Andy Warhol

From Wall Works
Wall covered with wallpaper, originally with vintage silkscreen wallpaper (image: Feldman/Schellmann #12), as of 2008 with reprint wallpaper (F/S #12a). For temporary installation in museums or public exhibition spaces only, to be approved by the Andy Warhol Foundation for the Visual Arts, New York.

The first Cow wallpaper was installed at the Leo Castelli Gallery, New York in 1966. Three other color variations were produced, two in 1971 and one in 1976. All of them were published in unlimited editions, of which Warhol signed 100-150 prints in each variation. The Cow image was used as wallpaper in several museum shows.

From For Joseph Beuys
Silkscreen on rag paper, 80 x 60 cm (31½ x 23½ in). Edition of 90 + XXX, signed and numbered.
F&S II.371
 

This edition is part of the group portfolio For Joseph Beuys that Schellmann & Klüser published in 1986 to commemorate Beuys who had died the year prior. The portfolio included work by thirty artists, with Andy Warhol contributing a camouflage version of his iconic Beuys portrait from 1980.
The work is part of the collection of MoMA, New York. 

Part of "Details of Renaissance Paintings" suite of four portfolios containing four screenprints each.
Screenprint on Arches Watercolor (Cold Press) rag paper, 81 x 112 cm. Edition of 70, signed and numbered.
F&S II.316-319

Andy Warhol famously used silkscreen for both his editions and his unique works, often reproducing the same motif over and over again, thereby establishing serial printing and reproduction techniques in the visual arts and questioning the principle of originality. The resulting loss of a personal brushstroke is exemplary of the coolly distanced attitude of Pop artists and represents a striking contrast to the iconic Renaissance works he revisited for his Details of Renaissance Paintings suite. 
By reimagining Botticelli’s Birth of Venus, Warhol bridges a dialogue between the high art of the Renaissance and the mass culture of the 20th century. Warhol’s focus on Venus, a symbol of idealised beauty, parallels contemporary society’s obsession with physical appearance and celebrity culture. 

Part of "Details of Renaissance Paintings" suite of four portfolios containing four screenprints each. 
Screenprint on Arches Watercolor (Cold Press) rag paper, 81 x 112 cm. Edition of 60, signed and numbered.
F&S II.320-323

Andy Warhol famously used silkscreen for both his editions and his unique works, often reproducing the same motif over and over again, thereby establishing serial printing and reproduction techniques in the visual arts and questioning the principle of originality. The resulting loss of a personal brushstroke is exemplary of the coolly distanced attitude of Pop artists and represents a striking contrast to the iconic Renaissance works he revisited for his Details of Renaissance Paintings suite. 
For this edition in particular, Andy Warhol reimagined Leonardo da Vinci's famous oil painting The Annunciation (c. 1472-1476) by showing only the hands of the angel Gabriel and Mary and the landscape behind them. The original, much more subtle tones are replaced by a vibrant color palette. 
The edition Leonardo da Vinci, The Annunciation, 1472 is part of the collection of MoMA, New York. 

Part of "Details of Renaissance Paintings" suite of four portfolios containing four screenprints each. 
Screenprint on Arches Watercolor (Cold Press) rag paper, 81 x 112 cm. Edition of 50, signed and numbered.
F&S II.324-327

Andy Warhol famously used silkscreen for both his editions and his unique works, often reproducing the same motif over and over again, thereby establishing serial printing and reproduction techniques in the visual arts and questioning the principle of originality. The resulting loss of a personal brushstroke is exemplary of the coolly distanced attitude of Pop artists and represents a striking contrast to the iconic Renaissance works he revisited for his Details of Renaissance Paintings suite. 
For this edition, Andy Warhol chose to tightly crop the original composition of Paolo Uccello’s St. George and the Dragon painting (ca. 1470) to only show the princess’s upper body and a small part of the dragon. This deliberate detachment removes the scene from its original religious and historical context, reducing it to only its visual components. This reflects the artist's fascination with repetition and reproduction, echoing that of consumer culture. Much like his Campbell’s Soup cans transform ordinary goods into art, his reinterpretation of Renaissance paintings recasts them as objects of modern consumption, blurring the lines between "high" and "low" art.
The edition Paolo Uccello, St. George and the Dragon, 1460 is part of the collection of MoMA, New York. 

Screenprint on Lenox Museum board in three states, state II and III have rayon flock, 101.5 x 81 cm. Edition: 150, state I numbered 101-150, state II numbered 51-100, state III numbered 1-50 (+ altogether 36 A.P. + 9 P.P.), each signed and numbered.
F&S II.242-244

In 1979, Andy Warhol and Joseph Beuys met in what was described by the press as a meeting between "two rival popes” as Andy Warhol was known as a chronicler of consumerism and celebrity, while Joseph Beuys was an earnest environmentalist, spiritualist and Green party founding member, and both artists were pivotal figures in contemporary art in their own way. After Andy Warhol had taken pictures of Beuys, Jörg Schellmann and Bernd Klüser (then collaborating as Schellmann & Klüser) as well as Italian gallerist Lucio Amelio all simultaneously suggested to Warhol that he use his photographs of Joseph Beuys as the basis for a new work. Ranging from colourful repetitions to subtle black-on-black images, Warhol’s portraits of Beuys not only signify the crossover of two icons of contemporary art but also serve as a visual testament to the deep mutual respect shared between these influential figures. This series of original artworks and editions, the latter of which were all published by Schellmann & Klüser, is widely considered his last great portrait series. 

Portfolio of four screenprints on Lenox Museum board, 96.5 x 96.5 cm. Edition: 100, each signed and numbered.
F&S II.270-273

Based on the existing portrait of the influential German poet Johann Wolfgang von Goethe by painter Johann Tischbein from 1786/87, Andy Warhol’s Goethe series focusses on the literary figure’s head and removes him entirely from its pictorial context. With the help of the serial screen-printing process and the typically bright colours of Pop Art, Andy Warhol successfully catapulted Goethe into the 20th century and anchored him in the consciousness of broader sections of the population. At the same time, he seamlessly integrated the poet into his portrait gallery of prominent contemporaries such as Marilyn Monroe, Elvis Presley and Mao Zedong.

Portfolio of three screenprints on Arches Black, prints a (F&S II.245) and c (F&S II.247) with diamond dust, each 112 x 76 cm. Edition: 90 + 15 AP, signed and numbered. 
F&S II.245-247
 

In 1979, Andy Warhol and Joseph Beuys met in what was described by the press as a meeting between "two rival popes” as Andy Warhol was known as a chronicler of consumerism and celebrity, while Joseph Beuys was an earnest environmentalist, spiritualist and Green party founding member, and both artists were pivotal figures in contemporary art in their own way. After Andy Warhol had taken pictures of Beuys, Jörg Schellmann and Bernd Klüser (then collaborating as Schellmann & Klüser) as well as Italian gallerist Lucio Amelio all simultaneously suggested to Warhol that he use his photographs of Joseph Beuys as the basis for a new work. Ranging from colourful repetitions to subtle black-on-black images, Warhol’s portraits of Beuys not only signify the crossover of two icons of contemporary art but also serve as a visual testament to the deep mutual respect shared between these influential figures. This series of original artworks and editions, the latter of which were all published by Schellmann & Klüser, is widely considered his last great portrait series. 

Screenprint on wallpaper, 102 x 75 cm (40¼ x 29½ in), approx. 100 signed from an unlimited edition.
F&S II.125A

By the time Andy Warhol transformed Mao Zedong into a Pop Art icon, the founder of the People’s Republic of China had already cemented his own legacy and reshaped the nation. However, the Cultural Revolution was nearing its end, and by the late 1970s, economic reforms were gradually steering China away from a command economy. Warhol’s silkscreen adaptation of Mao not only captured this turning point but also hinted at China’s eventual shift into Western markets. His choice to rework Mao’s widely recognized portrait created a striking synthesis between PRC propaganda and mainstream Pop Art. The complete Mao series that this edition is a part of serves as a powerful artistic reflection of the diplomatic shifts between the U.S. and China in the early 1970s. The transformation of Mao into a celebrity figure was highly controversial, as he discouraged media-driven fame. Yet, his image became inseparable from his leadership, evolving into a potent political and cultural symbol. Andy Warhol's reinterpretation went even further and turned the communist leader into a pop icon and a consumable object.  

Wool and silk tapestry, 213 x 213 cm (83¾ x 83¾ in). Edition of 20, with artist’s name on front and © on verso.

This large-scale edition is part of Andy Warhol’s well-known Flowers series. The series marked a stark shift from Warhol’s previous work, the notorious Death and Disaster series, which included images like Birmingham Race Riot and Electric Chair. The idea for Flowers stemmed from a suggestion by Henry Geldzahler, then curator of American art at the Metropolitan Museum of Art. Geldzahler showed Warhol an issue of Modern Photography magazine, where he discovered a photograph of hibiscus flowers by Patricia Caulfield. Warhol created an abstract version of the image and shifted the flowers to create a square composition, thereby transforming the banal subject matter into a powerful pictorial concept.