{"title":"Andy Warhol","description":"\u003cp\u003eAndy Warhol (1928–1987) built a practice around repetition, reproduction and the conversion of daily life into image. Working across painting, printmaking, film, photography and publishing, he made the mechanisms of circulation — the screen, the grid, the edition, the press run — as visible as the subjects they carried.\u003c\/p\u003e\u003cp\u003eThe objects gathered here are the printed residue of that practice’s institutional life: exhibition announcements, gallery posters, invitation cards, catalogues and ephemera issued for presentations of Warhol’s work during his lifetime and in the decades following his death in 1987. Each piece records a specific moment of placement — a gallery, a date, a city — and the particular form through which the work entered public circulation at that point.\u003c\/p\u003e\u003cp\u003eAnthony d’Offay, Gagosian, Castelli, Sonnabend, the Tate, the Hayward: the institutions that showed Warhol produced their own printed matter, and that matter now constitutes a secondary archive of his reception. Not the work itself, but the administrative and promotional surfaces through which it moved.\u003c\/p\u003e","products":[{"product_id":"andy-warhol-stitched-photographs-1976-1986-anthony-doffay-gallery-london-1998","title":"ANDY WARHOL — Stitched Photographs 1976–1986, Anthony d’Offay Gallery, London, 1998","description":"\u003cp\u003eExhibition poster. 42 × 59.4 cm unfolded (A2). Commercially printed black-and-white offset on lightweight paper; originally folded into eight panels. Design: Peter B. Willberg. Photography: Prudence Cuming Associates. Printed by Clifford Press. © The Andy Warhol Foundation for the Visual Arts, Inc., 1998.\u003c\/p\u003e\u003cp\u003eIssued for Anthony d’Offay Gallery’s posthumous exhibition \u003cem\u003eAndy Warhol: Stitched Photographs 1976–86\u003c\/em\u003e, presented from December 1997 through March 1998. The gallery had worked with Warhol during his lifetime, notably presenting his \u003cem\u003eSelf Portraits\u003c\/em\u003e in London in 1986.\u003c\/p\u003e\u003cp\u003eThe poster gathers dozens of Warhol’s photographic subjects into a single dense field: storefronts, street signs, anonymous bodies, self-portraits, chairs, cups, clothes hangers and incidental urban details. Each image is repeated in small grids, reproducing the structure of the stitched photographs themselves — the serial logic of the work carried into its own promotional support.\u003c\/p\u003e\u003cp\u003eWarhol made more than 500 stitched photographs between 1982 and his death in 1987. Identical black-and-white photographs were arranged in grids and physically joined by sewing machine, returning the snapshot to the serial language of his earlier screenprints while leaving the method of construction plainly visible. Photography was not secondary documentation within Warhol’s practice; it was one of the systems through which daily life was collected, repeated and converted into images.\u003c\/p\u003e\u003cp\u003eAs an object, the poster performs a further translation. The sewn photograph becomes a printed reproduction; the exhibition becomes a portable sheet; repetition becomes distribution. Its original fold lines cross the reproduced grids, imposing another physical structure over Warhol’s already divided images. Stored and circulated as gallery material, it now reads somewhere between exhibition document, photographic index and autonomous image field.\u003c\/p\u003e\u003cp\u003eOfficial posthumous exhibition ephemera. Not signed or numbered and not an original Warhol print.\u003c\/p\u003e\u003cp\u003eCondition: good vintage condition. Original horizontal and vertical folds, light handling creases and minor edge wear. Clean overall, with no significant tears or losses visible. Unframed.\u003c\/p\u003e","brand":"Anthony d’Offay Gallery","offers":[{"title":"Default Title","offer_id":53843670729042,"sku":"WARHOL-DOFFAY-POST-1998","price":250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Warhol_Andy._Stitched_Photographs_1976_1986_Poster_Anthony_d_Offay_Gallery._1998.jpg?v=1782456758"},{"product_id":"andy-warhol-art-and-artists-vol-1-no-11-february-1967","title":"ANDY WARHOL — Art and Artists, Vol. 1, No. 11, February 1967","description":"\u003cp\u003e\u003cem\u003eArt and Artists\u003c\/em\u003e, Vol. 1, No. 11. London: Hansom Books, February 1967. Edited by Mario Amaya. 27.5 × 21.2 cm, 72 pp. Staple-bound periodical; offset-printed illustrated wrappers; black-and-white and colour illustrations throughout.\u003c\/p\u003e\u003cp\u003eEarly issue of \u003cem\u003eArt and Artists\u003c\/em\u003e, the London-based contemporary art magazine edited by Mario Amaya. This February 1967 number includes Christopher Finch’s “Warhol Strikes Poussin,” Brian O’Doherty, Lawrence Alloway on Malcolm Morley, Otto Hahn on Picasso, Peter Selz on kinetic sculpture, Martin Friedman on Donald Judd, and Eddie Wolfram’s London column.\u003c\/p\u003e\u003cp\u003eThe cover carries Warhol’s \u003cem\u003eFlowers\u003c\/em\u003e: a painting that began as a magazine photograph. The \u003cem\u003eFlowers\u003c\/em\u003e series was based on Patricia Caulfield’s hibiscus photograph from \u003cem\u003eModern Photography\u003c\/em\u003e, cropped, flattened, and transferred into silkscreen painting before returning here to magazine circulation. The image completes a circuit: photograph to painting, painting to cover, cover to archive.\u003c\/p\u003e\u003cp\u003eThe back cover carries advertisements for Robert Smithson at Dwan Gallery, New York (December 1966), and Schwarz, Milan — extending the object into the gallery network of 1966–67. Pop, Minimalism, postwar criticism, dealer advertising, and printed matter occupy the same support.\u003c\/p\u003e\u003cp\u003eWithin The New Rare, this is not simply a magazine with a Warhol cover. It is a printed relay: a document of the moment at which Warhol’s image re-entered the periodical economy that had partly produced it.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good vintage condition. Visible rubbing, light creasing, edge and corner wear, spine wear, age toning, and handling marks consistent with period circulation. Interior clean.\u003c\/p\u003e","brand":"Hansom Books","offers":[{"title":"Default Title","offer_id":53875287720274,"sku":"WARHOL-ARTANDARTISTS-CAT-1967","price":165.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Art_and_Artists_February_1967._Andy_Warhol._1967.jpg?v=1782754929"},{"product_id":"andy-warhol-hammer-and-sickle-haunch-of-venison-london-2004","title":"ANDY WARHOL — Hammer and Sickle, Haunch of Venison, London, 2004","description":"\u003cp\u003eExhibition catalogue, Andy Warhol, \u003cem\u003eHammer and Sickle\u003c\/em\u003e. Haunch of Venison, London, 2004. Softcover with red fold-out poster cover\/wrapper, approx. 15 × 20 cm closed, 32 pages. Published alongside the exhibition at Haunch of Venison, 19 May – 15 June 2004, described as the first major UK exhibition of the series of drawings. Fold-out poster cover approx. 59.5 × 42 cm unfolded (to be confirmed).\u003c\/p\u003e\u003cp\u003eWarhol’s \u003cem\u003eHammer and Sickle\u003c\/em\u003e works began in the mid-1970s, after his Mao works and alongside his continued interest in mass images, signs, products, and political icons. The series came from seeing hammer-and-sickle graffiti in Italy; Warhol then had an actual hammer and sickle bought from a hardware shop, converting the ideological symbol back into objects for still-life arrangements. Museum Brandhorst notes that Warhol left the American manufacturer’s logo visible, turning the communist emblem into a branded capitalist product, while repetition drained and redistributed the symbol’s political charge.\u003c\/p\u003e\u003cp\u003eWithin The New Rare register, this catalogue is especially strong because it is not only a catalogue. The cover performs as a storage system, wrapper, image, and poster. Folded, it protects the book. Opened, it becomes a display surface. Warhol’s image moves from drawing to exhibition document to folded object to poster: circulation held inside design.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eCondition:\u003c\/strong\u003e Good. Light handling, fold lines as issued, minor edge and corner wear, small surface marks to red cover\/poster. Ships flat and protected; international shipping available.\u003c\/p\u003e","brand":"Haunch of Venison","offers":[{"title":"Default Title","offer_id":53894683427154,"sku":"WARHOL-HAUNCHOFVENISON-CAT-2004","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Warhol_Andy._Hammer_and_Sickle_exhibition_catalogue._2004_cover_unfolded_22278aa0-1391-42e6-8d1d-dd2ad2af1700.jpg?v=1782932292"},{"product_id":"judy-chicago-expanded-horizons-thaddaeus-ropac-2024","title":"JUDY CHICAGO — Expanded Horizons: American Art in the 70s, Thaddaeus Ropac, 2024","description":"\u003cp\u003eIssued for \u003cem\u003eExpanded Horizons: American Art in the 70s\u003c\/em\u003e, Thaddaeus Ropac, Paris Pantin, 21 September 2024–25 January 2025. A large-scale exhibition bringing together 21 artists whose work altered the materials, scale, politics and physical territory of American art during the decade, placing feminist performance, Minimalism, Land Art, post-minimal sculpture, installation and found materials within the same expanded field.\u003c\/p\u003e\u003cp\u003eThe exterior reproduces JUDY CHICAGO’s \u003cem\u003eWoman with Red Flares\u003c\/em\u003e, from the \u003cem\u003eWomen and Smoke\u003c\/em\u003e series, 1971–72, remastered in 2016, performed by Nancy Youdelman in the California desert. Rather than cutting into or permanently altering the land, JUDY CHICAGO used coloured smoke to occupy it temporarily, answering the monumental and predominantly male language of Land Art through the body, atmosphere and disappearance.\u003c\/p\u003e\u003cp\u003eAgainst the canonical weight of Andre, Judd, LeWitt, Rauschenberg, Stella and Warhol, the invitation chooses JUDY CHICAGO’s body and red smoke as its outward image. The exterior operates as performance document; the interior becomes an institutional index. A historical survey compressed into a single folded support: image outside, names and coordinates inside. The exhibition disappears; its point of entry remains.\u003c\/p\u003e\u003cp\u003eDouble-sided colour offset-printed folding invitation on coated card, 21 × 15 cm folded; 42 × 15 cm unfolded. Exterior reproduces \u003cem\u003eWoman with Red Flares\u003c\/em\u003e; interior printed with exhibition title, dates, venue and complete list of participating artists. Condition: very good; light surface marking and handling wear, with minor edge wear consistent with circulation.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Thaddaeus Ropac","offers":[{"title":"Default Title","offer_id":54073704120658,"sku":"CHICAGO-ROPAC-INV-2024","price":85.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Andre_Carl._Chicago_Judy._Katz_Alex._Show_invite_Expanded_Horizons_American_Art_in_the_70s_._2025_a554a2c5-b39b-41a1-83f2-c8299b59f365.jpg?v=1784806441"}],"url":"https:\/\/thenewrare.com\/collections\/andy-warhol.oembed","provider":"The New Rare","version":"1.0","type":"link"}