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I. 63.6 x 94.1 cm (25 x 37 in.)
S. 81.5 x 112.1 cm (32 1/8 x 44 1/8 in.)
From the Catalogue:
"When Warhol received a commission he produced a number of Trial Proofs as he worked on the image and made suggestions to the client. After consultation, generally a second group of Trial Proofs would be created. At the end of the production of the edition, a total of some thirty to fifty, or even more, Trial Proofs would be divided up between the client, the artist, and the printer. An enormous additional value would be created, as these unique works were one-offs in terms of color and color placement, and partially so in the halftones and linear elements. These Trial Proofs can be seen as essentially the same as Warhol's originals except that they are executed on paper instead of on canvas. In them the difference between "the original," in the sense of the unique image on the one hand, and "the edition," in the sense of many similar images on the other, is cancelled out. The significance and value of these unique prints has yet to be fully recognized due to their technical origins and existence in the production of an edition."
- Jӧrg Schellmann (ed.), Andy Warhol Unique, Munich/New York, 2014, p. 9
—Courtesy of Phillips
- Materials
- Unique screenprint in colours, on Arches Aquarelle Cold Pressed paper, with full margins.
- Size
- 32 1/10 × 44 1/10 in | 81.5 × 112.1 cm
- Medium
- Signature
- Signed and numbered 'TP 29/36' in pencil (a trial proof in a unique colour combination before the edition of 70 and 18 artist's proofs), published by Edition Schellmann & Klüser, Munich and New York (with their and the artist's copyright inkstamp on the reverse), framed.
Details of Renaissance Paintings (Sandro Botticelli, Birth of Venus, 1482), 1984
I. 63.6 x 94.1 cm (25 x 37 in.)
S. 81.5 x 112.1 cm (32 1/8 x 44 1/8 in.)
From the Catalogue:
"When Warhol received a commission he produced a number of Trial Proofs as he worked on the image and made suggestions to the client. After consultation, generally a second group of Trial Proofs would be created. At the end of the production of the edition, a total of some thirty to fifty, or even more, Trial Proofs would be divided up between the client, the artist, and the printer. An enormous additional value would be created, as these unique works were one-offs in terms of color and color placement, and partially so in the halftones and linear elements. These Trial Proofs can be seen as essentially the same as Warhol's originals except that they are executed on paper instead of on canvas. In them the difference between "the original," in the sense of the unique image on the one hand, and "the edition," in the sense of many similar images on the other, is cancelled out. The significance and value of these unique prints has yet to be fully recognized due to their technical origins and existence in the production of an edition."
- Jӧrg Schellmann (ed.), Andy Warhol Unique, Munich/New York, 2014, p. 9
—Courtesy of Phillips
- Materials
- Unique screenprint in colours, on Arches Aquarelle Cold Pressed paper, with full margins.
- Size
- 32 1/10 × 44 1/10 in | 81.5 × 112.1 cm
- Medium
- Signature
- Signed and numbered 'TP 29/36' in pencil (a trial proof in a unique colour combination before the edition of 70 and 18 artist's proofs), published by Edition Schellmann & Klüser, Munich and New York (with their and the artist's copyright inkstamp on the reverse), framed.
