33

ANDY WARHOL

American, 1928-1987

"Mick Jagger" (FS II.147), 1975

screenprint on Arches Aquarelle paper
signed in pencil lower right "Andy Warhol", numbered in pencil lower left "36/250", signed lower left "Mick Jagger" in felt tip pen, printed by Alexander Heinrici, New York, published by Seabird Editions, London, England (stamp on the reverse)
43 3/4 x 28 3/4 in. (111.1 x 73 cm.) (paper), Frame: 44 1/4 x 29 1/2 x 1 3/4 in. (112.4 x 74.9 x 4.4 cm.)

  • Provenance: Castelli Galleries, New York, New York, 1978; Private Collection, Connecticut
  • Literature: Frayda Feldman, Claudia Defendi, eds., "Andy Warhol Prints, A Catalogue Raisonne 1962-1987", Fourth Edition revised and expanded, (New York, New York: Distributed Art Publishers, Inc. in association with Ronald Feldman Fine Arts, Inc., Edition Schellmann, The Andy Warhol Foundation for the Visual Arts, Inc., 2003), p. 93, II.147 (illus.)
  • Notes:

    Andy Warhol is considered one of the most iconic post-war American artists, his works remain ubiquitous internationally even 39 years after his death. Fascinated by fame, celebrity culture, consumerism, and money, Warhol wove these themes throughout his body of work. Before becoming an artist, he worked in advertising design, eventually moving to New York City to pursue a career as a commercial illustrator. In the early 1950s, he began creating his own drawings and paintings inspired by his experiences, and quickly transitioned to industrial media, including screenprinting.

    Warhol deliberately drew on the language of advertising design in his artwork, believing it was something everyone could understand. By incorporating elements of everyday American culture, he developed a visual vocabulary that was both accessible and provocative. In 1956, the Museum of Modern Art recognized his talent by including him in a major group exhibition. By the 1960s, Warhol had become a leading figure in the growing Pop Art movement, producing his best-known works during this period, among them, Marilyn Monroe, Campbell's Soup Cans, and Coca-Cola Bottles.

    In the 1970s, Warhol shifted his focus to commissioned celebrity portraits, frequently working with his signature Polaroid camera. He had first met the Rolling Stones' Mick Jagger in 1964, before the band had broken through in the United States. Their creative collaboration began when Jagger asked Warhol to design the album cover for Sticky Fingers (1971).

    Their relationship culminated in The Mick Jagger Complete Portfolio, released four years later, comprising ten screenprints of Jagger on Arches Aquarelle paper. Based on photographs Warhol himself captured, the portraits depict Jagger's face and upper body in a variety of poses. Through bright colors, stenciled lines, swaths of opaque color, and ripped paper, Warhol achieved a striking collage-like appearance.

    This particular piece, Mick Jagger (FS II.147), shows Jagger staring directly at the viewer with clasped hands. The work incorporates drawing, scraps of black and grey paper, and a bold swath of opaque orange covering half of his face. It is signed by both Warhol and Jagger and numbered in pencil as 36/250, part of a limited edition print run.

    Warhol's lifelong fascination with fame and celebrity culture shaped not only his art but his personal relationships, leading him to befriend many of the era's most prominent figures, including Jagger. Their friendship was both personal and professional, with Warhol spending considerable time with Jagger and his then-wife. The Mick Jagger Complete Portfolio stands as a testament to that bond, bringing together two of the period's great creative forces and cementing its place as one of Warhol's most celebrated celebrity screenprint series.
  • Condition: in excellent overall condition; some minor surface staining visible on the back of the paper (additional photos available upon request); no restoration apparent; light crazing in the light grey area

    CONDITION REPORTS FOR THE AUCTION ARE AVAILABLE BY REQUEST. PLEASE CONTACT US FOR A CONDITION REPORT ON THIS LOT. THE ABSENCE OF A CONDITION REPORT OR THE ABSENCE OF A REFERENCE TO DAMAGE DOES NOT IMPLY THAT THE LOT IS IN GOOD CONDITION OR FREE FROM RESTORATION OR REPAIR.

    We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. 
    NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE. 

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