Andy Warhol Madonna and Self-Portrait with Skeleton's Arm (After Munch) Colour silkscreen on Lenox Museum Board 81.5 x 101.6 cm. Framed under glass. Stamp "Andy Warhol Art Authentication Board, Inc. Authentic" verso and with archive number. The artist's copyright stamp "© ANDY WARHOL 1983" verso. From a small unpublished edition of unique colour variants. Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, cat.rais.no. III A.62 e Provenance Acquired directly from the Printer Rupert Jason Smith, New York, by the previous owner. "Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature "Warhols," the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely "Munchs," images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch." (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12) Andy Warhol Madonna and Self-Portrait with Skeleton's Arm (After Munch) Farbserigraphie auf Lenox Museum Board 81,5 x 101,6 cm. Unter Glas gerahmt. Rückseitig mit dem Stempel "Andy Warhol Art Authentication Board, Inc. Authentic" und mit einer Archivnummer. Rückseitig mit dem Copyright-Stempel des Künstlers "© ANDY WARHOL 1983". Unikat einer kleinen Serie von unikaten Farbvarianten. Frayda Feldman, Jörg Schellmann, Claudia Defendi, Andy Warhol Prints, A Catalogue Raisonné 1962-1987, New York 2003, WVZ-Nr. III A.62 e Provenienz Vom Vorbesitzer direkt beim Drucker Rupert Jason Smith, New York, erworben. “Warhol painted fifteen versions of Munch's printed motifs onto canvas, and he produced upwards of a thirty trial proofs of graphic versions […] The printed versions are vibrant with Day-Glo colors and improbably amplified details. In color, facture, stylization, and scale, they are signature “Warhols,” the products of a long-recognized stylistic and technical branding. Yet more than any of Warhol's other art-historical adaptions, these works remain resolutely “Munchs,” images that had been iconized over the course of a century. They are among Warhol's few appropriations of old masters that leave the overall compositions intact rather than fragmentary, as occurs in his Botticelli, Leonardo, or Raphael paraphrases. In their oscillation, Warhol's After Munch series suggests more points of convergence in the artist's approaches to print media and career building than one may at first suspect. Both artists mined the possibilities of an original copy, or a copied original, explored how an image could be multiplied and transformed through studied repetition, and promoted the circulation of their reproduced images in the marketplace. Warhol, moreover, did not merely appropriate Munch's motifs, but in reproducing them, he cannily scrutinized and in some cases decoded their compositional strategies and in that way, strangely, found affinity with the experimental and exploratory Munch.” (Patricia G.Berman, Multiplication, Addition, Subtraction, Warhol, Munch and the Multiplied, in: Munch Warhol and the Multiple Image, exhib.cat. The American-Scandinavian Foundation, New York 2013, p.11/12)