Andy Warhol Complete Portfolios
In the early 1960s, Andy Warhol was a successful and established commercial illustrator. Creating works based on popular imagery, Warhol had his first show of pop paintings in the Bonwit Teller department store display window in New York, and he was linked to other prominent artists such as Roy Lichtenstein, Wayne Thiebaud and James Rosenquist.
Warhol had his first solo gallery show July of ‘62 in Los Angeles at the Ferus Gallery where he showcased 32 paintings of Campbell’s Soup Cans in a single line instead of a grid. Warhol received mixed reviews, and he quoted, “Let everyone else decide if it’s good or bad, whether they love it or hate it. While they are deciding, make even more art” (The Philosophy of Andy Warhol). The artist would go on to create two print portfolios of the Campbell’s Soup cans, one in 1968 and one in 1969. Warhol continued his work and produced recognizable portraits of notable figures such as Marilyn Monroe, Elizabeth Taylor, Elvis, Jackie Kennedy, and more.
When he established The Factory in 1964, Warhol mass produced his screen prints there and created a place of fascination and sanctuary for his superstars. As the decades passed, Warhol continued producing print portfolios on a large scale, employing the help of assistants at the Factory to pull his silk screens for him. Toward the end of Warhol’s career, we witness the pinnacle of his artistic abilities in his 1980s portfolios. These prints show delicate and calculated use of line work, color blocking, and highlights. Mastering techniques like these, Warhol was able to depict and re-imagine his subjects with great intention and intense style, representing the summit of his career as the Prince of Pop Art.
Revolver’s inventory features a wide range of Warhol portfolios that capture his multi-dimensional subjects and the evolution of his artistic style. If you’d like to delve deeper into the history and significance of Warhol’s portfolios, including insights into his artistic methods and philosophical approach to seriality, check out our comprehensive article on Investing in Warhol: The Portfolios.
Below is a complete list of portfolios by Andy Warhol in chronological order. Click the title of each portfolio to read more and explore the artworks further.
The Marilyn Monroe portfolio was the first from Warhol’s printmaking enterprise, Factory Additions. The portfolio comprises ten silkscreen prints with Monroe’s iconic image across a spectrum of color combinations, deepening the dialogue between celebrity culture and artistic innovation. Warhol’s technique of repeating a single image underscored themes of commodification and the mass production of celebrity.
Andy Warhol’s Flash—November 22, 1963 portfolio stands as a profound exploration of political celebrity and the media’s portrayal of tragedy. This series of 11 screenprints, assembled in a book with text from newspaper reports, delves into the assassination of President John F. Kennedy, a subject that deeply fascinated Warhol. His interest in the Kennedys, previously expressed through prints of Jackie Kennedy and later Edward Kennedy, reflects his broader intrigue with fame and its societal impact.
Andy Warhol’s Campbell’s Soup Cans I portfolio from 1968 is a cornerstone of Pop Art, showcasing ten screenprints that transformed commercial imagery into high art. This series, following his original 32 Campbell’s Soup Cans paintings, encapsulates Warhol’s fascination with consumer culture and the mass production ethos of his era. Through screenprinting, Warhol mirrored the manufacturing process of the very products he depicted, emphasizing the mechanical nature of art creation in the modern world.
Andy Warhol’s Campbell’s Soup Cans II portfolio, a sequel to his groundbreaking work in Pop Art, comprises ten prints that delve deeper into the intersection of art, advertising, and the everyday.
Andy Warhol’s Flowers portfolio, printed in 1970, encapsulates a pivotal shift in Warhol’s artistic exploration, presenting ten psychedelic screenprints that blend the natural with the mechanical. Based on Patricia Caulfield’s photograph of the Mandrinette flower, this series marks one of Warhol’s few ventures into natural subjects.
Andy Warhol’s Electric Chairs portfolio, published in 1971, encapsulates the artist’s profound engagement with themes of death, media, and desensitization. This collection of ten screenprints, each depicting an electric chair using different color palettes, transforms a symbol of capital punishment into a subject of Pop Art, abstracting and repeating the image until it transcends its original context.
In 1972, Andy Warhol unveiled his Mao portfolio, a provocative fusion of political history and Pop Art, featuring ten screenprints of Mao Zedong. This series, marked by its vibrant interpretation of the Chinese leader, emerged at a critical juncture, reflecting on the close of China’s Cultural Revolution and foreshadowing the nation’s pivot towards Western engagement. Warhol’s portrayal of Mao, blending the iconography of PRC propaganda with the aesthetic of Pop Art, invited a reexamination of Mao’s global image, transforming a symbol of communist authority into a subject of pop culture critique.
Andy Warhol’s Black and White Flowers portfolio represents a unique departure within his oeuvre, offering a series of ten screenprints that blend Warhol’s Pop Art sensibilities with a more intimate, handcrafted approach. This series, one of three distinct “Flowers” collections created by Warhol, stands out for its stark simplicity and the personal touch evident in each piece. Derived from floral images found in a wallpaper catalog, “Interpretive Flower Designs,” Warhol transformed these commercial designs into compelling artworks, tracing and shading each image before screenprinting them into a cohesive collection.
Much like Black and White Flowers, the Hand-Colored Flowers portfolio presents a unique divergence from Warhol’s usual iconic Pop Art style. The flowers in this portfolio are identical to those in the Black and White version, but with added color. These portfolios are reminiscent of the artist’s 1950s line drawings, emphasizing outline over composition.
Warhol’s Ladies and Gentlemen portfolio diverges from his iconic depictions of consumer goods and celebrities to illuminate the vibrant and tragic personas of “cross-dressers” from The Gilded Grape, a New York City nightclub. This collection, comprising portraits of individuals far removed from the fame that typically attracted Warhol’s lens, captures the essence of those living on the societal margins. Warhol’s methodical process of using a Polaroid Big Shot camera for initial portraits, followed by silk screen transfer, underscores a democratization of his artistic gaze, treating these subjects with the same reverence and stylistic flair as he did icons like Mick Jagger.
The Mick Jagger portfolio, created by Andy Warhol in 1975, showcases a series of ten screenprints that vividly capture the image and essence of the Rolling Stones’ charismatic frontman. This collaboration between Warhol, the Pop Art icon, and Jagger, the rock legend, is a testament to their mutual admiration and artistic synergy. Warhol’s fascination with celebrity culture is evident in this portfolio, where he strips away the celebrity facade to reveal the raw persona of Jagger, using his signature vibrant colors and bold outlines.
Andy Warhol’s Skulls portfolio, published in 1976, marks a profound exploration of mortality, diverging from his iconic depictions of celebrities and consumerism to confront the universal condition of death. This series of screenprints, derived from photographs taken by Warhol’s assistant, Ronnie Cutrone, showcases Warhol’s adept manipulation of light and shadow, casting the skull in vibrant, almost lively hues that starkly contrast with its somber subject matter. Through these works, Warhol revisits the vanitas theme, a genre that serves as a reminder of the transience of life, the futility of pleasure, and the certainty of death, yet he does so with a Pop Art sensibility that is unmistakably his own.
The Complete Hammer and Sickle portfolio by Andy Warhol offers a provocative and stylized examination of a politically charged symbol. Created in 1977 with the assistance of his aide, Ronnie Cutrone, these works were inspired by Warhol’s encounter with the ubiquitous communist emblem during a trip to Italy—a stark representation of unity between industrial and agricultural workers. With a potent use of red, reminiscent of the communist flag, Warhol references the intensity and tumult associated with the symbol during the Cold War era. The interplay of darkness and luminescence lends the tools a sculptural and textured appearance, as if emerging from the confines of their historical context. Warhol also created a Hammer and Sickle (Special Edition) portfolio.
In the Muhammad Ali portfolio Andy Warhol distills the complexity of Muhammad Ali’s public and private personas, representing not just the physical prowess of the legendary boxer, but also the human depth behind his celebrity status. Warhol’s use of color blocking and line detailing provides a pop art lens through which we view Ali. The sense of movement and physicality in these artworks stand in contrast to the more static, posed representations of other celebrities. The bold outlines and contrasting colors foreground Ali’s figure against vibrant backgrounds, reflecting the nature of athletes’ fame, which is so often linked to their physical capabilities and actions rather than the personas they cultivate off the field or ring. Revolver is also home to a rare “double signed” version of the portfolio, signed by both Warhol and the boxer.
The Gems portfolio by Andy Warhol can be understood as not only a visual exploration of precious stones but also a personal reflection of the artist’s fascinations and sensibilities. These screenprints reflect Warhol’s signature style—vibrant colors, bold lines, and a blend of commercial and fine art techniques. The connection to Warhol’s personal life adds a layer of intimacy to the works. Warhol’s own collection of jewelry and his idiosyncratic behaviors towards these objects—keeping them hidden, yet close—resonates with the sense of preciousness and concealed beauty depicted in the Gems portfolio. In this light, these artworks transcend their initial impression as merely decorative art to become a narrative of Warhol’s private loves, his obsessions with form and texture, and an intimate glimpse into his complex world.
Andy Warhol’s Grapes portfolio, crafted in 1979, focuses on various grape varieties through repeated studies of bunches, branches, and leaves. Warhol’s adept use of color blocking against a backdrop of realism and abstraction creates a dynamic visual experience. The grapes, depicted through fluid outlines and solid color planes, oscillate between appearing both depthful and flat. The portfolio reflects Warhol’s broader engagement with the still life genre, however the inspiration for Grapes traces back to a significant collaboration. In 1975, Warhol designed an iconic label for the French winery Chateau Mouton Rothschild. The color schemes and thematic focus on wine and grapes link these projects, highlighting Warhol’s interest in the intersections between art and commerce. There is also a Grapes (Special Edition) portfolio.
The Space Fruit: Still Lifes portfolio is a remarkable collection of six screenprints by Andy Warhol that reimagines the classical still life genre with a contemporary twist. The artworks are distinguished by their audacious color choices, shifting away from the naturalistic tones traditionally associated with fruit to embrace an electric palette that breathes new life into the familiar subjects. Warhol’s plums, apples, peaches, pears, and cantaloupes are transformed into vibrant entities that pulsate with color and form. The outlines of the fruit are drawn with a boldness that captures their essence while rendering them almost otherworldly. It’s as though the fruit has been transported into a space where the ordinary becomes extraordinary, where the mundane is transfigured into something monumental.
Created in 1979, Andy Warhol’s Shadows I portfolio is the first of five Shadows portfolios that venture outside of the more commonly associated Warhol style. Warhol applies contrast with bold colors to create the illusion of “light” and “shadow”, showcasing his ability to infuse abstract, compositionally minimalist pieces with a dynamism that can change perspective much as shadows distort when the position of the sun shifts. Warhol adorns his shadows with sprinkles of “diamond dust” he concocted from miniscule shards of glass, conjuring up associations of light beams shining through the dark with the vibrant tones reminiscent of strobes on the dancefloor of Studio 54.
Evoking a sense of the cinematic and the rhythmic pulsations of a bygone disco era, the prints in the Shadows II portfolio are colored with a palette that shifts from the deep romance of red against navy blue to the electric fervor of hot pink against deep black. Subdued yet haunting greys and purples cast a soft glow, contrasted by the intimate embrace of pink against blue. Each unique piece invites viewers into a dance of darkness and light—a hallmark of Warhol’s dynamic foray into visual experimentation.
Shadows III stands as a significant component of Andy Warhol’s expansive Shadows series, commissioned by the Dia Art Foundation and made in 1979. Shadows III exemplifies Warhol’s late-career venture into abstract expressionism, deviating from his iconic Pop Art themes and style. Warhol left no prescribed order for hanging the artworks, allowing for each assemblage of the complete portfolio to become a singular combination. Significantly, Warhol himself never witnessed the entire series in a collective display, marking a departure from the finality typically present in other works.
Andy Warhol’s Shadows IV portfolio introduces the effervescence of nocturnal revelry into the realm of abstract art. This lustrous concoction of color and Warhol’s signature diamond dust, not only endows the pieces with a mesmerizing glow and invokes a sense of motion, but also serves as a metaphor for the electric pulse of the discotheque. The portfolio resonates with Warhol’s aspiration to see artworks animate the dynamic spaces of nightlife, specifically venues teeming with vibrancy like Studio 54, blending the experiential with the visual.
Andy Warhol’s Shadows V emerges as the culminating chapter in his Shadows series, capturing the effervescent spirit of the era’s club scene, with a seductive application of diamond dust over the surface, crafting an interplay of light that rivals the disco ball’s sparkle. The prints, alive with the exuberance of Studio 54, manifest Warhol’s vision of art as a dynamic entity, reflective of the era’s vibrant energy. In contrast to its predecessors, Shadows V features swathes of bold crimson streaks tearing through the void of deep, enigmatic blues.
Andy Warhol’s Ten Portraits of Jews of the Twentieth Century from 1980 is a poignant screenprint collection that honors the impactful lives of ten Jewish figures. Warhol’s skill in blending his pop art approach with deep historical respect is on full display here. This portfolio, which includes figures ranging from the brilliant physicist Albert Einstein to the captivating performer Sarah Bernhardt, captures the distinctive character of each individual through Warhol’s use of bright colors and stylized imagery. Notably, this is the first portfolio in which Warhol introduced the practice of creating trial proofs.
The Joseph Beuys portfolio is a remarkable series of screenprints that captures the artistic spirit and enigmatic presence of one of the 20th century’s most influential German artists. These portraits began with a casual Polaroid snapshot of Beuys that Warhol took during their meeting in a Dusseldorf gallery in 1979. This casual moment of connection between two avant-garde artists from America and Germany, each controversial and venerated in their own right, set the stage for this series of works that reflect on the nature of contemporary art and its icons.
Shoes by Andy Warhol is a riveting portfolio that revisits and reimagines an enduring motif from his early career as a commercial artist: feminine footwear. The series embodies a confluence of the artist’s commercial beginnings and his later, more experimental indulgences in art. Each print unfolds as a unique spectacle, where shoes are not merely inanimate objects but vessels of intimate narratives and expressions of concealed desires. Enhanced with “diamond dust” – a material Warhol derived from pulverized glass – the prints emanate a subtle yet captivating shimmer. There is also a Shoes (Deluxe Edition) portfolio.
Andy Warhol’s 1981 Myths portfolio delves into the iconography of consumerism with characters that, much like the products they endorse, elicit emotional responses and foster brand loyalty. Much like consumer goods that are produced in vast quantities, these characters have been reproduced across various media. Myths is a heartfelt ode to the fantastical figures that shaped the contours of our childhood landscapes. The portfolio holds within its colors and contours a kaleidoscope of Warhol’s inner world– the awe and aspiration, the glamour and grit of his experiences.
The Goethe portfolio by Andy Warhol presents a captivating fusion of historical gravitas and contemporary vibrancy, encapsulating the essence of Johann Wolfgang von Goethe through the artist’s distinct pop art lens. Created in 1982, this series of four screenprints pays homage to the German polymath, celebrated not just for his literary genius but also for his profound impact as a thinker. Echoing Goethe’s own treatise on color theory, Warhol’s palette is not merely aesthetic but also intellectually engaging, inviting viewers to contemplate the interaction between color, emotion, and perception.
Andy Warhol’s Dollar Sign (1) portfolio is a striking representation of the iconic dollar sign, reimagined in a series of six screenprints that capture Warhol’s infatuation with wealth, consumerism, and the commodification of art. Warhol leverages vibrant colors and abstract forms to explore the dollar sign’s visual and conceptual dimensions. From electric hues to muted tones, each print possesses a unique energy, conveying a different facet of the symbol’s cultural and economic power.
Andy Warhol’s Dollar Sign (4) portfolio from 1982 is a striking exploration of one of the most potent symbols of modern times—the dollar sign. As Warhol famously quipped about liking money on the wall, this portfolio literalizes that sentiment, turning the emblem of currency and capitalism into a coveted aesthetic object. These screenprints feature four dollar signs that seem to pulsate with life against starkly contrasting backgrounds. The artist’s choice to create the source image for this series is a significant departure from his norm of appropriating images from mass media.
The Dollar Sign (Quadrant) portfolio exemplifies Warhol’s practice of creating art that sits at the crossroads of commercialism and high culture. The duo of screenprints feature the universally recognized emblem of economic exchange in bold relief against a backdrop that pops with the saturated colors of electric blue, radiant red, and more. Each quadrant glows with a unique color scheme, vibrant hues and the energetic lines of a hand-drawn sketch, uniting to form cohesive yet diversely expressive pieces and constructing a visual narrative that intertwines the allure of wealth with the allure of art.
In the Dollar Sign (9) portfolio from 1982, Andy Warhol explores the intersection of art, culture, and commerce through two vibrant screenprints; each presenting a grid of nine dollar signs. Warhol’s use of bright, contrasting colors infuses the series with energy, while a deliberately weathered aesthetic imparts each piece with the character of a found object, blending the realms of the monetary and the artistic. With lines that evoke the scratchy familiarity of a comic strip or a cashier’s receipt, Warhol introduces a layer of everyday banality to the powerful image of currency.
Andy Warhol’s Alexander the Great portfolio presents a stunning visual fusion of ancient history and modern art. By using pop art colors to depict a classical sculpture, Warhol blurs the line between historical reverence and modern celebrity culture. He portrays the legendary king of Macedon as a proto-celebrity, whose fame and influence was comparable with contemporary leaders like Mao, Lenin, and Kennedy. Moreover, Warhol’s depiction of an ancient bronze suggests that the phenomenon of influence—whether through conquests of land or the media’s reach—has always shaped the human experience.
The Endangered Species portfolio is not only a vibrant display of Warhol’s use of color but also a poignant statement on the state of the natural world. Commissioned by Ronald Feldman, the series serves as both a political and ecological statement, aiming to raise awareness about the fragile state of biodiversity and the impact of human activity on the environment. In these prints, each animal—ranging from the grandeur of the African Elephant to the delicate San Francisco Silverspot butterfly—is presented with a dynamism and intensity that is characteristic of Warhol’s late work.
Warhol’s Kiku portfolio is a testament to his experimental artistry and deep engagement with cultural iconography. Commissioned in 1983 by the Gendai Hanga Center in Tokyo, the series is one of only two Warhol projects published in Japan, the other being the Love series. Warhol’s Kiku compositions stand apart from his other floral depictions for their unique color explorations and the way they echo the traditional symbolism of the chrysanthemum in Japanese culture.
Warhol’s Love portfolio explores the themes of love, physical affection, and sexual desire through a series of three screenprints. Each print in the series depicts nude male and female bodies together in an embrace, offering a nuanced portrayal of intimacy and the complexities of human connection. Warhol’s use of vibrant shading envelops the figures in an almost ethereal aura, suggesting a transcendence of the physical into the spiritual realm of connection and desire.
The Ingrid Bergman portfolio is Warhol’s vibrant homage to one of Sweden’s most celebrated actresses, capturing her cinematic presence and the subtleties of her characters through the dynamic medium of silkscreen printing. Created a year after Bergman’s passing, this collection is not only a memorial to the star but also a reflection of Warhol’s enduring fascination with fame and his evolution as an artist.
With the Birth of Venus portfolio, Warhol transforms Sandro Botticelli’s iconic Birth of Venus into a pop art icon, paying homage to the enduring beauty of Renaissance art through the lens of pop culture. Warhol casts Venus, the Roman goddess of love and beauty, in new light, employing his signature style to reimagine this classic subject. Each work in the portfolio presents Venus with different color blocking and outlines, highlighting the timeless features of her visage in a way that is immediately recognizable as Warhol’s.
The Annunciation is a portfolio of four prints based on Leonardo Da Vinci’s artwork of the same name. Warhol’s interpretation of the famous Da Vinci painting offers a bold reimagining of the Old Master’s early work that shifts the focus from the divine narrative to the beauty of the natural landscape. As with other artworks from his “Details of Renaissance Paintings” series, Warhol’s crop of the original painting is radical; he excises the central figures almost entirely, leaving only the angel’s gesturing hand and the Virgin’s poised fingers at the periphery.
Warhol’s Saint Apollonia portfolio is a remarkable collection that stands out for its deep historical roots and reflective approach to religious iconography. The four screenprints pay homage to the panel painting of Saint Apollonia, attributed to the workshop of Piero della Francesca from around 1470. The suite depicts the patron saint of dentistry with subtlety varied color schemes and maintains much of the original composition and textures.
Warhol’s Reigning Queens portfolio is a riveting exploration of regal femininity and power, encapsulated through the artist’s unique pop art lens. This collection features screenprint sets of four reigning monarchs: Queen Elizabeth II of the United Kingdom, Queen Margrethe II of Denmark, Queen Beatrix of The Netherlands, and Queen Ntombi Twala of Swaziland. Warhol presents each queen in a quartet of portraits, exuding the majesty and individual character of their respective sovereignties.
Warhol’s Cologne Cathedral portfolio is a suite of four screenprints that takes the majestic Gothic architecture of the Cologne Cathedral and presents it through a lens of abstraction and vivid coloration. The Cologne Cathedral, revered for being the largest Gothic church in Northern Europe and housing the remains of the Three Kings, becomes in Warhol’s hands a canvas for exploring the grandiosity of religious architecture. Warhol’s use of diamond dust imbues the prints with a celestial sparkle, reflecting his intrigue with the church’s claim to house the relics of the Magi.
In the Truck portfolio, Warhol’s celebrates industrial and mechanical themes with his typical panache. These screenprints, commissioned by the Federal Association of Road Haulage Logistics and Disposal in Germany, commemorated the 20th World Congress of the International Road Transportation Union (IRU). In this series, Warhol reimagines an image of a robust semi-truck, employing vibrant, contrasting colors and bold outlines that imbue the vehicles with an almost animated character, turning a symbol of industry into an object of pop art fascination.
The Martha Graham portfolio by Andy Warhol is a tribute to the pioneering spirit and enduring legacy of one of modern dance’s most influential figures. Created in 1986, the set of three screenprints captures the expressive power of Martha Graham’s choreography and performance. Based on photographs by Barbara Morgan, Warhol’s treatment emphasizes the communicative power of the human form. These prints not only celebrate Martha Graham’s remarkable career but also reflect Warhol’s broader interest in capturing the essence of cultural icons.
The Beethoven portfolio is an arresting quartet of screenprints that capture the intense visage of the legendary composer Ludwig van Beethoven. Warhol’s reinterpretation of Joseph Karl Stieler’s classical 1820 portrait of Beethoven infuses the composer with a new life. A dramatic color palette, from vivid reds to deep greys, set against a consistent dark background that unifies the portraits. Warhol overlayed the portraits with the musical score from Beethoven’s Moonlight Sonata to weave in the essence of the composer’s creativity and the emotive power of his work.
Andy Warhol’s Hans Christian Andersen portfolios are a striking ensemble of screenprints that converge the playful essence of fairy tales with the gravitas of a literary icon. Created in 1987, Warhol pays homage to the Danish author and his fairy tales through these vivid prints. The two portfolios, each with its own unique color scheme and mood, depict Andersen’s portrait and paper cut-outs with a minimalistic yet captivating approach. The series serves as a sweet tribute to Andersen, a man whose stories carry hidden meanings and whose spirit embodies childlike wonder and modern thinking.
Andy Warhol’s Andy Warhol’s Moonwalk portfolio encapsulates a defining moment in history, the Apollo 11 mission, with a pop art twist that only Warhol could envision. The artwork is derived from Neil Armstrong’s photograph of Edwin “Buzz” Aldrin, Jr. on the moon; an image emblematic of America’s triumphant spirit during the Space Race. Moonwalk reflects on the American Dream during a time when the nation was engrossed in an era of social change and technological leaps. It also represents the nascent stages of a potentially larger series conceptualized by Warhol and Ronald Feldman, intended to document the greatest moments in television history, which would remain unfinished due to the artist’s untimely passing.
The Camouflage portfolio is a testament to Warhol’s mastery of color and pattern. Transformed through Warhol’s visionary lens, the camouflage motif is reimagined in an array of electrifying pop colors, moving from its original purpose of concealment to a bold statement meant to be seen and admired. The mesh patterns from military fabric, initially brought to Warhol’s attention by his assistant Jay Shriver, are stripped of their martial context and reinterpreted as stunning pieces of pop art. As his last complete portfolio, exhibited just once during his lifetime, Camouflage stands as a vivid finale to the pop artist’s vast body of work.
