Lot 1044
  • 1044

Andy Warhol

1,800,000 - 2,400,000 HKD
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  • Andy Warhol
  • Ten One Dollar Bills
  • ink stencil on paper, framed
  • 86.4 by 62.2 cm; 34 by 24 1/2 in.
  • executed in 1962


Susan Sheehan Gallery, New York
Private Collection, New York

This work is stamped by the Andy Warhol Art Authentication Board, Inc. and numbered A145.9511 on the reverse. 


New York, Gagosian Gallery, Andy Warhol Drawings and Related Works 1951-1986, February - March 2003, p. 111, illustrated in colour
Hong Kong, S|2, From Warhol, With Love, September 2012, cat. no. 36, p. 85, illustrated in colour


This work is in very good condition overall. The sheet has been taped to the mount on its reverse along the upper edge at three places. The left and right edges of the paper are deckled. There is evidence of scattered light creases and minor black ink stains across the surface consistent with the artist’s working method. Framed under Plexiglas.
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.

Catalogue Note

"I started [silkscreening] when I was printing money. I had to draw it, and it came out looking too much like a drawing, so I thought wouldn't it be a great idea to have it printed. Somebody said you could just put it on silkscreens.'' 
Andy Warhol 2 

A powerful declaration of the genesis of Warhol’s major contribution to art history, Ten One Dollar Bills (Lot 1044) is a classic example of Warhol's work made when the artist just started experimenting with the method of silkscreening. Warhol had already revolutionized American art by restoring representation and objective imagery to painting in the startling guise of common, everyday objects such as Campbell's Soup Cans, comics, magazine advertisements and newspaper headlines in late 1961 to early 1962. But the `Pop Art' revolution was not complete until Warhol discovered the artistic technique that would give him the freedom to exploit his new approach to subject matter. Warhol responded to the post-war world's media and consumerist saturation by seeking a form of art that was mechanical in the production process. This approach removed the hand of the artist, creating the same sense of distance and disconnect that was emerging in the world around him. The series of "Dollar Bill'' paintings were done in March-April 1962 and Warhol's first silkscreens were created from ink drawings he made on acetate, picturing the fronts and backs of one- and two-dollar bills.

The "Dollar Bill'' series consist of predominantly small paintings of single dollar bills (some shown front and back), with only 10 paintings of dollar bills done in serial or group formatsThroughout his oeuvre one of Warhol's ultimate goal was to create a repetitive multiplicity of one image within the same work. In this regard, the Dollar Bill paintings embody this theme in both subject and technique. They are the second earliest serial paintings, executed after the large stenciled soup cans. As the ultimate symbol of desire and attainment, status and worth, need and greed, the dollar bill is without peer in its internationalism and potent symbolism. Its primacy as international currency was in its ascendance and the post-war boom in America was a recognized phenomenon, as the dollar bill became a symbol of America in its essence just at the time Warhol captured it as art.

1 Andy Warhol, The Philosophy of Andy Warhol (From A to B & Back Again), New York 1975, p. 92
2 Glenn O'Brien, "Interview with Andy Warhol," High Times, no. 24, August 1977, p. 34