Andy Warhol

Ronald Feldman Fine Arts Inc., New York
Gallery Takagi, Nagoya
Acquired by the present owner from the above in June 1987

This work is in very good condition overall. The colors are bright, fresh and clean. There is evidence of light wear and handling along the edges including some extremely faint hairline craquelure at the pull margins. Under very close inspection there is minor and unobtrusive hairline craquelure on figure’s left cheek. Also under very close inspection there are some extremely faint and unobtrusive abrasions to the white area in the upper right corner, and a dark abrasion in the right red stripe of the hat, possibly inherent to the artist's working method. Under Ultraviolet light inspection there is no evidence of restoration. Unframed.
In response to your inquiry, 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 Sotheby's is merely a subjective qualified opinion.
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 PRINTED IN THE CATALOGUE.

Andy Warhol’s monumental representation of one of the most iconic figures of American patriotism is a colorful tour de force that is simultaneously playful and intense. Uncle Sam is rendered in bold hues of red, white and blue.  Loosely sketched lines and splatters of paint create a striking juxtaposition against the solid blocks of color that define Uncle Sam’s form, their exuberance softening the effect of the massive figure's hypnotizing stare. The celebrity of this American icon is implied in the formal qualities of the work: the stark white background and undefined features of Uncle Sam’s face imply the over-exposed effect commonly created by a camera flash, and it seems as if Uncle Sam is standing in front of dozens of flashing cameras and adoring fans. From our point of observation, we are caught up in the frenzy of celebrity-worship, yet the legend of Uncle Sam and what he represents to America transcends celebrity and reaches the status of god or demi-god.

Uncle Sam is one of a series of ten paintings of cultural icons, which Warhol called Myths, executed in 1981. Warhol created the Myths series after encouragement from art dealer Ronald Feldman.  Santa Claus, Mickey Mouse, Superman, Howdy Doody, Greta Garbo, and Warhol himself are some of the other subjects in the series.  The Myths series was produced at a pivotal moment in Warhol’s late career, when Warhol reinvigorated his practice following a decade of work that lost him critical favor.  The genius of this series, which commented on Warhol’s understanding of the cultural icon as a commodity, was recognized by critics and gained Warhol back the respect of the art world intelligentsia. 

Greg Metcalf commented on Warhol’s representation of the transformation of the power of the celebrity in Myths: “Through these portraits, Warhol both documented and encouraged the collapse of separation between individual, logo and myth. The celebrity is no longer an individual, but a brand name, a logo'' (Greg Metcalf, "Heroes, Myth, and Cultural Icons,'' in: Exh. Cat., College Park, The Art Gallery of the University of Maryland, Reframing Andy Warhol: Constructing American Myths, Heroes and Cultural Icons, 1998, p. 6).