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Auction archive: Lot number 8

Andy Warhol

Estimate
US$7,000,000 - US$10,000,000
Price realised:
US$7,922,500
Auction archive: Lot number 8

Andy Warhol

Estimate
US$7,000,000 - US$10,000,000
Price realised:
US$7,922,500
Beschreibung:

8 Andy Warhol Nine Gold Marilyns (Reversal Series) 1980 silkscreen and acrylic on canvas 54 1/8 x 41 3/4 in. (137.5 x 106 cm) Signed, titled and dated “9 Gold Marilyns, Andy Warhol 1979/80, Reversal Series” along the overlap.
Provenance Galerie Bruno Bischofberger, Zurich Akira Ikeda Gallery, Japan Private collection, Japan Exhibited Tokyo, Akira Ikeda Gallery, Andy Warhol Reversal Series, Marilyns, May 10 – June 12, 1982 Taura, Akira Ikeda Gallery, Black Red, September 4 – October 30, 2004 Literature Akira Ikeda Gallery, Andy Warhol Reversal Series, Marilyns, Tokyo, 1982, pl. 2 (illustrated) Akira Ikeda Gallery, Black Red, Taura, 2004, pl.8 (illustrated) Catalogue Essay They always say that time changes things, but you actually have to change them yourself. ANDY WARHOL (Andy Warhol quoted in The Philosophy of Andy Warhol “From A to B and Back Again,” New York, 1975, p. 111) When Andy Warhol created Nine Gold Marilyns (Reversal Series), 1980, he had already been painting his famed silkscreens for nearly two decades. The first half of Warhol’s legendary artistic career dealt with the reproduction of American iconography; indeed, his Jackies, Soup Cans, Lizes, self-portraits, and, of course, portraits of Marilyn, each responded to a specific phenomenon in American culture. In turn, his artwork helped to cement the monumentality of these figures and ubiquitous images in the American consciousness. Many of our mental projections of Pop Culture iconography are not pictures from “Life” magazine or stills from a film, but rather Warhol’s radical illustrative manipulations of the icon in question. This achievement alone — being able to shape our modes of recollection — would itself have been an unarguable feat of genius. As he progressed through the 1970’s, Warhol continued to recreate myriad popular images. His incredible industry is so great, in fact, that one might suspect Warhol had his finger on the pulse of the times, keeping a visual diary of American culture’s most pervasive cultural icons. In that decade, he expanded his pool of iconography from mere entertainment celebrity to political celebrity and beyond. In addition to a newfound sex symbol in Brigitte Bardot, Warhol immortalized colleagues from the Factory, symbols of cultural weight (including Mao Zedong during the Chinese Cultural Revolution), and even his own dealer, Leo Castelli. In his doing so, Pop Art came to encompass not only the silver screen and the television, but also images which were personal, and, therefore popular, to Warhol himself. America’s embrace of Warhol’s style eventually reciprocated Warhol’s gift of Pop Art, for Warhol became a pop icon nearly as well-known as his subjects. But the present lot represents a major turn and a seminal zenith in Warhol’s career. After he had spent his early years enshrining the photographic existence of Monroe and other celebrities, Warhol returned to the same subjects with a different technical approach and a nostalgic artistic mission. The Reversal Series began with an enormous collage of Warhol’s previous artistic subjects in his Retrospective paintings of 1979. Instead of utilizing the developed image that he originally took from magazines and production stills, Warhol employed the use of the negative for each. The resulting images appear the way we might see them when we quickly shut our eyes: saturation fills the space of the pictures’ shadows, and darkness becomes light. Both the frame and the ground of the image, once bright with the photographer’s original lighting, become their opposite. Warhol followed this singular collage in the coming years with single or multiple “reversals” of each image. Many of these paintings possess a canvas of animated coloring, with the silkscreen laid over top. But Nine Gold Marilyns (Reversal Series), 1980, entertains no such intrusions of the 1980s’ indulgences in overanimation. Instead, in its restrained and elegant gold, it draws upon a color that Warhol first utilized in the center of his soup cans. In its return to only a single color in order to illustrate a single unique image, the present lot is a pure demonstration of Warhol’s original silkscreening technique. Warhol used as his origin

Auction archive: Lot number 8
Auction:
Datum:
7 Nov 2011
Auction house:
Phillips
New York
Beschreibung:

8 Andy Warhol Nine Gold Marilyns (Reversal Series) 1980 silkscreen and acrylic on canvas 54 1/8 x 41 3/4 in. (137.5 x 106 cm) Signed, titled and dated “9 Gold Marilyns, Andy Warhol 1979/80, Reversal Series” along the overlap.
Provenance Galerie Bruno Bischofberger, Zurich Akira Ikeda Gallery, Japan Private collection, Japan Exhibited Tokyo, Akira Ikeda Gallery, Andy Warhol Reversal Series, Marilyns, May 10 – June 12, 1982 Taura, Akira Ikeda Gallery, Black Red, September 4 – October 30, 2004 Literature Akira Ikeda Gallery, Andy Warhol Reversal Series, Marilyns, Tokyo, 1982, pl. 2 (illustrated) Akira Ikeda Gallery, Black Red, Taura, 2004, pl.8 (illustrated) Catalogue Essay They always say that time changes things, but you actually have to change them yourself. ANDY WARHOL (Andy Warhol quoted in The Philosophy of Andy Warhol “From A to B and Back Again,” New York, 1975, p. 111) When Andy Warhol created Nine Gold Marilyns (Reversal Series), 1980, he had already been painting his famed silkscreens for nearly two decades. The first half of Warhol’s legendary artistic career dealt with the reproduction of American iconography; indeed, his Jackies, Soup Cans, Lizes, self-portraits, and, of course, portraits of Marilyn, each responded to a specific phenomenon in American culture. In turn, his artwork helped to cement the monumentality of these figures and ubiquitous images in the American consciousness. Many of our mental projections of Pop Culture iconography are not pictures from “Life” magazine or stills from a film, but rather Warhol’s radical illustrative manipulations of the icon in question. This achievement alone — being able to shape our modes of recollection — would itself have been an unarguable feat of genius. As he progressed through the 1970’s, Warhol continued to recreate myriad popular images. His incredible industry is so great, in fact, that one might suspect Warhol had his finger on the pulse of the times, keeping a visual diary of American culture’s most pervasive cultural icons. In that decade, he expanded his pool of iconography from mere entertainment celebrity to political celebrity and beyond. In addition to a newfound sex symbol in Brigitte Bardot, Warhol immortalized colleagues from the Factory, symbols of cultural weight (including Mao Zedong during the Chinese Cultural Revolution), and even his own dealer, Leo Castelli. In his doing so, Pop Art came to encompass not only the silver screen and the television, but also images which were personal, and, therefore popular, to Warhol himself. America’s embrace of Warhol’s style eventually reciprocated Warhol’s gift of Pop Art, for Warhol became a pop icon nearly as well-known as his subjects. But the present lot represents a major turn and a seminal zenith in Warhol’s career. After he had spent his early years enshrining the photographic existence of Monroe and other celebrities, Warhol returned to the same subjects with a different technical approach and a nostalgic artistic mission. The Reversal Series began with an enormous collage of Warhol’s previous artistic subjects in his Retrospective paintings of 1979. Instead of utilizing the developed image that he originally took from magazines and production stills, Warhol employed the use of the negative for each. The resulting images appear the way we might see them when we quickly shut our eyes: saturation fills the space of the pictures’ shadows, and darkness becomes light. Both the frame and the ground of the image, once bright with the photographer’s original lighting, become their opposite. Warhol followed this singular collage in the coming years with single or multiple “reversals” of each image. Many of these paintings possess a canvas of animated coloring, with the silkscreen laid over top. But Nine Gold Marilyns (Reversal Series), 1980, entertains no such intrusions of the 1980s’ indulgences in overanimation. Instead, in its restrained and elegant gold, it draws upon a color that Warhol first utilized in the center of his soup cans. In its return to only a single color in order to illustrate a single unique image, the present lot is a pure demonstration of Warhol’s original silkscreening technique. Warhol used as his origin

Auction archive: Lot number 8
Auction:
Datum:
7 Nov 2011
Auction house:
Phillips
New York
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