Lot 2
  • 2

Sturtevant

Estimate
300,000 - 400,000 USD
Sold
bidding is closed

Description

  • Sturtevant
  • Warhol's Marilyn Monroe
  • signed, titled and dated 67 on the reverse
  • acrylic and silkscreen ink on canvas
  • 16 by 13 3/8 in. 40.6 by 34 cm.

Provenance

Binoche, Paris, March 3, 1999, Lot 84
Private Collection, Paris (acquired from the above)
Artcurial, Paris, December 2, 2014, Lot 319
Acquired by the present owner from the above

Catalogue Note

"Warhol Marilyn holds a special place in [Sturtevant's] repertoire... The work is suggestive as an avatar for the figure she cut over the five decades of her art career. Sometimes popular, at other times vilified, consistently notorious and latterly applauded, Sturtevant, Monroe, the painting Marilyn by Warhol and Sturtevant's Warhol Marilyn operate in a feedback loop prompting questions not only in regard to the copy but also concerning celebrity, iconicity, and gender...

In 1965, Elaine Sturtevant approached Andy Warhol with a proposition. Warhol had all but retired from painting in order to focus more on film-making, and on holding court amongst celebrities and hipsters in his foil-lined Factory in Lower Manhattan. Sturtevant was a fledgling artist, a member of Robert Rauschenberg's entourage, an ex-prop stylist in the commercial art world and a socialite of sorts who had dinner parties in her fashionable Upper East Side townhouse.

Sturtevant requested to use Warhol's Marilyn silkscreen. She would later attest that Warhol acquiesced, and that his assistant instructed her to 'take whatever Marilyn I wanted'. She was unable to find the stencil for Marilyn in Warhol's loft... [Sturtevant]: 'I decided to find the original [Marilyn] Hollywood still, one chance in a million and I found it. I took it to Andy's silkscreen man and it was perfect. A Warhol screen from my photo which was his photo.'

Sturtevant claimed that later, when asked how he made his silkscreened works, Warhol told people to 'ask Elaine.'"

Patricia Lee, Sturtevant: Warhol Marilyn, London, 2016, pp. 19-20

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