Cats Named Sam IV 59
Cats Named Sam IV 59
Unsigned Print
Andy Warhol
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Lithograph
Edition size: 190
Year: 1954
Size: H 23cm x W 15cm
Signed: No
Format: Unsigned Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2010 | Ketterer Kunst Hamburg | Germany | |||
| October 2009 | Christie's New York | United States |
Meaning & Analysis
Printed in 1954, Cats Named Sam IV 59 is an offset lithograph by Andy Warhol in which the artist’s subject matter shifts from consumer and celebrity culture to cats. This print depicts a cat in a crouching position rendered in vibrant red with yellow eyes staring to the right of the composition. The cat’s name, Sam, is written in simple calligraphy beneath its long tail. While most the cats in this series are depicted sitting proudly or staring coquettishly out the print, this cat seems more reserved.
Cats Named Sam IV 59 is one of 16 lithograph prints in the Cats Named Sam series, produced by Warhol in 1954 to accompany the children's book he published, 25 Cats Name (sic) Sam and One Blue Pussy. The inspiration for this series came from Warhol's mother, Julia, who moved in with the artist in 1952 and accumulated 25 pet cats. This series is more personal than Warhol's other series, such as Campbell's Soup or Brillo Box which were inspired by highly impersonal, global consumer culture.
Andy Warhol was a leading figure of the Pop Art movement and is often considered the father of Pop Art. Born in 1928, Warhol allowed cultural references of the 20th century to drive his work. From the depiction of glamorous public figures, such as Marilyn Monroe, to the everyday Campbell’s Soup Can, the artist challenged what was considered art by blurring the boundaries between high art and mass consumerism. Warhol's preferred screen printing technique further reiterated his obsession with mass culture, enabling art to be seen as somewhat of a commodity through the reproduced images in multiple colour ways.
