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Andy Warhol Campbell's Soup II: Oyster Stew (F&S II 60), 1969 color screenprint on smooth wove paper 35 x 23 inches edition of 250 + 26 Artist's Proofs; this impression aside (outside) the regular published numbered edition. Hand signed "Andy Warhol" in black ball-point pen on verso With 'Andy Warhol Art Authentication Board, Inc.’ official ink stamp and Unique ID Number in pencil on verso. printed by Salvatore Silkscreen Co., Inc. published by Factory Additions, New York Unframed, museum quality condition, never hinged, framed or matted.
Condition
Museum quality; pristine impression, unframed
Archival stored for decades.
Never framed, hinged or matted.
Impression particularly fresh, without usual condition issues
Red particularly bright red, not attenuated or pink as so often seen.
Metallic areas vibrant, without creases or cracks.
Surrounding white area vivid bright white, not attenuated or off-white.
Authenticated verso with official stamp by The Andy Warhol Art Authentication Board, Inc., and a Unique ID Number ascribed in pencil.
Literature Frayda Feldman and Jorg Schellmann, Andy Warhol Prints: A Catalogue Raisonne: 1962-1987, Fourth Edition, D.A.P., New York, 2003, Catalogue Reference F&S II. 60, another impression reproduced in color, page 75.
Provenance David Whitney, New York Brooke Alexander Gallery, New York
About Our impression of Andy Warhol’s Campbell’s Soup Can (Oyster Stew), 1969 Color Screenprint on paper is a captivating example of one of the most iconic and recognizable Pop Art symbols of twentieth-century American Art. Boasting outstanding true museum quality condition, this rare impression has been stored in archival materials since 1969 and has NEVER been framed, hinged or matted. Accordingly the colors are particularly fresh and vibrant, the red color extremely vivid, not attenuated like the majority of Andy Warhol Soup Can screenprints that have been framed and hung for decades, many in non-archival frames that cause discoloration, foxing, etc.
Appropriated, re-contextualized and re-purposed, the Campbell’s Soup Can motif would become the world famous, quintessential icon of Warholian Pop. As Henry Geldzahler recalls, "The Campbell’s Soup Can was the Nude Descending a Staircase of pop art. Here was an image that became an overnight rallying point for the sympathetic and the bane of the hostile. Warhol captured the imagination of the media and the public as had no other artist of his generation. Andy was pop and pop was Andy" Henry Geldzahler cited in: Victor Bockris, The Life and Death ofAndyWarhol, London, 1998, pages 159-60.
In 2018 Joseph K. Levene Fine Art, Ltd. loaned multiple Andy Warhol works to Andy Warhol—From A to B and Back Again, the Andy Warhol retrospective at the Whitney Museum of American Art, which subsequently traveled in 2019 to the San Francisco Museum of Modern Art and in 2020 to the Art Institute of Chicago. Most recently Joseph K. Levene Fine Art, Ltd. loaned three George Condo paintings to the George Condo Retrospective at the Musée d'Art Moderne de Paris from October 10, 2026 to February 15, 2026. Organized in collaboration with George Condo, this was the most significant museum exhibition of George Condo’s work. Presented thematically, the 200 work retrospective included 80 paintings, 110 drawings and 20 sculptures.
