait· (II.16).


Produces Portraits of the Artists (II.17), a three-dimensional work on polystyrene, which illustrates the ten artists who participate in the Ten from Leo Castelli portfolio produced to celebrate the tenth anniversary of the Leo Castelli Gallery in New York.   This portrait of Warhol is also screenprinted on vinyl and coloured graphic paper (IIIC.1).

Makes prints based on tickets and receipts: Paris Review (II.18); Lincoln Center Ticket (II.19); and SAS Passenger Ticket, 1968 (II.20).   (In 1978, creates Studio 54 Complimentary Drink Invitation [IIIA.16] for holiday gifts, in which he adapts the Studio 54 logo.)   The design overlays in the Lincoln Center Ticket and SAS Passenger Ticket are commercial patterns used by graphic designers.   Warhol also employs this technique in the cover of Flash-November 22, 1963, 1968 (II.32-43) and Daily News, 1967 (IIIB.1)

Creates Paris Review (II.18) to provide financial support to Paris Review magazine, the first of more than fifteen print projects to raise funds and commemorative specific events.   (Later, such prints include Untitled 12, 1974 [II.120] to endow a chair in honor of Meyer Schapiro at Columbia University; Merce Cunningham I, 1974 [II.124], to raise funds for the Merce Cunningham Dance Company; Mildred Scheel, 1980 [II.238], for the German Cancer Society; Sidewalk, 1983 [II.304], for the Temporary Contemporary Museum in Los Angeles.)

Designs the poster for the Fifth New York Film Festival at Lincoln Center and publishes a limited edition of the same subject on opaque acrylic called Lincoln Center Ticket (II.19).    (Continues to receive commissions to design posters throughout the 1980s: Summer Arts in the Parks, 1980 [IIIB.4], a project to provide free performances in the New York city parks; Some Men Need Help, ca. 1982 [IIIB.8], a play featuring Philip Bosco and Treat Williams; Querelle, ca. 1982 [IIIA.27], a Rainer Fassbinder film based on a novel by Jean Genet; Sandal, 1984 [IIIB.26], for the opening of Xavier Danaud, a Charles Jourdan shoe store in SoHo, New York.)

Works on large print projects.   Marilyn Monroe (Marilyn) (II.22-31), the first portfolio published by Factory Additions, is also the first containing ten prints of the same subject.   (Factory Additions continues to print several major portfolios throughout through 1970: Campbell’s SoupI, 1968 [II.44-53]; Campbell’s Soup II, 1969 [II.54-63]; Flowers, 1970 [II.64-73].)

Edition prints published:

Portraits of the Artists (II.17), Purple Cows (II.17A), Paris Review (II.18), Lincoln Center Ticket (II.19), Marilyn Monroe (Marilyn)· (II.21), Marilyn Monroe (Marilyn) (II.22-31).


Flash – November 22, 1963 (II.32-43), a portfolio representing President John F. Kennedy’s assassination, is accompanied by a text by Philip Greer selected from Teletype reports.   The images are based on campaign posters, mass-media photographs, and advertisements, and the cover reproduces the front page of the New York World Telegram, Friday, November 22, 1963, the date of Kennedy’s assassination.

Edition prints published:

Campbell’s Soup II (II.54-63)


Creates Flowers (II.64-73) adapted from a photograph of hibiscus flowers by Patricia Caulfield which appears in the June 1964 issue of Modern Photography.   Warhol begins to take his own photographs, has assistants take photographs, and / or receives permission to use publicity or media photographs for his work after Caulfield sues him for appropriating this image.

Edition prints published:

Flowers (II.64-73)


Receives his first commission from a European publisher for a major portfolio, Electric Chairs (II.74-83), which is based on a January 13, 1953 photograph of the death chamber at Sing Sing Prison in Ossining, New York, where Julius and Ethel Rosenberg were executed.

(Secures several other major print commissions from publishers outside the United States in the 1970s: from Italy, Ladies and Gentlemen, 1975 [II.126-137]; from Great Britain, Mick Jagger, 1975 [II.138-147].   European commissions intensify in the 1980s.   The following portfolios are published: from Germany, Joseph Beuys, 1980/1983 [II.242-244]; Joseph Beuys, 1980 [II.245-247]; Goethe, 1982 [II.270-273]; Details of Renaissance Paintings, 1984 [II.316-327]; Saint Apollonia, 1984 [II.330-333]; Cologne Cathedral, 1985 [II.361-364]; Truck, 1985 [II.367-370]; and Beethoven, 1987 [II.390-393]; from Sweden Ingrid Bergman, 1983 [II.313-315]; from the Netherlands, Reigning Queens, 1985 [II.334-349]; from Denmark, Hans Christian Andersen, 1987 [II.394-401].   Kiku, 1983 [II.307-309], and Love, 1983 [II.310-312] are the only portfolios commissioned by Japanese publishers.)

Edition prints published:

Electric Chairs (II.74-83)


Ronnie Cutrone is Warhol’s art assistant (through 1980).

Prior to this period, Warhol usually created prints after his paintings of the same subject.   However, beginning with the subject of Mao-Tse Tung, the prints and paintings are generally executed simultaneously, and in the 1980s, the paintings are usually produced after the prints.

Receives a commission from the architects Johnson & Burgee to do a series of 472 unique prints, Sunset, to be installed in the rooms at the Hotel Marquette in Minneapolis, Minnesota. In addition to these prints, he also creates forty portfolios of the same subject, Sunset (II.85-88), each containing four unique prints. (When the hotel is renovated in 1981, the print from the rooms are returned to Warhol.)

Sunset is the first portfolio where the prints are assembled and numbered as standard edition prints even though each is unique. (Later, Warhol also self-publishes other unique portfolios as standard editions: Gems, 1978 [II.186-189]; Grapes [Special Edition], 1979 [II.190A-195A]; Shadows I-V, 1979 [II.204-225]; and $[1], $[4], $[Quadrant], $[9], 1982 [II.274-286].) (See Unique Edition Prints, pp.164-77)

Mao (II.90-99), based on the photograph on the cover of Quotations from Mao-Tse Tung, is published in this year during which President Nixon travels to China. Warhol also uses the image of Richard Nixon from the cover of Newsweek, January 27 1969, in Vote McGovern (II.84), the first print executed to raise funds for a political campaign. His freehand drawing line appears for the first time in the print medium in both the Mao portfolio and the Vote McGovern print. In 1987, depicts another controversial political figure, Lenin [II.402-403]. (Continues to create prints for political campaigns throughout the 1970s and 1980s: Jimmy Carter I, 1976 [II.150], Jimmy Carter II, 1977 [II.151], Jimmy Carter III, 1977 [II.152], and Lillian Carter, 1977 [II.153], for the Democratic National Committee; Carter Burden, 1977 [II.156], for his campaign for president of the New York City Council; Edward Kennedy, 1980 [II.240-241], for the Committee to Elect Edward Kennedy; and Jane Fonda, 1982 [II.268], for the Friends of Tom Hayden.)

Edition prints published:

Vote McGovern (II.84), Sunset (II.85-88), Mao (II.90-99)


Creates Mao (II.89) for the portfolio The New York Collection for Stockholm. This is the only time he makes a Xerox print, which shows the transformation of a representational image into a completely abstract one.

Until now, Warhol usually worked with commercial and industrial printers such as Aetna Silkscreen Products Inc., and Salvatore Silkscreen Co., Inc. From 1974 to 1976, Alexander Heinrici becomes his primary printer. Heinrici prints the following works: Flowers (Black and White), 1974 (II.100-109); Flowers (Hand-Coloured), 1974 (II.110-119); Untitled 12, 1974 (II.120); Paloma Picasso, 1975 (II.121); Merce Cunningham I, 1974 (II.124); Ladies and Gentlemen, 1975 (II.128-137); and Mick Jagger, 1975 (II.138-147).

Flowers (Hand –Coloured) (II.110-119) is the only portfolio in which the images are hand-coloured as they had been in his earlier hand-coloured books of 1953-59. (See pp.30-47.)

Juxtaposes many of his earlier subjects in Untitled 12 (II.120), such as Campbell’s Soup Can (Tomato), Electric Chair, Flower, Mao, and Mona Lisa which reappear in his Reversal paintings of 1979-1980. (Later, completes the following related projects ca. 1978, including: Marilyn Monroe [Marilyn] [IIIA.3], Electric Chair [IIIA.4], Campbell’s Soup Can [Tomato] [IIIA.5], Mona Lisa [IIIA.13], and Flowers [IIIA.14].)

Edition prints published in 1973:

Mao (II.89), Golda Meir (II.153A)

Edition prints published in 1974:

Flowers (Black and White) (II.100-109), Flowers (Hand-Coloured) (II.110-119), Untitled 12 (II.120), Merce Cunningham I (II.124), Mao (II.125A), Man Ray (II.148, II.149)


Continues to publish his own prints under the corporate name Andy Warhol Enterprises, Inc. (until Shadows I-V 1979 [II.204-225]).

Develops a technique in which he uses blocks of coloured graphic art paper with the halftone and/or drawling line. This collage like effect appears in prints of this year, such as Paloma Picasso (II.121); Ladies and Gentelmen (II.126-137); and Mick Jagger (II.138-147). (The technique us used throughout his career: Skulls, 1976 [II.157-160]; Grapes, 1979 [II.190.195]; Ten Portraits of Jews of the Twentieth Century, 1980 [II.226- 235]; Ingrid Bergman, 1983 [II.313-315]; and Reigning Queens, 1985 [II.334-349].)

In Mick Jagger (II.138-147), portrays one subject in ten different poses rather than a single frontal portrait in different colour combinations, as he had done with in Marilyn 1967 (II.22-31), and Mao 1972 (II.90-99). Since Warhol takes the photographs of Mick Jagger himself, he has many examples from which to select and is not dependent upon stock photographs such as those used in the Marilyn and Mao portfolios and other works.

Edition prints published:

Paloma Picasso  (II.121), Marcia Weisman (II.122), Frederick Weisman (II.123), Ladies and Gentlemen (II.126, II.127, II.128-137), Mick Jagger (II.138-147)


Rupert Jansen Smith becomes Warhol’s printer in 1977 (continues until Warhol’s death in February 1987). The first project he works on is Hammer and Sickle (II.161-164) and Hammer and Sickle (Special Edition) (II.165-171). Hammer and Sickle (Special Edition) is Warhol’s only published progressive print series which specifically illustrates the breakdown of the printing process.

Warhol  primarily publishes his own prints from 1976 through 1979, frequently using the same subjects as his paintings. These include Skulls, 1976 (II1.57-160); Hammer and Sickle, 1977 (II.161-164); Sex Parts, 1978 (II.172-177); Muhammad Ali, 1978 (II.179-182); Gems, 1978 (II.186-189); Grapes, 1979 (II.190-195); and Shadows I-V, 1979 (II.204-225). Simultaneously, he created personal print projects which are associated with several of the aforementioned edition prints, such as Skull (IIIA.I), Torso (IIIA.2), and Gem (IIIA.17). (About 1982, makes Torso [Double] [IIIA.35], which relates to the only sexually explicit portfolio Sex Parts [II.172-177].)

Receives a commission in 1977 from Richard Weisman to create a series of sports figures. Among them Chris Evert (IIIC.7), Pelé (IIIC.8), Dorothy Hamil (IIIC.12), Jack Nicklaus (IIIC.13), and Kareem Abdul Jabaar (IIIC.14). Muhammad Ali, 1978 (II.179-182), the first published edition portfolio depicting a sports figure, is inspired by this commission. (Continues to explore this theme in Speed Skater, 1983 [II.303]; Harald [Toni] Schumacher, 1983 [IIIC.68]; Wayne Gretzky #99, 1984 [II.306]; and Pete Rose,1985 [II.360B].)

(Creates portraits of art collectors, artists, entertainers, fashion designers, political figures, anmd writers, commissioned during the 1970s and 1980s. These include Samuel and Ethel Lefrak [IIIC.60], Robert Mapplethorpe [IIIC.67], Judy Garland [IIIC.42-43], Giorgio Armani [IIIC.58], Mohammed Reza Shah Pahlavi [IIIC.38], and Truman Capote [IIIC.46], Respectively. Executes a series of self-portraits [IIIC.24-31]).

Edition prints published in 1976:

Jimmy Carter I (II.150), Skulls (II.157-160)

Edition prints published in 1977:

Jimmy Carter II (I.151), Jimmy Carter III (II.152), Lillian Carter (II.153), Sachiko (II.154-155), Carter Burden (II.156), Hammer and Sickle (II.161-164), Hammer and Sickle (Special Edition) (II.165-171)

Edition prints published in 1978:

Self-Portrait (II.156A), Sex Parts (II.172-177), Felatio (II.178), Muhammad Ali  (II.179-182), Gems  (II.186-189), Space Fruit: Lemons (II.196), Space Fruit: Oranges (II.197)


Begins to publish prints under the name Andy Warhol, New York with Shadows I-V (II.204-225), a series of unique prints assembled in five portfolios in mixed variations. It is one of the few abstract subjects Warhol executes in the print medium; another is Camouflage 1987 (II.406-413).

Begins to use a very fine diamond dust in Grapes D.D. (see II.190-195 in the Appendix to Published Prints) and later changes to a coarser variation of diamond dust.

John Reinhold, a close friend of Warhol’s said, “I gave him the first jar of diamond dust. Real diamond dust doesn’t sparkle but he played with it. I think what he in fact used is crushed glass. It didn’t work with real diamonds but that’s when he started to think about the idea” (“John Reinhold: A Personal Take on a Personal Friend”, in John O’Connor and Benjamin Liu, Unseen Warhol [New York: Rizzoli International Publications, 1996], p.145).

Rupert Jansen Smith suggests that he introduced Warhol to diamond dust because he had used it in his own work.

Andy always said, “The diamond dust fell off Rupert’s paintings and stuck to mine” (“Rupert Jansen Smith on Printmaking” in Frayda Feldman and Jorg Schellmann, Andy Warhol Prints, 2nd ed. [New York: Ronald Feldman Fine Arts, Editions Schellmann, Abbeville Press, 1989], p.25).

Edition prints published:

Merce Cunningham II (II.125), After the Party (II.183), Fiesta Pig (II.184), UN Stamp (II.185), Grapes (II.190-195), Grapes (Special Edition) (II.190A-195A), Space Fruit: Still Lifes (II.198-203), Shadows I-V (II.204-225)


Jay Shriver becomes Warhol’s art assistant.

Collaborates with other publishers rather than exclusively concentrating on publishing his own prints during the 1980s. In Ten Portraits of Jews of the Twentieth Century (II.226-235), depicts ten different historical subjects for the first time. The term “trial proof” is first introduced as a formal component of a print edition.

Uses rayon flock to enhance the image in Joseph Beuys, 1980/83 (II.242-244). Also creates a portfolio of three individual frontal portraits Joseph Beuys (II.245-247), an image which he later superimposes on a camouflage pattern in Joseph Beuys in Memoriam, 1986 (II.371). Both single and quadrant images appear on laundry bags in Joseph Beuys, ca.1980 (IIIC.49) and multiple images in Joseph Beuys, ca. 1980 (IIIC.50).

Publishes his largest prints, Shoes (Deluxe Edition) (II.248-2523) and Shoes (II.253-257), and uses this large-scale format in Debbie Harry (IIIC.53) and (later in Daisy ca. 1982, [IIIA.38]; The Scream [After Munch] 1984, [IIIA.58]; Eva Mudocci [After Munch] 1984, [IIIA.59]; Madonna [After Munch], 1984 [IIIA.60]; and Self-Portrait with Skeleton’s Arm [After Munch], 1984 [IIIA.61].)

(Receives numerous commission throughout the 1980s for magazine covers and inside spreads: Alfred Hitchcock, 1983 [IIIB.14], and Prince, 1984 [IIIB.24], in Vanity Fair; Tidal Basin, 1983 [IIIB.16], in Washington Post Magazine; Princess Caroline of Monaco, 1983 [IIIB.20], in Vogue, French edition: Michael Jackson, 1984 [IIIB.23], Lee Iaccoca, 1985 [IIIB.41], and John Gotti, 1986 [IIIB.50], in Time; Polo Player, 1985 [IIIB.43], in Polo; Ted Turner, 1986 [IIIB.45], in Madison Avenue; Isabelle Adjani, 1986 [IIIB.46], in Madame Figaro; Gerard Depardieu, 1986 [IIIB.48], in Vogues Homme; and New Coke,1985 [IIIB.44], for an unrealized Time cover.)

(Produces screenprints intended as holiday gifts for clients and friends throughout the 1980s. These include Candy Boxes, ca.1983 [IIIA.42-45]; Chocolate Bunny, ca.1983 [IIIA.49]; Poinsettias, ca. 1983 [IIIA50-52]; How To Tell You’re Having a Heart Attack, ca.1984 [IIIA.54]; New York Heart Association Phone Book Ad, ca.1984 [IIIA.57]; Hamburger [Double], ca.1986 [IIIA.67]; Steaks 99c {IIIA.68]; and Total $11.95 [IIIA.69], ca.1986. The screenprints $ [1], ca. 1982 [IIIA.28] are on handkerchiefs; Fish, 1983 [IIIA.40], and The Only Way Out Is In!, ca.1984 [IIIA.55] are on silk scarves.)

Edition prints published:

Ten Portraits of Jews of the Twentieth Century (II.226-235), Karen Kain (II236), Mildred Scheel (II.238, II.239), Edward Kennedy (Deluxe Edition) (II.242), Joseph Beuys (II.242-244), Joseph Beuys (II.245-247), Shoes (Deluxe Edition) (II.248-252), Shoes (II.253-257)


Incorporates images from the comics and cartoons for the first time in the print medium in Myths (II.258-267). The unique prints Double Mickey Mouse (II.269) and The Shadow (II.269A) are inspired by this portfolio.

Warhol said, “I can’t believe you [Ronald Feldman] got me [the licensing rights for] Mickey Mouse” (conversation with Ronald Feldman at the “Ten Portraits of Jews of the Twentieth Century” exhibition, Lowe Art Museum, University of Miami, Coral Gables, Florida in September 1980).

Begins to model for Zoli, Inc., a modelling and management agency in New York. Commissions Christopher Makos to take headshots for his portfolio and creates Self-Portrait, ca.1982 (IIIC.59), based on these images.

Edition prints published:
Kimiko (II.237), Myths (II.258-267), Double Mickey Mouse (II.269), The Shadow (II.269A)

Creates first prints inspired by historical works of art: Goethe (II.270-273), based on a detail of a painting. (Among later works with historical images: Details of Renaissance Paintings, 1984 [II.316-327], and Diana Vreeland Rampant, 1984 [IIIB.25], are based on details of paintings. Saint Apollonia, 1984 [II.330-333], Vesuvius, 1985 [II.365], and Beethoven, 1987 [II.390-393] are based on paintings; the After Munch series, 1984 [IIIA.58-62,] is based on lithographs.) Alexander the Great (II.291-292) is the only print with classical sculptures as its source.

Publishes the portfolios, $(1), $(4), $(Quadrant), $(9) (II.274-286), using several versions of the dollar sign image found in commercial typography. In these prints, he explores compositional and colour changes and assembles portfolios in mixed variations, as he had done in Shadows I-V, 1979 (II.204-225).

Submits a proposal for a commission for the Tacoma Dome, the sports and convention centre in Tacoma, Washington. These prints, Flower for Tacoma Dome (IIIA.37), are based on a hybrid flower created by Warhol. Daisy (IIIA.38) is inspired by this proposal.

Receives commissions during this period to provide artwork for numerous advertising and promotional campaigns: Men’s Wear, Women’s Accessories, Fragrance and Cosmetics, Women’s Wear (IIIB.9-12) and Model (IIIB.13), a series of advertisements in publications such as Interview and the New York Times, for Halston. (Similar works are produced during the next two years: Fancy Yarn, 1983 [IIIB.18], and advertisement for several publications including Linea Italiana, for the Italian yarn company Filpucci; Perrier, 1983 [IIIB.22], an advertising campaign which is awarded the Grand Prix de l’Affice Française, for the French company Perrier; Muratti Ambassador Cigarettes, ca. 1984 [IIIB.27], a promotional campaign in which a painting and ten prints are offered as prizes, for Philip Morris in Switzerland; La Grande Passion, ca.1984 [IIIB.28], a poster and advertisement, for an advertising campaign for Carillon Importers Ltd.)

Edition prints published:
Jane Fonda (II.268), Goethe (II.270-273, $(1) (II.274-279), $(1) (II.280), $(4) (II.281-282), $(Quadrant) (II.283-284), $(9) (II.285-286), Eric Emmerson (Chelsea Girls)(II.287), Watercolour Paint Kit with Brushes (II.288), Committee 2000 (II.289), Alexander the Great (II.291-292)

Creates Fish (IIIA.39) on wallpaper to be used as a backdrop for his painting exhibition at the Bruno Bischofberger Gallery in Zurich, Switzerland, Decemver 3, 1983 –January 14, 1984. Also makes a series of prints of this subject on silk scarves (IIIA.40) and on paper (IIIA.41).

Produces Endangered Species (II.293-302), inspired by the general concern for the preservation of wildlife. It is exhibited at the Museum of Natural History in New York and other natural history museums throughout the United States. Illustrates the book Vanishing Animals by Kurt Benirschke (see IIIB.51-67 for the prints made for the book).

Edition prints published:
Brooklyn Bridge (II.290), Endangered Species (II.293-302), Speed Skater (II.303), Sidewalk (II.302), Magazine and History (II.304A), Kiku (II.307-309), Love (II.310-312), Ingrid Bergman (II.313-315)

Creates a series of prints based on lithographs by Edvard Munch: The Scream (After Munch) (IIIA.58); Eva Mudocci (After Munch) (IIIA.59); Madonna (After Munch) (IIIA.60); Self-Portrait With Skeleton’s Arm (After Munch) (IIIA.61); and Madonna and Self-Portrait with Skeleton’s Arm (After Munch) (IIIA.62). This project was initially commissioned as a published edition and was later cancelled.

Receives a commission from Perry Ellis to illustrate the Council of Fashion Designers of America (CFDA Awards Dinner) 1984 Winners Book (IIIB29-40), honouring designers and celebrities in the fashion world, among them John Fairchild, Annie Flanders, (James) Galanos, Dawn Mello, Stephen Sprouse, Diana Vreeland, and Bruce Weber.

Edition prints published:
Grace Kelly (II.305), Wayne Gretzky #99 (II.306), Details of Renaissance Paintings (316-327), Frederick Weisman (II.328), Viewpoint (II.329), Saint Apollonia (II.330-333)

Produces Reigning Queens (II.334-349), his largest portfolio, depicting the four female monarch in the world; Queen Elizabeth II of the United Kingdom, Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark, and Queen Ntombi Twala of Swaziland.

Documents well-known trademarks, advertisements, and posters in Ads (II.350-359), including the Pegasus trademark for Mobil; the Van Heusen shirt advertisement featuring Ronald Reagan; the No.5 Chanel bottle; the Paramount logo; and a Japanese posters depicting James Dean for the film Rebel without a Cause. Anniversary Donald Duck (II.360) is inspired by this portfolio.

Edition prints published:
Jean Cocteau (II.329A), Reigning Queens (II.334-349), Ads (II.350-359), Anniversary Donald Duck (II.360), Turtle (II.360A), Pete Rose (II.360.B), Cologne Cathedral (II.361-364), Vesuvius (II.365), Truck (II.367-370).

Combining portraits and objects in a portfolio for the first time, publishes Cowboys and Indians (II.377-386) based on archival and publicity photographs, postcards, and photographs of Native American artefacts. Sitting Bull (IIIA.70) is executed at the same time as this portfolio.

Creates the portfolio Martha Graham (II.387-389) to commemorate the sixtieth anniversary of the Martha Graham Centre of Contemporary Dance in New York; images are based on photographs by Barbara Morgan.

Edition prints published:
Frolunda Hockey Player (II.366), Joseph Beuys in Memoriam (II.371), Cowboys and Indians (II.377-386), Martha Graham (II.387-389).

Works on the TV portfolio, which would  have depicted well-known images from the history of television, such as Martin Luther King, Jr. giving his “I have a dream” speech at the Lincoln Memorial in Washington, D.C., on August 28, 1963; Babe Ruth receiving an award at Yankee Stadium in New York on June 13 1948; Ed Sullivan introducing the Beatles on his television show on February 8, 1964; episodes from “I Love Lucy” (1954) and “The Honeymooners” (1955); and Felix the Cat, a television test pattern transmitted by RCA-NBC cameras in the late 1920s for experimental black-and-white TV sets. The only subject printed before his death is Moonwalk (II.404-405), using as its source a composition of two photographs taken by Neil Armstrong of Edwin “Buzz” Aldrin, Jr. walking on the moon in 1969.

Warhol dies February 22, 1987.

Edition prints published:
Neuschwanstein (II.372), Beethoven (II.390-393), Hans Christian Anderson  (II.394-401), Lenin (II.402), Red Lenin (II.403), Moonwalk (II.404-405), Camouflage (II.406-413)

Please view our extensive inventory of prints, drawing and paintings by Andy Warhol.


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