ANDY WARHOL (1928-1987)
ANDY WARHOL (1928-1987)
ANDY WARHOL (1928-1987)
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ANDY WARHOL (1928-1987)
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On occasion, Christie's has a direct financial int… Read more
ANDY WARHOL (1928-1987)

Flowers

Details
ANDY WARHOL (1928-1987)
Flowers
the complete set of ten screenprints in colors, on wove paper, 1970, each signed in pencil, numbered 184/250 on the reverse (there were also 26 artist's proof sets lettered A-Z), published by Factory Additions, New York, each the full sheet, the colors exceptionally fresh and vibrant, in very good condition, framed
Each Sheet: 36 x 36 in. (914 x 914 mm.)
Literature
Feldman & Schellmann II.64-73
Special notice
On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

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Lindsay Griffith
Lindsay Griffith Head of Department

Lot Essay

Andy Warhol's depictions of flowers are amongst his most iconic works. Warhol began creating silkscreen prints of the subject in 1964, in both black & white and bright, bold colors, repeating the image multiple times on the same canvas. They are notable for their flat, almost graphic quality, which makes them look more like advertisements or commercial packaging than traditional fine art. By depicting flowers in this way, Warhol was able to comment on the mass production and commercialization of art, as well as explore the intersection between high and low culture. The flowers themselves are often depicted in a stylized, almost cartoonish way, which further emphasizes their artificiality and reinforces the idea of them as consumer objects.

The original concept came, as with several other iconic Warhol images, not from Warhol himself, but from an idea provided by a close associate – in this instance Henry Geldzahler, the artist’s friend and then-curator at the Metropolitan Museum of Art. During a visit to the Factory “I looked around the studio and it was all Marilyn and disasters and death,” Geldzahler recalled. “I said, ‘Andy, maybe it’s enough death now.’ He said, ‘What do you mean?’ I said, ‘Well, how about this?’ I opened a magazine to four flowers.”

Fortuitously there was a copy of the June 1964 issue of Modern Photography to hand. It contained a foldout of four photographs of seven hibiscus blossoms taken by Patricia Caulfield, the magazine’s executive editor. Adapting the source photograph for painting, Warhol made substantial alterations, cropping it into a square composed of only four large flowers and rotating the individual blossoms. Crucially, he then ran the photo repeatedly through an early photocopy machine, then the latest in technology. The objective was to turn the image from a photo into an almost abstract representation of flowers.

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