Andy Warhol

C. Tyrrell Garth, Jr., Aspen (acquired directly from the artist)
John and Kimiko Powers, New York (acquired directly from the above)
Obelisk Gallery, Boston
Acquired by the present owner from the above in July 1990

Corpus Christi, Art Museum of South Texas, Johns, Stella, Warhol: Works in Series, October - November 1972, p. 34, illustrated in color

Rainer Crone, Das Bildnerische Werk Andy Warhols, Berlin, 1976, cat. no. 582
David Bourdon, Warhol, New York, 1989, pl. 254, p. 329, illustrated in color
Exh. Cat., Sydney, Museum of Contemporary Art (and travelling), Andy Warhol: Portraits of the Seventies and Eighties, 1993-1994, cat. no. 3, illustrated in color
Exh. Cat., New York, Gagosian Gallery, Pop Art: The John and Kimiko Powers collects ion, New York, 2001, p. 10, illustrated in color
Neil Printz and Sally King-Nero, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculptures 1970-1974, Vol. 03, New York, 2010, cat. no. 2180, pp. 106-107, illustrated in color

This work is in very good condition overall. There is evidence of light wear and handling along the edges, including some light hairline craquelure at the pull margins. There are scattered media accretions from the t.mes of execution, which is inherent to the artist's working method. There are some light surface abrasions in the figure's hair, visible under raking light. There are faint stretcher bar impressions visible along the top and bottom edges visible under close inspection. Under Ultraviolet light inspection, there is no evidence of restoration. Unframed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any stat.mes nt made by Replica Shoes 's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In 1974, Peter B. Lewis attended a Young Presidents’ Organization conference in Mexico, hoping to share ideas and form partnerships with young chief executives across the globe. John Powers, the keynote speaker and President of Prentice Hall Publishers, impressed Lewis so much that Lewis wrote to him, seeking Powers’ opinion on starting an art collects ion. Already with a world-renowned collects ion of Pop art and established among New York’s art world elite, Powers enthusiastically responded to Lewis with recommendations for his budding collects ion as well as praise for Lewis’ recent purchase of Andy Warhol’s Mao prints (lot 234) to be hung in Lewis’ Progressive office. A deep friendship based on mutual respect and trust formed quickly between the two, trading their thoughts on topics ranging from art world happenings to the best business practices as often as their schedules allowed. It is only fitting, then, that Peter B. Lewis purchased the present work and the preceding lot, both originally commissioned by John Powers and both formerly in the collects ion of John and Kimiko Powers, as a sign of the utmost regard for Powers’ taste.