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€3,150-€4,700 Value Indicator
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Medium: Lithograph
Edition size: 300
Year: 1965
Size: H 58cm x W 57cm
Signed: No
Format: Unsigned Print
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Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
---|---|---|---|---|---|
January 2025 | Phillips London | United Kingdom | |||
October 2024 | Bonhams Los Angeles | United States | |||
September 2023 | Sotheby's London | United Kingdom | |||
October 2022 | Phillips New York | United States | |||
September 2022 | Wright | United States | |||
April 2021 | Phillips New York | United States | |||
May 2019 | Bonhams Los Angeles | United States |
Showcasing Andy Warhol’s life-long fascination with the repetition of commercial imagery, S. & H Green Stamps (F. & S. II.9) features an image of the S & H Green Stamp trading coupon repeated in a serial fashion across the entire picture plane. Early on in his career, Warhol attempted to find a method to ‘print’ his paintings and this work displays one of his initial solutions, carving into a rubber eraser to create a printing stamp. S. & H Green Stamps along with another print from the series, Airmail Stamps (1962), are the only works of Warhol’s that use this technique to create the entire image.
In this print, Warhol deliberately subverts the all-over compositions of Jackson Pollock and other Abstract Expressionists with the lack of focal point in the print, mocking the grandeur of these artist’s work by using a banal and repetitive motif. The resulting effect is an electric picture of plane of stamps pulsating in red and green, each a picture within a picture.
Warhol’s choice of subject matter, trading stamps consumers save to purchase mass-produced commodities, a fake money of sorts, is significant to the point he is making on the superficiality of the capitalist American consumer market. Enlarged onto the scale of fine art, Warhol uses his innovative stamp technique to create two-dimensional representations of the commercial stamp object. The result produces a deliberate ambiguity between art and life,and reality and representation.
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.