ANDY WARHOL | SHOE WITH DIAMOND DUST
Property from a Private Collector
1928 - 1987
SHOE WITH DIAMOND DUST
signed and dated 81 on the overlap
synthetic polymer and silkscreen inks on canvas with diamond dust
Canvas: 18 by 14 in. (45.7 by 35.5 cm.)
Framed: 24¼ by 20¼ in. (61.6 by 51.4 cm.)
This work is in very good condition overall. There are textural shifts due to the artist's working method and chosen media. There is some minor stable cracking with associated pinpoint areas of loss to the turning edges, visible upon close inspection. Framed without glazing.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Miriam Shiell Fine Art, Toronto
Margo Leavin Gallery, Los Angeles
Collection of Ruth Horwich, Chicago
Christie's, New York, First Open, 6 March 2015, Lot 12
Acquired at the above sale by the present owner
The shoe is one of the most recognizable and long-standing motifs in the oeuvre of Andy Warhol, which he began depicting in the 1950s while working as a commercial illustrator for I. Miller and Glamour magazine[i]. It is no surprise that this iconography stuck with him, as within post-war consumer culture the shoe grew to symbolize materialism and frivolity, something that Warhol would intentionally exacerbate through his signature graphic and repetitive style. Sometimes carrying titles with the names of known figures, such as Julie Andrews or Elvis Presley, the shoe epitomized luxury and fetishism in a new mass-consumer culture that coveted voyeurism and attention through excess.
The Diamond Dust series came to be after Warhol was introduced to diamond dust by his printer Rupert Smith[ii], and became enamoured with the material for its associations to jewlery, exclusivity, and shine. Warhol soon after chose to apply shattered glass for the series for the way that light reflected off of the individual pieces for its brialliant visual effects. As Vincent Fremont writes, “With the Diamond Dust Shoes, Andy was able to combine some of his favorite themes – movie star glamour, high fashion and money The merger of women’s shoes and diamond dust was a perfect fit… Andy created the Diamond Dust Shoe paintings just as the disco, lame, and stilettos of Studio 54 had captured the imagination of the Manhattan gliterrati[iii]”.
 Vincent Freemont, Andy Warhol: Diamond Dust Shoes, New York 1999, p. 7
3 Ibid, pp. 8-9