Andy Warhol - Evening & Day Editions London Wednesday, January 17, 2024 | Phillips

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  • In his production of celebrity portraits, Andy Warhol initially appropriated images from the media, as exemplified by his iconic portrayal of Marilyn Monroe. However, in the 1970s, he began to explore the medium of photography and developed his own portrait practice, turning his polaroid camera towards some of the 20th century icons in his orbit. One such star was rock legend and Rolling Stones frontman Mick Jagger, who drew Warhol in with his bad-boy image, flamboyant style, and unforgettable persona.
     “Image is so important to rock stars. Mick Jagger is the rock star with the longest running image. He's the one all the young white kids copy. That's why every detail of his appearance is important.”
    —Andy Warhol

    The two stars first met in New York in 1964 at a party to celebrate the release of the band’s debut studio album The Rolling Stones. In that same year, the Rolling Stones also recorded the single “Time Is on My Side,” which became the band’s first top ten hit in the United States, and meanwhile, Warhol produced some of his most pivotal work, including Race Riot and Electric Chair, both of which were part of his distinctive Death and Disasters series. Jagger and Warhol’s friendship would go on to become one of legend, a powerful celebrity relationship that would ignite several years of artistic collaboration. In 1971, Warhol designed the iconic cover for the Rolling Stones’ album Sticky Fingers, a suggestive close-up of Joe Dallesandro’s crotch in jeans.


    In the summer of 1975, Jagger rented Warhol’s house in Montauk to allow the band to focus on preparing for their sixth American tour. While there, Warhol photographed Jagger bare-chested with only a chain around his neck, capturing him in a variety of moods and expressions to be implemented as the source imagery for the ensuing screenprint portfolio. Warhol combined photographic images with torn paper collage, as well as superimposed drawing - techniques which would become staples of Warhol’s later work. These abstract blocks of colour and gestural drawn lines produced expressive and dynamic imagery, accentuating the subject’s movements. The resulting portfolio consisted of ten screenprints, a distinction Warhol had only previously bestowed upon Marilyn Monroe and Mao Zedong. Furthermore, the Mick Jagger portfolio is the largest number of screenprints developed from Warhol’s personal photographs of a single figure. The project was a uniquely collaborative effort which successfully captured the celebrity status of both Jagger and Warhol, as illustrated by the presence of both stars’ signatures on the final prints.

    • Literature

      Frayda Feldman and Jörg Schellmann 145

    • Artist Biography

      Andy Warhol

      American • 1928 - 1987

      Andy Warhol was the leading exponent of the Pop Art movement in the U.S. in the 1960s. Following an early career as a commercial illustrator, Warhol achieved fame with his revolutionary series of silkscreened prints and paintings of familiar objects, such as Campbell's soup tins, and celebrities, such as Marilyn Monroe. Obsessed with popular culture, celebrity and advertising, Warhol created his slick, seemingly mass-produced images of everyday subject matter from his famed Factory studio in New York City. His use of mechanical methods of reproduction, notably the commercial technique of silk screening, wholly revolutionized art-making.

      Working as an artist, but also director and producer, Warhol produced a number of avant-garde films in addition to managing the experimental rock band The Velvet Underground and founding Interview magazine. A central figure in the New York art scene until his untimely death in 1987, Warhol was notably also a mentor to such artists as Keith Haring and Jean-Michel Basquiat.

       

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8

Mick Jagger (F. & S. 145)

1975
Screenprint in colours, on Arches Aquarelle paper, the full sheet.
S. 111.1 x 73.7 cm (43 3/4 x 29 in.)
Signed by the artist and the sitter in black felt-tip pen, and numbered 60/250 in pencil (there were also 50 artist's proofs), published by Seabird Editions, London (with their inkstamp on the reverse), framed.

Full Cataloguing

Estimate
£50,000 - 70,000 

Sold for £82,550

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Evening & Day Editions

London Auction 17 - 18 January 2024