25 Cats Name Sam and One Blue Pussy, ca. 1954 [written by Charles Lisanby; printed by Semour Berlin] bound artist’s book with 36 pages and 18 plates offset prints on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 95.18.4

25 Cats Name Sam and One Blue Pussy is one of Warhol’s first promotional books from his years as a commercial artist. The drawings reveal the telltale blotted line technique characteristic of his early graphic work. Warhol used such a line to give his drawings a “printed” feel, and many works were later serially reproduced via offset lithography. In this book, each sketch is accompanied by the name “Sam,” written, not in the artist’s hand, but in the distinctive, whimsical script of Warhol’s mother, Julia. Originally from Slovinia, Warhol’s mother knew little English and when she would painstakingly copy the text Andy asked her to write, she occasionally dropped letters or made misspellings. “Name” in the book’s title is an instance of this kind of accidental elision. Warhol had this book printed and bound and then enlisted friends to help hand color them.

Following 25 Cats Name Sam, Warhol created The Gold Book (ca. 1956), a collection of blotted line drawings of friends, flowers, and shoes, on gold paper (inspired by the gold lacquer work he had seen during a trip to Bangkok). Then Warhol composed In the Bottom of My Garden (ca. 1956) replete with slightly suspect cherubs, followed by Wild Raspberries (ca. 1959), a joke cookbook with Suzie Frankfurt’s recipes. (Courtesy, Andreas Brown, Gotham Book Mart, 1971) and Suzie Frankfurt Wild Raspberries, ca.1959 bound artist’s book with 40 pages and 18 plates offset prints on paper with hand coloring and tissue overlays Gift of Richard F. Holmes, Class of 1946 95.18.8

Like all good social art, Wild Raspberries is more than just a series of vivid images, and like all good cookbooks, it offers more than just recipes. This oversized book is impossible to understand apart from the culture that gave rise to it: the world of New York high society in the 1950s. A collaboration among Warhol, interior designer Suzie Frankfurt, and Warhol’s mother Julia, Wild Raspberries parodies the lifestyles of the rich and famous by means of outlandish recipes. “Continental dining” was all the rage in the 1950s, and any sophisticate worth her mink was expected to be conversant with European, especially French, food. Cookbooks of the era were often pretentious, and Wild Raspberries spoofs the genre in its call for such rarified ingredients as plover’s egg and cock’s kidneys. At the same time, the book mocks the author’s own pretensions, especially Warhol’s penchant for celebrity. Sprinkled throughout the text are references to , Princess Grace, and Greta Garbo. The recipes themselves provide an A list of purveyors of food to the social elite: For “piglet,” Warhol and Frankfurt recommended sending the chauffeur in his Cadillac to pick up a forty-pound suckling pig at Trader Vic’s. (Courtesy, Professor Darra Goldstein, 2006) Jackie, 1964 synthetic polymer paint and silkscreen ink on canvas Partial gift of The Andy Warhol Foundation for the Visual Arts, Inc. and museum purchase from the John B. Turner ‘24 Memorial Fund and Karl E. Weston Memorial Fund 95.11.1 & 2; 94.15.2 & 1

Warhol’s artistic exploration of images of Jacqueline Kennedy began in 1964, one year after the death of her husband, President John F. Kennedy. Jackie was a celebrity in her own right, ubiquitous in the media and beloved by the public. In his series of portraits of Jackie, the artist examines the relationship between public and private life, manipulating famous source images for the First Lady before and after the historic tragedy. The photographic juxtaposition of Jackie smiling and weeping highlights the public nature of this iconic figure’s private struggle.

In Jackie, as in many of Warhol’s pieces, he appropriates and alters easily recognizable photographs. The source photos are so famous that they are comprehensible even when only vestiges of the originals remain. Images of Jackie at the assassination, funeral, and Vice-President Johnson’s swearing-in were shown with such repetition in print and on television that the line between Jackie’s mourning and the public’s mourning became blurred. The multiplication of Jackie’s portraits mimics the media’s repetitive, omnipresent use of her images in magazines and comments on the public display of private grief. (Courtesy, Meredith Sanger-Katz, 2006) Jackie One (silver), 1966 silkscreen on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.5

Flash - November 22, 1963, 1968 screenprint and teletype on paper Museum purchase, Karl E. Weston Memorial Fund M.2002.10.1.A-B; M.2002.10.2.A-B

Five years after the assassination of President John F, Kennedy, Warhol created Flash – November 22, 1963, a series of silkscreens matched with teletype text that narrate the four days between President Kennedy’s assassination and his funeral. Through distortion, bold colors, and image layering, Warhol created a suite that not only expresses the collective trauma of the events of those four days, but also comments on the media’s manipulation of public opinion. from A la recherche du shoe perdu, with poems by Ralph Pomeroy, 1955 offset lithographs on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 M.2005.17.31. A - O top row, right to left

In Her Sweet Little Alice Blue Shoes Shoe Fly Baby Any One for Shoes? I Dream of Jeannie with the Light Brown Shoes Shoe of the Evening, Beautiful Shoe My Shoe Is Your Shoe Dial M for Shoe bottom row, right to left

Uncle Sam Wants Shoe! When I’m Calling Shoe See a Shoe and Pick It Up and All Day Long You’ll Have Good Luck Sunset and Evening Shoe The Autobiography of Alice B. Shoe Beauty Is Shoe, Shoe Beauty… You Can Lead a Shoe to Water But You Can’t Make It Drink In the 1950s, Warhol’s artistic interests included his environment; his jobs: his friends; flowers; butterflies; cats; people, young and old; and shoes, shoes, and more shoes. He produced a series of outrageous and bedazzling images of high-heeled glamour – from spikes to boots to mules – that have since become some of his most iconic imagery. Although the drawings were designed for advertisements, they were playfully personalized to capture the essence of celebrities’ personalities. Evident again is the artist’s ability to transform the ordinary into the extraordinary. (Courtesy, Andreas Brown, Gotham Book Mart, 1971)

Screenprinting

Warhol was one of the first artists to use screenprinting. He remarked, In August 1962 I started doing silkscreens. I wanted something stronger that gave more of an assembly line effect. With silkscreening you pick up a photograph, blow it up, transfer it in glue onto silk, and then roll the ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was so simple – quick and chancy. I was thrilled with it. My first experiments with screens were heads of Troy Donahue and Warren Beatty, and then when happened to die that month, I got the idea to make screens of her beautiful face – the first Marilyns. Liz, 1965 color silkscreen on paper Museum purchase, Ruth Sabin Weston Fund 73.52

Throughout his printmaking career, Warhol exploited the popular images of superstars such as Marilyn, Jackie, and Liz. For Warhol, Elizabeth Taylor was much more than just a celebrated actress. She was a goddess of the silver screen, and the embodiment of a life of luxury.

As Warhol once said, It would be very glamorous to be reincarnated as a great big ring on Liz Taylor’s finger.

There are many versions of Liz, all based on the same photograph but printed in different color combinations on different papers and canvas. The first print version was printed commercially in three colors under the direction of Leo Castelli and signed by Warhol in 1964. This four-color version was screened in the summer of 1965. Pop Art

The Pop Art movement was largely a British and American cultural phenomenon of the late 1950s and early 1960s. Pop Art works were characterized by the portrayal of any and all aspects of popular culture that had a powerful impact on contemporary life; its iconography – taken from television, comic books, movie magazines, and all forms of advertising – was presented emphatically and objectively and by means of the precise commercial techniques used by the media from which the images were initially borrowed.

Pop represented an attempt to return to a more objective universally acceptable form of art after the dominance in both the U.S. and Europe of the highly personal Abstract Expressionist movement. Its effects – including its destruction of the boundary between “high” and “low” art – have continued to be powerfully felt throughout the visual arts to the present day. [Encyclopedia Britannica]

Andy Warhol’s Index Book, 1967 books [pre-publication “dummys”] Gift of Richard F. Holmes, Class of 1946 95.18.9. A -D Kiss, 1966 silkscreen ink on plexiglas with metal stand Gift of Richard F. Holmes, Class of 1946 M.2005.17.29

Warhol was one of the most important and provocative filmmakers in New York during the early 1960s and early 1970s. His influence can still be found in Hollywood mainstream film, which took from his work realism and sexual explicitness, and in experimental film, which reworked his long-take, fixed camera aesthetic. The movie Kiss, 1963, belonged to Warhol’s early series of silent, black-and-white films that emphasize stillness and duration.

The screenprint series on plexi was made after the film, with the model being a still from Tod Browning’s Dracula, (1931), starring Bela Lugosi and Helen Chandler, and originally rendered as a silkscreen on paper in 1963.

Warhol himself avowed, The best atmosphere I can think of is film, because it’s three- dimensional physically and two-dimensional emotionally. Velvet Underground and Nico, ca.1965-67 poster on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.25

The Velvet Underground was a New York-based rock band that released four albums at the end of the 1960s and in the early 1970s. The original members were Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker. Their music was based on black rhythm and blues mixed together with experimental modern classic music.

The Velvet Underground (also known as the Velvets) was one of the first rock n’ roll bands that went on stage to provoke instead of entertain. Warhol’s collaboration with the Velvets from 1965 to 1967 was legendary in music circles and resulted in the album “The Velvet Underground and Nico”—an album which many music critics now consider one of the most important records in popular music history. Andy Warhol and David Dalton Aspen, The Magazine in a Box: The FAB Issue, 1966 book Gift of Richard F. Holmes, Class of 1946 M.2005.17.40

The multimedia magazine ASPEN was conceived by journalist Phyllis Johnson and produced 10 issues between 1961 and 1971, each by a different designer. The Pop Art issue was designed by Warhol and David Dalton. It was comprised of a hinged box designed to imitate a brand-name detergent carton filled with several loose items: The Ten Trip Ticket Book (excerpts from papers presented by the Berkeley Conference on LSD, with texts by Timothy Leary and others); The Underground Movie Flip Book (a small oblong booklet with stills from Andy’s movie Kiss and Jack Smith’s Buzzards Over Bagdad); a copy of The Plastic Exploding Inevitable (Warhol’s illustrated underground newspaper), 12 Paintings from the Powers’ Collection (twelve cards in a die cut envelope reproducing works by Warhol, Lichtenstein, Johns, Oldenburg, Rosenquist, and others); the portfolio Music Man, That’s Where It’s At (a FlexiDisk with texts on rock ‘n roll by members of the Velvet Underground); and other sundry ephemeral advertisements. Andy Warhol’s Factory Portrait of Andy Warhol, ca. 1974 polaroid Gift of Richard F. Holmes, Class of 1946 M.2005.17.41.A-E

Self-portraiture was a central theme in Warhol’s extensive body of work; and the most recognizable image he produced may have been his own. Warhol became a cultural symbol, and his face is now as familiar as the celebrity and commercial icons he depicted and serialized: Marilyn Monroe, Elvis Presley, and Campbell’s Soup. (Courtesy, Professor C. Ondine Chavoya, 2006)

I look really awful, and I never bother to primp or try to be appealing because I don’t want anyone to get involved with me. And that’s the truth. I play down my good features and play up the bad ones. So I look awful, and I wear the wrong pants and the wrong shoes, and I come at the wrong time with the wrong friends, and I say the wrong things, and I talk to the wrong person, and then still sometimes somebody gets interested, and I freak out and wonder: What did I do wrong? -- Warhol

Constantin/Vogelmann, (German, 20th century) Andy Warhol, ca. 1960-1975 black and white photograph Gift of Richard F. Holmes, Class of 1946 M.2005.17.38 In the Bottom of My Garden, 1956 bound artist’s book with 40 pages and 21 plates offset lithograph on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 95.18.6

A Gold Book by Andy Warhol, ca. 1956 [designed by Miss Georgie Duffie] bound artist’s book, with gold boards (first issue); 40 pages and 19 plates offset lithograph on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 95.18.7

Interview Magazine, 1969 [mock-ups for the first and second issues of the magazine] newsprint Gift of Richard F. Holmes, Class of 1946 95.18.11 & 12 A Picture Show by the Artist Andy Warhol, 1957 [announcement card for an exhibition based on A Gold Book by Andy Warhol] print on paper Gift of Richard F. Holmes, Class of 1946 95.18.14

Campbell’s Soup Can (Beef Consommé), ca. 1962-1964 ink on paper mounted to tin Gift of Richard F. Holmes, Class of 1946 98.4

Preparatory Sketch for Self Portrait/ Williams College Museum of Art Poster, 1986 mixed media Anonymous gift 86.29.E

Self Portrait/Williams College Museum of Art Poster, 1986 silkscreen on paper Anonymous gift 86.29 from right to left

Shoe in Bird Cage, ca. 1956 ink and tempera on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.1

Shoe in Ice Tea Glass with Butterfly, 1954-1956 hand colored lithograph on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.19

Andy Warhol is a very young artist who may be said to be addicted rather than dedicated. Currently he is addicted to shoes – or, rather, hand-drawn images of them; single, never in pairs, and usually large enough to fit circus giants of both sexes. Naively outlined in strict profile and then, as it were, smothered in gold-leaf and decorative commercial-cutouts in gold (tassels, cupids, conventional borders), they have an odd elegance of pure craziness. If one doubted they were fetishes, his doubt would be dispelled by noticing that an evening slipper is inscribed to and a boot to James Dean. (Art News, December 1956) Campbell’s Soup Can, BEEF (with Vegetables and Barley), ca. 1962 color silkscreen with silver and gold on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.2.A

Campbell’s Soup Can, CONSOMMÉ (Beef), ca. 1962 color silkscreen with silver and gold on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.2.B

New York City Summer Dance Festival, ca. 1954-56 pen and ink wash on paper with pencil and ballpoint Gift of Richard F. Holmes, Class of 1946 M.2005.17.12

Dancing Couple, ca. 1955 offset lithograph on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.3 Flowers, ca. 1965-1967 color silkscreen on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.6

Yellow Cow, 1966 color silkscreen on paper Gift of Terryl and Louis Lawrence in honor of Michael Best, Class of 1987 86.8

Paris Review, ca. 1960’s color silkscreen on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.14 from left to right

Leg, 1956 Shoe, 1956 offset lithographs on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.16. A & B

Goldenslipper Show or Shoes Shoe in America, Bodley Gallery December 3-22, 1956 gold ink on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.17

Painted Stocking, ca. 1954-1956 ink wash and tempera on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.4 Bus Driver, Boy Driving Truck, ca. 1955 print on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.18

Happy G Garbo Day, no date transfer print on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.20

Warhol first experimented with a blotted line while a college student at the Carnegie Institute of Technology. He continued to develop this technique in his commercial work in New York City throughout the 1950s. It allowed him to create a variety of illustrations along a similar theme, bring multiple ideas to clients, and increase the odds that one of his creations would be chosen for a final published advertisement.

The blotted line technique combines drawing with very basic printmaking. Warhol began by copying a line drawing on a piece of non-absorbent paper, such as tracing paper. Next he hinged this piece of paper to a second sheet of more absorbent paper by taping the edges together on one side. Then, with an old fountain pen, Warhol inked over a small section of the drawn lines and then transferred the ink onto the second sheet by folding along the hinge and lightly pressing or “blotting” the two papers together. Larger drawings were made in sections. Studies for a Boy Book by Andy Warhol, Bodley Gallery & Bookshop 223 East 60, Feb 14, ca. 1956 lithograph on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.22

Ralph P, 1955 ballpoint pen on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.23

Happy Bug Day, 1954 offset lithograph on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 M.2005.17.34

Andy Warhol and Nathan Gluck Wrapping Paper (red, black and blue), ca. 1959 lithograph on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 M.2005.17.24

Two Cupids Embracing, 1955 ink and watercolor on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.9 Andy Warhol (American, 1929-1987) To Shoe or Not to Shoe (from A la recherche du shoe perdu with poems by Ralph Pomeroy), 1955 offset lithograph on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 M.2005.17.31.H

Madame Rubinstein in Kyoto, Japan, ca. 1956 ink with white highlights on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.37

Flower, ca. 1957 offset lithograph on paper with hand coloring Gift of Richard F. Holmes, Class of 1946 M.2005.17.11 6 Panels from a Dance Book: Merry Christmas, Cherubs “Fowler Merry Christmas”, ca. 1954-1956 ink drawings on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.10

Andy Warhol’s Index (Book), published in 1967 book Gift of Richard F. Holmes, Class of 1946 M.2005.17.43

M.J. by A.W., July 26 - 72 July 26, 1972 polaroid Gift of Richard F. Holmes, Class of 1946 M.2005.17.42

Mick Jagger No.6 (gold/silver/blue), 1975 color silkscreen on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.13 Portrait of Mick Jagger, ca. 1972 polaroids

Gift of Richard F. Holmes, Class of 1946 M.2005.17.41.F-G Andy Warhol and Ralph T. Ward Love Is A Pink Cake, 1953 portfolio of 25 unbound pages with labeled wrappers offset lithograph and blotted ink line drawings on paper

Gift of Richard F. Holmes, Class of 1946 95.18.3 Andy Warhol and Ralph T. Ward There Was Snow in the Street and Rain in the Sky, 1952 portfolio of 18 unbound pages with original blotted ink line drawings and pencil captions on paper; [Warhol’s original manuscript/art work for a book that was never published] Gift of Richard F. Holmes, Class of 1946 95.18.1 Flowers, ca. 1966-67 color silkscreen on paper

Gift of Tennyson and Fern Schad, Class of 1952 84.17.2 Yellow Cow, 1966 color silkscreen on paper Gift of Terryl and Louis Lawrence in honor of Michael Best, Class

of 1987 86.8 Andy Warhol and Ralph T. Ward A Is An Alphabet, 1953 portfolio of 26 unbound pages with labeled wrappers blotted ink line drawings and offset lithograph on paper Gift of Richard F. Holmes, Class of 1946 95.18.2 Musee D’Art Moderne de la Ville de Paris, December 16, 1970- January 14, 1971, 1970

poster on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.7 & 8 Andy Warhol, Tate Gallery, February 17-March 28, 1971, 1971 poster Gift of Richard F. Holmes, Class of 1946 M.2005.17.3 Kiss, 1963 black and white silent film; this production features 13 kisses with running times that ran from 2:45 to 2:55 min., for a total running time of 34:12 min.

Empire, 1964 black and white silent film; filmed at night from the 41st floor of

the Time-Life Building; total running time of 60 min.

(Courtesy, rarovideo.com] Andy Warhol – A Documentary Film, 2006

Rick Burns, director (Courtesy, PBS and PBS Home Video and Steeplechase Films, Inc.) Cows Cow Wallpaper (original mock-up), ca. 1966 paper collage Gift of Ricahrd F. Holmes, Class of 1946 M.2005.17.30

From his first big commission to his final self-portrait, Warhol would invariably return to the concept of the serial image. At times a critique of the increasing commercialization and standardization of American culture, Warhol’s use of the serial image can also be understood as representing his particular way of thinking about and engaging with the visual. By the time Cow was unveiled in 1966 at the Leo Castelli Gallery in New York, it seems that what once might have been a sly cultural critique in the endless assault of soup can after soup can in 1962 had now become a compulsory act – a method and a mindset.

Cow was not intended as a framed work of art: the image originally appeared as wallpaper. This showed Warhol’s denial of the emphasis placed on original design in fine art and of traditional approaches to displaying art in museums and galleries. ANDY WARHOL-The Complete Picture, 2002

Director: Chris Rodley A World of Wonder Production for Channel 4 in association with Bravo; American Home Treasures, BFS Entertainment & Multimedia Limited

ink stamp on paper Gift of Richard F. Holmes, Class of 1946 M.2005.17.28