15 minutes of fame

Joan Collins [1985],  Jane Fonda [1980],  Carly Simon [1980], & Karen Kain [1983].
Five polaroid photographs.
Four stamped © Andy Warhol in the margin. All five bear ‘Estate of Andy Warhol’ and ‘Andy Warhol Foundation’ credit stamps en verso.

Joan Collins [1985],  Jane Fonda [1980],  Carly Simon [1980], & Karen Kain [1983].

Five polaroid photographs.

Four stamped © Andy Warhol in the margin. All five bear ‘Estate of Andy Warhol’ and ‘Andy Warhol Foundation’ credit stamps en verso.

Lips.
Ink and Dr. Martin’s Aniline dye on Strathmore paper. 
Stamped ©The Andy Warhol Foundation for the Visual Arts, Inc. 1998.1.1466

Lips.

Ink and Dr. Martin’s Aniline dye on Strathmore paper. 

Stamped ©The Andy Warhol Foundation for the Visual Arts, Inc. 1998.1.1466

Left: Warhol at Colorado State University Right: CSU Center for the Arts today
Monday, August 31, 1981, Colorado.
"In front of the museums they have three cans that are about thirty feet high and they look like big sculptures by Oldenberg, big handpainted Campbell’s Tomato Soup  Cans. One of the kids did them, I guess. And every room here at the motel is cans with flowers in them, and I mean, I’m so tired of Campbell’s Soup Can I could throw up. But the show’s cute, it’s just in one room and it’s all prints, and we stayed there about an hour then I got back and I took a Valium and I couldn’t sleep."
Excerpt from The Andy Warhol Diaries, page 404.


Left: Warhol at Colorado State University Right: CSU Center for the Arts today

Monday, August 31, 1981, Colorado.

"In front of the museums they have three cans that are about thirty feet high and they look like big sculptures by Oldenberg, big handpainted Campbell’s Tomato Soup  Cans. One of the kids did them, I guess. And every room here at the motel is cans with flowers in them, and I mean, I’m so tired of Campbell’s Soup Can I could throw up. But the show’s cute, it’s just in one room and it’s all prints, and we stayed there about an hour then I got back and I took a Valium and I couldn’t sleep."

Excerpt from The Andy Warhol Diaries, page 404.

Honeycomb Yellow Cake, c. 1959.
Hand-colored blotted ink line drawing on paper.
Friday, August 8, 1982.
"It was a depressing day, my birthday. Ran into Robert Hayes and he said that Greg Gorman the Interview photographer had called and they wanted me over on 18th Street near Fifth to be in a publicity photo with Dustin Hoffman who was in drag filming Tootsie. When we got back to the set, Dustin was wearing something more gay. And it was going to be Dustin’s birthday on the eight and I told him it was mine, too. (laughs) Met Dustin’s new wife, very pretty, who looks like Debra Winger. So many of these girls now do. But the baby looks like one of those babies Barbara Streisand would have with Elliott Gould.”
Excerpt from The Andy Warhol Diaries, page 456/457. 

Honeycomb Yellow Cake, c. 1959.

Hand-colored blotted ink line drawing on paper.

Friday, August 8, 1982.

"It was a depressing day, my birthday. Ran into Robert Hayes and he said that Greg Gorman the Interview photographer had called and they wanted me over on 18th Street near Fifth to be in a publicity photo with Dustin Hoffman who was in drag filming Tootsie. When we got back to the set, Dustin was wearing something more gay. And it was going to be Dustin’s birthday on the eight and I told him it was mine, too. (laughs) Met Dustin’s new wife, very pretty, who looks like Debra Winger. So many of these girls now do. But the baby looks like one of those babies Barbara Streisand would have with Elliott Gould.”

Excerpt from The Andy Warhol Diaries, page 456/457. 

Self-Portrait, 1986.
Graphite on paper. 
Stamped © The Andy Warhol Foundation for the Visual Arts, Inc. en verso.

Self-Portrait, 1986.

Graphite on paper. 

Stamped © The Andy Warhol Foundation for the Visual Arts, Inc. en verso.

Liza Minnelli, 1977.
Polaroid, stamped © Andy Warhol in the margin.
Friday June 30, 1978.
"Went over to Halston’s and Liza arrived around 12:00 with her new boyfriend, Mark, the stage manager. They just met, after six months of working on the show. He asked her is she wanted to see paradise, and she said yes, she asked him where it was, and (laughs) he said in his room, so they went there and fucked. He does sculpture in marble. He’s very good-looking and very big - either Jewish or Italian. I can’t tell which. Halston was sweet, trying to get Stevie to start an art collection and trying to convince Liza she should have me do a nude portrait of her, so she was doing her number, saying how could she go nude with her body, and she was taking her tits out and the guy was getting turned on, and then she was saying, "How would I cover my fuzzy?"
Excerpt from The Andy Warhol Diaries, page 147.

Liza Minnelli, 1977.

Polaroid, stamped © Andy Warhol in the margin.

Friday June 30, 1978.

"Went over to Halston’s and Liza arrived around 12:00 with her new boyfriend, Mark, the stage manager. They just met, after six months of working on the show. He asked her is she wanted to see paradise, and she said yes, she asked him where it was, and (laughs) he said in his room, so they went there and fucked. He does sculpture in marble. He’s very good-looking and very big - either Jewish or Italian. I can’t tell which. Halston was sweet, trying to get Stevie to start an art collection and trying to convince Liza she should have me do a nude portrait of her, so she was doing her number, saying how could she go nude with her body, and she was taking her tits out and the guy was getting turned on, and then she was saying, "How would I cover my fuzzy?"

Excerpt from The Andy Warhol Diaries, page 147.

Dollar Sign.
Synthetic polymer paint and silkscreen ink on canvas.
Signed, stamped by the Andy Warhol Art Authentication Board, Inc, and numbered A116.062 on the overlap. Executed in 1982.

Dollar Sign.

Synthetic polymer paint and silkscreen ink on canvas.

Signed, stamped by the Andy Warhol Art Authentication Board, Inc, and numbered A116.062 on the overlap. Executed in 1982.

Two Men in a Provocative Pose.
Ink on paper.
Accompanied by a letter of authenticity by the Andy Warhol Art Authentication Board, dated February 4, 1998, and numbered A129.981.

Two Men in a Provocative Pose.

Ink on paper.

Accompanied by a letter of authenticity by the Andy Warhol Art Authentication Board, dated February 4, 1998, and numbered A129.981.

Green Disaster [Green Disaster Twice].
Acrylic and silkscreen inks on canvas. Signed and dated “Andy Warhol, 1963” en verso.
Thursday, May 18, 1978.
"I worked all afternoon on some pictures. Everyone was talking all afternoon about the big auction coming that night, with the paintings of mine in it that Peter Brant put up for sale. And Bob was upset that he wasn’t invited to Diane Von Furstenberg’s party that she was having for either Sue Mengers or Barry Diller. Fred wasn’t invited either, so I was going to have to go alone. 
I glued myself for Diane’s (cab $3).
Bob had gone to the auction, and he called me at Diane’s to say that a big Disaster went for $100,00 but a medium-sized Mao only went for $5,000. That sounded okay, so I told him we could still kick up our heels. I was relieved that the paintings sold okay. I guess people don’t want to buy at auction now, because you can’t make a big profit.”
Excerpt from The Andy Warhol Diaries, page 136.

Green Disaster [Green Disaster Twice].

Acrylic and silkscreen inks on canvas. Signed and dated “Andy Warhol, 1963” en verso.

Thursday, May 18, 1978.

"I worked all afternoon on some pictures. Everyone was talking all afternoon about the big auction coming that night, with the paintings of mine in it that Peter Brant put up for sale. And Bob was upset that he wasn’t invited to Diane Von Furstenberg’s party that she was having for either Sue Mengers or Barry Diller. Fred wasn’t invited either, so I was going to have to go alone. 

I glued myself for Diane’s (cab $3).

Bob had gone to the auction, and he called me at Diane’s to say that a big Disaster went for $100,00 but a medium-sized Mao only went for $5,000. That sounded okay, so I told him we could still kick up our heels. I was relieved that the paintings sold okay. I guess people don’t want to buy at auction now, because you can’t make a big profit.”

Excerpt from The Andy Warhol Diaries, page 136.

Julia Warhola.
Acrylic and silkcreeen ink on canvas.
Signed and dated “Andy Warhol, 1974” en verso.

Julia Warhola.

Acrylic and silkcreeen ink on canvas.

Signed and dated “Andy Warhol, 1974” en verso.