160
160
Andy Warhol
JUDITH GREEN [THREE WORKS]
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800,0001,200,000
LOT SOLD. 1,155,000 USD
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160
Andy Warhol
JUDITH GREEN [THREE WORKS]
Estimate
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
800,0001,200,000
LOT SOLD. 1,155,000 USD
JUMP TO LOT

Details & Cataloguing

Contemporary Art Day Auction

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New York

Andy Warhol
1928 - 1987
JUDITH GREEN [THREE WORKS]
acrylic and silkscreen ink on canvas
each: 20 by 16 in. 50.8 by 40.6 cm.
Executed in 1963.
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i. This work is stamped twice by the Estate of Andy Warhol, three times by The Andy Warhol Foundation for the Visual Arts, Inc., and numbered VF PO60.045 twice on the overlap. This work is also numbered PO60.045 on the stretcher.
ii. This work is stamped twice by the Estate of Andy Warhol, twice by The Andy Warhol Foundation for the Visual Arts, Inc., and numbered VF PO60.042 twice on the overlap. This work is also numbered PO60.042 on the stretcher.
iii. This work is stamped by the Estate of Andy Warhol and The Andy Warhol Foundation for the Visual Arts, Inc., and numbered VF PO60.040 twice on the overlap. This work is also numbered PO60.040 on the stretcher.

Provenance

Estate of Andy Warhol
The Andy Warhol Foundation for the Visual Arts, Inc., New York
Private Collection, Switzerland
Acquired from the above by the present owner in 2008

Literature

i. Georg Frei and Neil Printz, Eds., The Andy Warhol Catalogue Raisonné, Vol. 01, Paintings and Sculpture 1961-1963, New York 2002, cat. no. 499, p. 432, illustrated in color
ii. Georg Frei and Neil Printz, Eds., The Andy Warhol Catalogue Raisonné, Vol. 01, Paintings and Sculpture 1961-1963, New York 2002, cat. no. 502, p. 433, illustrated in color
iii. Georg Frei and Neil Printz, Eds., The Andy Warhol Catalogue Raisonné, Vol. 01, Paintings and Sculpture 1961-1963, New York 2002, cat. no. 504, p. 434, illustrated in color

Catalogue Note

Undoubtedly one of the most important artists of the 21st Century, Andy Warhol forever changed the art world. After working as a commercial artist, Warhol decided he wanted to become a “real” artist. His portrait of Judith Green is an early and striking example of his first foray into what he considered to be more serious art. As Warhol said, “Business art is the step that comes after art. I started as a commercial artist, and I want to finish as a business artist. Being good in business is the most fascinating kind of art. During the hippie era people put down the idea of business. They’d say 'money is bad' and 'working is bad.' But making money is art, and working is art - and good business is the best art.”

Commissioned portraits allowed Warhol not only to perfect his craft but also to become closer to his subjects and the world in which they lived – a world in which Warhol desired to enter. Warhol was a mastermind at making people feel like they were the most important person in the room. That ability allowed him to turn Polaroids or photo-booth strips of people into Polaroids or photo-booth strips of stars. For Warhol, it was not the subject that mattered, it was their pose. In the present work, Warhol coached Judith Green (nee Heiman) through various looks in a Times Square photo-booth. While a regular feature on the New York social scene and an accomplished writer in her own right, Green was no star before Warhol. However, Warhol was able to capture her as we would like to think she viewed herself: a confident, cool, independent woman who was going places.

Judith Green [Three Works] is one of the first portrait commissions, immediately following his famous 36 part work depicting Ethel Scull, which is jointly owned by the Whitney Museum of American Art and the Metropolitan Museum of Art. The violet, teal and orange-red portraits were silkscreened onto canvas using enlarged and specifically selected images from their Times Square photo-shoot. Judith Green provided Warhol with just what he needed: an attractive and successful 29-year old New Yorker. She also was just the beginning of what was to come. Warhol would later complete commissioned portraits of a roster of who’s who – from Mao to Nelson Rockefeller, Beethoven to Mick Jagger, Marilyn Monroe to everyone in between. For Warhol portraiture became his way of moving up in the world: “Warhol’s upward mobility was supersonic. Instead of getting the super stars' photo from movie magazines or the Sunday color supplement, he himself quickly invaded their society on equal terms, and could be begged by prospective sitters to turn his own Polaroid camera on their fabled faces in both public and private moods. He had become a celebrity among celebrities, and an ideal court painter to the 1970s international aristocracy that mixed, in wildly varying proportions, wealth, high fashion, and brains" (Robert Rosenblum, "Andy Warhol Court Painter to the 70s" in Exh. Cat., New York, Whitney Museum of American Art, Andy Warhol Portraits of the 70s, 1979, p. 15).

Warhol, who would soon become King of the Culture Industry, mass producer of mass imagery, was the first to frame a subject like a studio still, using a photobooth polaroid camera. Through this technique, Warhol was able to first depict people in his life as celebrities and later celebrities themselves as America uniquely perceives them, with idolatry: as our royalty, as our gods. Even the present work bears  the visual vocabulary of cinema. Warhol's heroes and heroines, under his gaze, "become dreams that money can buy" (Marshall McLuhan, Understanding Media: The Extensions of Man, Cambridge 1994, p.189). An early subject, Judith Green paved the way for Warhol’s success. Her fun-spirited poses allowed Warhol an opportunity to capture someone in their true spirit.

Contemporary Art Day Auction

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New York