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Auction archive: Lot number 12

Andy Warhol

Estimate
US$600,000 - US$800,000
Price realised:
US$725,000
Auction archive: Lot number 12

Andy Warhol

Estimate
US$600,000 - US$800,000
Price realised:
US$725,000
Beschreibung:

12 Andy Warhol Self-Portrait 1967 acrylic and silkscreen ink on linen 8 x 8 in. (20.3 x 20.3 cm.) Signed and dated "Andy Warhol 1967" along the overlap; further stamped along the overlap with The Andy Warhol Art Authentication Board Inc., and numbered A109.025.
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 Exhibited New York, Jason McCoy Gallery, Andy Warhol Self-Portraits, January 30- March 1, 1990 New York, Van de Weghe Fine Art, Andy Warhol Self Portraits 1963-1986, April 20 - May 27, 2005 Literature Andy Warhol Self-Portraits, exh. cat., New York: Jason McCoy Gallery, 1990, no. 3 (illustrated) G. Frei and N. Prinze, eds., The Andy Warhol Catalogue Raisonné of Painting and Sculpture 1964-1969, vol. 2B, cat. no 1960, 2004, pp. 305, 312 (illustrated) Andy Warhol Self Portraits 1963-1986, exh. cat., New York: Van de Weghe Fine Art, 2005, pp. 50-51(illustrated on inside cover) Catalogue Essay “Always omit the blemishes- they’re not part of the good picture you want.” ANDY WARHOL 1977 Few of Andy Warhol’s works have sparked more critical disagreement than his many self-portraits. While his celebrity portraits were a result of his affinity for the famous, and his soup cans and objective portraiture sprung from the consumerist commentary that has lent him his Pop titles, the intent of the self-portraits is more mysterious. They are even paradoxical in their nature: while they present to us an intimate view of the artist himself, they are also simultaneously self-effacing and performative. Warhol’s elusive persona, propagated by both himself and his work, comes through on the canvas as it did in reality: controlled. The present lot, Self-Portrait, 1967 is from the second series of Warhol’s self- pictures. We see in it a dazzling combination of Warhol’s obsessions and preoccupations. Though his first self-portrait was commissioned in 1963, it would be a trope that he would return roughly every five years in his career. Warhol’s earliest self portraits were executed just before he verged into the realm of filmmaking; consequently, they display qualities common to most of his celebrity portraiture at the time—his silkscreens are posed glamor-shots, with his brush offering up a variety of different colors in the final product. In these early self-portraits, we see Warhol recognizing his newfound celebrity status, imitating his most famous subjects in a somewhat satirical, somewhat genuine attempt of his own. Yet, as Warhol found himself more and more entrenched in filmmaking in the mid-1960s, his work began to exhibit more nuanced and more restrained features than it had in the past. Suddenly, Warhol was concentrating on single images as opposed to the multiple silkscreens that mark his earlier work. In addition, Warhol was venturing into monochromatic painting, with a variety of violets and cadmium reds taking center stage. We can presume that it was Warhol’s extensive work with the filmstrip that inspired this more introspective scale, a tribute not unlike Lichtenstein’s dedication to the portrayal of the comic strip. In addition, Warhol began to experiment with photos of celebrities that were more candid than posed, starting with the many photos of Jackie Kennedy both before and after her husband’s assassination. It is precisely at this moment that Warhol’s present Self-Portrait, 1967 was executed. In the vein of the “Superstars” that he manufactured behind his lens, Warhol paints himself more as an unwilling recipient of fame than as a cinematic sycophant. We observe Warhol’s boyish face in three-quarters profile, shying away from the lens of the camera. The image itself is one of the rarest self-portraits in Warhol’s oeuvre, perhaps because Warhol’s projected public image was nothing at all like the sheepish young man in the picture. However, the resemblance to his private persona—insecure, introverted, and self-conscious—is uncanny. Perhaps Warhol thought the picture too revealing, too intimate, and that is the reason why he produced very few of them. The shadowed blacks of the silkscreen create a figure that is sanitized, free from any blemishes, the glo

Auction archive: Lot number 12
Auction:
Datum:
16 May 2013
Auction house:
Phillips
New York
Beschreibung:

12 Andy Warhol Self-Portrait 1967 acrylic and silkscreen ink on linen 8 x 8 in. (20.3 x 20.3 cm.) Signed and dated "Andy Warhol 1967" along the overlap; further stamped along the overlap with The Andy Warhol Art Authentication Board Inc., and numbered A109.025.
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 Exhibited New York, Jason McCoy Gallery, Andy Warhol Self-Portraits, January 30- March 1, 1990 New York, Van de Weghe Fine Art, Andy Warhol Self Portraits 1963-1986, April 20 - May 27, 2005 Literature Andy Warhol Self-Portraits, exh. cat., New York: Jason McCoy Gallery, 1990, no. 3 (illustrated) G. Frei and N. Prinze, eds., The Andy Warhol Catalogue Raisonné of Painting and Sculpture 1964-1969, vol. 2B, cat. no 1960, 2004, pp. 305, 312 (illustrated) Andy Warhol Self Portraits 1963-1986, exh. cat., New York: Van de Weghe Fine Art, 2005, pp. 50-51(illustrated on inside cover) Catalogue Essay “Always omit the blemishes- they’re not part of the good picture you want.” ANDY WARHOL 1977 Few of Andy Warhol’s works have sparked more critical disagreement than his many self-portraits. While his celebrity portraits were a result of his affinity for the famous, and his soup cans and objective portraiture sprung from the consumerist commentary that has lent him his Pop titles, the intent of the self-portraits is more mysterious. They are even paradoxical in their nature: while they present to us an intimate view of the artist himself, they are also simultaneously self-effacing and performative. Warhol’s elusive persona, propagated by both himself and his work, comes through on the canvas as it did in reality: controlled. The present lot, Self-Portrait, 1967 is from the second series of Warhol’s self- pictures. We see in it a dazzling combination of Warhol’s obsessions and preoccupations. Though his first self-portrait was commissioned in 1963, it would be a trope that he would return roughly every five years in his career. Warhol’s earliest self portraits were executed just before he verged into the realm of filmmaking; consequently, they display qualities common to most of his celebrity portraiture at the time—his silkscreens are posed glamor-shots, with his brush offering up a variety of different colors in the final product. In these early self-portraits, we see Warhol recognizing his newfound celebrity status, imitating his most famous subjects in a somewhat satirical, somewhat genuine attempt of his own. Yet, as Warhol found himself more and more entrenched in filmmaking in the mid-1960s, his work began to exhibit more nuanced and more restrained features than it had in the past. Suddenly, Warhol was concentrating on single images as opposed to the multiple silkscreens that mark his earlier work. In addition, Warhol was venturing into monochromatic painting, with a variety of violets and cadmium reds taking center stage. We can presume that it was Warhol’s extensive work with the filmstrip that inspired this more introspective scale, a tribute not unlike Lichtenstein’s dedication to the portrayal of the comic strip. In addition, Warhol began to experiment with photos of celebrities that were more candid than posed, starting with the many photos of Jackie Kennedy both before and after her husband’s assassination. It is precisely at this moment that Warhol’s present Self-Portrait, 1967 was executed. In the vein of the “Superstars” that he manufactured behind his lens, Warhol paints himself more as an unwilling recipient of fame than as a cinematic sycophant. We observe Warhol’s boyish face in three-quarters profile, shying away from the lens of the camera. The image itself is one of the rarest self-portraits in Warhol’s oeuvre, perhaps because Warhol’s projected public image was nothing at all like the sheepish young man in the picture. However, the resemblance to his private persona—insecure, introverted, and self-conscious—is uncanny. Perhaps Warhol thought the picture too revealing, too intimate, and that is the reason why he produced very few of them. The shadowed blacks of the silkscreen create a figure that is sanitized, free from any blemishes, the glo

Auction archive: Lot number 12
Auction:
Datum:
16 May 2013
Auction house:
Phillips
New York
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