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Andy Warhol Campbell’s Soup Can (Tomato), 1968 Color Screenprint

Andy Warhol Campbell’s Soup Can (Tomato), 1968 Color Screenprint

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Andy Warhol
Campbell’s Soup Can (Tomato), 1968
color screenprint on paper
paper: 15 1/4 x 14 7/8 inches
image: 15 1/4 x 10 inches
frame: 25 1/2 x 21 1/2 inches
edition of unknown size
(estimated at fewer than 300)
unsigned as published
stamped verso "screenprint from Banner by Andy Warhol © for Multiples Inc. 1968"
printed by Edition Domberger, Germany
published by Multiples, Inc., New York
In archival aluminum frame with white mat and UV plexiglass

Multiples Inc., New York.
Private Collection, New York

Frayda Feldman and Jorg Schellmann, Andy Warhol Prints: A Catalogue Raisonne: 1962-1987, Fourth Edition, D.A.P., New York, 2003, see Catalogue Reference F&S II. 44-53, page 213 regarding Campbell's Tomato Soup Banner.

Warhol also created this image as a colored felt banner, in 1965, co-published by Betsy Ross Flag and Banner Co., Inc. and Multiples, Inc., New York

This is an extraordinary museum quality impression of Campbell’s Soup Can (Tomato), 1968, an iconic Andy Warhol color screenprint that is not usually seen in such outstanding condition; the colors are particularly fresh and vibrant, the red superb. Most impressions are dull and seldom available in such outstanding condition. 

Andy Warhol Interview:

Why did you start painting soup cans?

“Because I used to drink it. I used to have the same lunch every day, for twenty years, I guess, the same thing over and over again. Someone said my life has dominated me; I liked that idea. I used to want to live at the Waldorf Towers and have soup and a sandwich, like that scene in the restaurant in Naked Lunch.” (Andy Warhol interviewed by G. Swanson, “What is Pop Art? Interviews with Eight Painters (Part I)”, Art News, New York, November, 1963).

Andy Warhol, in what began as a commission for the Campbell Soup Company in 1964, created this series of ‘portraits’ of an everyday item, the tomato soup label emblazoned with day glow colors onto canvas, which soon became irrefutable symbols of the Pop Art movement. His simple technique, using the same silk screening method he mastered in the Flowers series which precedes the Colored Campbell’s Soup Cans, secured for Warhol, more than any other image of his creation, the preeminent post held throughout his career as a generation’s taste-maker and the American avant-garde artist. Further, it would be this technique which would characterize Warhol’s artistic oeuvre for the rest of his career, foreshadowing his extremely iconic imagery that followed.

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