Chicken Noodle Soup by Andy Warhol
Chicken Noodle Soup outside of a frame
Andy Warhol's signature on the back of the Campbell's Soup Cans I: Chicken Noodle 45 print.
Campbell's Soup Cans I: Chicken Noodle Soup in a frame
All ten prints from the Campbell's Soup Cans I complete portfolio framed and hanging on the wall.
Size comparison image for Campbell's Soup Cans I: Chicken Noodle 45 by Andy Warhol.
Andy Warhol printing Campbells Soup Cans
GIFT SHOP Campbell’s Soup Cans II Complete Portfolio by Andy Warhol Andy Warhol - Hot Dog Bean F.S. II 59 in situ jpg Andy Warhol Campbell soup II complete portfolio. Andy Warhol printing Campbells Soup Cans Campbell’s Soup Cans II Complete Portfolio Catalog Title: Campbell's Soup Cans II Complete Portfolio (FS II.54-63) Year: 1969 Size: 35" x 23" | 88.9 x 58.4 each Medium: Portfolio of ten screenprints on paper. Edition: Portfolio of 10. Edition of 250 signed in ball-point pen and numbered with a rubber stamp on verso. There are 26 AP signed and lettered A-Z in ball-point pen on verso. Call for Price Text for Price Email for Price The Campbell’s Soup Cans II complete portfolio by Andy Warhol comprises 10 prints of the iconic Campbell’s Soup Cans series. It is his third work rendering the common American pantry item. It follows his breakout thirty-two-piece series, Campbell’s Soup Cans (1962), and the 1968 Campbell’s Soup Cans I (1968). The Campbell’s soup label had become high art in Warhol’s series. Moreover, the portfolio reinforced both the brand a pop culture icon, and Warhol’s reputation as the “Prince of Pop Art.” Uniformity and Detail in the Soup Can Prints The Campbell’s Soup Cans II screenprints show a variation of 10 different Campbell’s soup flavors. Each can rest in the center of its frame, where it aligns exactly with the other sets of images. This symmetry and regularity gave the entire portfolio a uniform, mass-produced aesthetic that Warhol aimed for. The cans appear graphic and animated like the labels on the actual soup cans. They also share bold shades of red, yellow, and white with black print lettering that resembles the true Campbell’s style. Warhol decided to include hyper-realistic detailing of shadows and refracting light on the tin lids, making each can slightly unique to its counterpart. The works’ likenesses to one another are further broken with different flavors, slogan designs, and colors. The Campbell’s Soup Cans II complete portfolio expands creatively from Campbell’s Soup I with bolder, brighter colors. The addition of slogans and catchphrases connect viewers to the product, with more versatility with shape and directionality. For example, flavors like Hot Dog Bean, Vegetarian Vegetable, and Tomato-Beef Noodle O’s included playful taglines. Campbell’s Soup Cans II, like the original series, was created via silkscreening. Warhol used silkscreening, a process rooted in advertising for its precise and bold graphics. Warhol repurposed this tool for fine art. Therefore, the portfolio is both an extension of Warhol’s business-art motif and a refinement of his earlier soup can projects. Warhol’s Personal Connection to Campbell’s Soup Campbell’s Soup was a convenient staple in Warhol’s daily life. “I used to drink it,” he famously said. “I used to have the same lunch every day, for 20 years, I guess, the same thing over and over again.” It was ultimately the perfect image to replicate and produce on a broad scale. However, the very simplicity of the subject invited criticism. Detractors called it too commercial, too repeatable, and too impersonal to be considered high art. As apathetic Campbell’s Soup Cans II may have seemed to some, it questioned the belief that art must be deeply expressive or transcendent. Instead, the Campbell’s Soup Cans II complete portfolio reflected everyday life and recognizable social norms. Ultimately, the Campbell’s Soup Cans II prints and Warhol’s previous soup cans helped to redefine art. By transforming a supermarket staple into a subject for reflection, he forced viewers to reconsider both consumption and creativity. As a result, Warhol’s soup cans defined an era where the conventional and the mundane could become extraordinarily powerful tools (via Pop Art). Campbell’s Soup Cans II Complete Portfolio as Part of Andy Warhol’s Larger Body of Work Warhol’s collection of prints representing Campbell’s soup cans is arguably his most iconic and widely recognized endeavor. The Campbell’s Soup Cans portfolios represent many themes that Warhol continued to work with throughout his career, including the powerful role that mass consumption plays in postwar society. Moreover, the semi-mechanized process he used to create these works is a staple characteristic of his creative process. This series helped to usher in the Pop Art movement that endures today, renewed and rediscovered by artists such as Damien Hirst and Jeff Koons. Photo Credits: Andy Warhol tracing Campbell’s Soup silkscreen, The Factory, New York City, circa 1965. © Estate of Nat Finkelstein. © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London.

Campbell’s Soup Cans I: Chicken Noodle 45

Catalog Title: Campbell's Soup Cans I: Chicken Noodle (FS II.45)
Year: 1968
Size: 35" x 23" | 88.9 x 58.4 cm.
Medium: Portfolio of ten screenprints on paper
Edition: Edition of 250 signed in ball-point pen and numbered with a rubber stamp on verso. There are 26 AP signed and lettered A - Z in ball-point pen on verso.
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Andy Warhol’s Campbell’s Soup Cans I: Chicken Noodle 45 (1968) is one of ten screenprints from his Campbell’s Soup Cans I portfolio. The print shows the famous red-and-white Campbell’s label, centered on a 35 x 23 inch sheet. Bold block lettering makes the flavor instantly recognizable. The metallic lid and the gold medallion echo the look of the original can, while Warhol’s silkscreen process emphasizes flat color and crisp detail. Of all the soup flavors he produced, Chicken Noodle stands out as one of the most iconic, capturing the mix of commercial design and fine art that defined Warhol’s vision.

From Paintings to Screenprints

This 1968 portfolio was inspired by Warhol’s earlier hand-painted series 32 Campbell’s Soup Cans (1962). That landmark exhibition at Ferus Gallery in Los Angeles shocked audiences and helped establish Pop Art. With the screenprints, Warhol refined the concept, moving from brush and canvas to mechanical reproduction. The choice of silkscreen allowed him to make images that were cleaner, bolder, and closer to actual packaging.

A year later, he returned to the motif again in Campbell’s Soup Cans II (1969). That second portfolio introduced slogans and subtle design changes. Collectors often value the Campbell’s Soup Cans I portfolio most highly, since it serves as a direct homage to the original paintings. Together, these works remain among Warhol’s most recognizable and sought-after prints.

Pop Art and the Power of the Everyday

Warhol’s soup cans played a central role in the rise of Pop Art. Inspired by artists like Jasper Johns and Roy Lichtenstein, he took the ordinary and elevated it into high art. In contrast to the emotional intensity of Abstract Expressionism, he turned to mass production, advertising, and commercial packaging as authentic reflections of 20th-century culture.

Warhol sought to shift artistic subject matter away from themes like natural beauty and personal emotion. Instead, he emphasized the products of modern industry and the impact of consumer culture. This interest carried into other projects, including his Ads portfolio and his 1964 Tomato Juice Box sculpture. Both works, like the soup cans, challenged viewers to reconsider the artistic potential of commercial imagery.

As a response to the overwhelming popularity of abstract expressionism, Warhol sought to redirect common perceptions of artistic subject matter. Concepts like natural beauty and emotion had long been a focal-point for expressionist art, but Warhol found inspiration in other venues of life. Mainly, he wanted to emphasize the products of 20th century industry, and draw attention to commerce and mass-production. This motif can be seen in Warhol’s, and

Everyday commodities fascinated Warhol because they represented uniformity and ubiquity. To him, products like Coca-Cola or Chanel perfume were “miracles” of modern society—objects that looked the same no matter where they were bought. Campbell’s Soup cans fit perfectly into this vision. Their enduring design, commercial success, and personal connection (Warhol famously claimed he ate the soup almost every day for 20 years) made them an ideal subject.

By repeating the soup can image through silkscreen, Warhol blurred the line between grocery store packaging and fine art. He transformed a common pantry staple into an enduring cultural symbol, forcing audiences to reconsider what could belong on a gallery wall.

Campbell’s Soup Cans I: Chicken Noodle 45 in Warhol’s Larger Body of Work

When first shown, Warhol’s soup cans baffled critics. Some dismissed them as too commercial, while others saw a radical new direction for art. With Campbell’s Soup Cans I: Chicken Noodle 45, Warhol captured not only the look of a grocery shelf but also the cultural moment when consumer imagery became inseparable from modern life. Today, the print series is celebrated as one of Warhol’s greatest achievements and a cornerstone of Pop Art history.

Photo Credits:

  1. Andy Warhol tracing Campbell’s Soup silkscreen, The Factory, New York City, circa 1965 © Estate of Nat Finkelstein © 2021 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by DACS, London
  2. Andy Warhol and Gerard Malanga make a painting, 1964. Vintage gelatin silver print, 10¼ × 14¾ inches; 26 × 38 cm. Photo by Matthew Marks.
  3. Andy Warhol, 1964. Vintage gelatin silver print, 10¼ × 14¾ inches; 26 × 38 cm. Photo by Matthew Marks.
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