Andy Warhol A Collection of Record Covers with Cover Art by Andy Warhol 1949-87 A rare collection of 66 albums, with 69 accompanying records (including two picture discs), in their associated covers in various media, with one bound book and one hinged cardboard case containing various works. various sizes; smallest 7 in. (17.8 cm) largest 12 3/8 x 12 3/8 in. (31.4 x 31.4 cm)
Literature Paul Maréchal 1, 2 (2 examples), 4, 5, 6, 7 (2 examples), 8, 10 (2 examples), 11, 12, 13, 15, 16 (2 examples), 17 (2 examples), 18, 20, 21, 22, 23 (2 examples), 24, 26, 27, 28, 29 (2 examples), 30, 31, 32, 33, 35, 36, 37, 38, 39, 40, 41 (2 examples), 42 (2 examples), 43, 44, 45 (2 examples), 46, 47, 48, 49, 50 (3 examples), 51, 53, 54, 55, 56 and 57; 4 examples are not recorded in Maréchal Catalogue Essay Including: Carlos Chavez, A Program of Mexican Music, 1949; Sergei Prokofiev, Alexander Nevsky, 1949; Sergei Prokofiev, Alexander Nevsky, 1949; The Nation’s Nightmare, 1952; The Boston Pops, Latin Rhythms, circa 1952; Margarita Madrigal, Madrigal's Magic Key to Spanish, 1953; William Tell Overture, Semiramide Overture, 1954; William Tell Overture, Semiramide Overture, 1954; Thelonious Monk, MONK, 1954; Count Basie, 1955; Count Basie, 1955; Joe Newman, I’m Still Swinging, 1956; Maurice Ravel, Daphnis and Chloe, 1955; Leopold Tchaikovsky, Swan Lake Acts I and II, 1955; Chopin: Nocturnes Vol. II, 1956; Cool Gabriels, 1956; The Joe Newman Octet, I’m Still Swinging, 1956; Artie Shaw and His Orchestra, Both Feet in the Groove, 1956; Artie Shaw and His Orchestra, Both Feet in the Groove, 1956; Jay Jay Johnson, Kai Winding and Bennie Green, Trombone by Three, 1956; Kenny Burrell, 1956; Johnny Griffin, The Congregation, 1957; The Story of Moondog, 1957; Kenny Burrell, Blue Lights Volume 1, 1958; Kenny Burrell, Blue Lights Volume 2, 1958; Tennessee Williams Reading from the Glass Menagerie, The Yellow Bird and Five Poems, 1960; This is John Wallowitch!!!, 1964; The East Village Other: Electric Newspaper, Hiroshima Day, USA vs Underground, 1966; ASPEN MAGAZINE, IN ALL NEW FAB, 1966; The Velvet Underground & Nico, 1967; The Velvet Underground & Nico, 1967; ANDY WARHOL ’S INDEX (BOOK), 1967; The Velvet Underground, White Light/White Heat, 1968; The Rolling Stones, Sticky Fingers, 1971; John Cale, The Academy in Peril, 1972; Paul Anka, The Painter, 1976; The Rolling Stones, Love You Live, 1977; Walter Steding and The Dragon People, The Joke, 1980; Liza Minnelli Live at Carnegie Hall, 1981; John Cale, Honi Soit…, 1981; Loredana Berte, Made In Italy, 1981; Diana Ross, Silk Electric, 1977; Diana Ross, MUSCLES, 1982; Billy Squire, Emotions In Motion, 1982; Billy Squier, Emotions In Motion, 1982; Querelle, 1982; Rolling Stones, Emotional Tattoo, 1983; Miguel Bose, Made In Spain, 1983; Miguel Bose, Fuego, 1983; Rats & Star, Soul Vacation, 1983; The Smiths, 1984; Aretha, 1986; John Lennon Menlove Ave., 1986; Debbie Harry, Rockbird (green), 1986; Debbie Harry, Rockbird (magenta), 1986; Debbie Harry, French Kissing, 1986; MTV High Priority, 1987; Vladmir Horowitz, Piano Music of Mendelssohn and Liszt, 1952; George Gershwin Rhapsody in Blue, 1956; Tchaikovsky Violin Concerto, Erica Morini and the Chicago Symphony Orchestra, circa 1953; Walter Steding Secret Spy/My Room, 1982; Walter Steding Secret Spy/My Room, 1982; Artie Shaw, Any Old Time (back cover), 1957; Bruckner and Schubert, The Concertgebouw Orchestra of Amsterdam, 1956; The Smiths, Sheila Take a Bow, 1987; and Radial Sound Read More Artist Bio Andy Warhol American • 1928 - 1987 A seminal figure in the Pop Art movement of the early 1960s, Andy Warhol's paintings and screenprints are iconic beyond the scope of Art History, having become universal signifiers of an age. An early career in commercial illustration led to Warhol's appropriation of imagery from American popular culture and insistent concern with the superficial wonder of permanent commodification that yielded a synthesis of word and image, of art and the everyday. Warhol's obsession with creating slick, seemingly mass-produced artworks led him towards the commercial technique of screenprinting, which allowed him to produce large editions of his painted subjects. The clean, mechanical surface and perfect registration of the screenprinting process afforded Warhol a revolutionary absence of authorship that was crucial
Andy Warhol A Collection of Record Covers with Cover Art by Andy Warhol 1949-87 A rare collection of 66 albums, with 69 accompanying records (including two picture discs), in their associated covers in various media, with one bound book and one hinged cardboard case containing various works. various sizes; smallest 7 in. (17.8 cm) largest 12 3/8 x 12 3/8 in. (31.4 x 31.4 cm)
Literature Paul Maréchal 1, 2 (2 examples), 4, 5, 6, 7 (2 examples), 8, 10 (2 examples), 11, 12, 13, 15, 16 (2 examples), 17 (2 examples), 18, 20, 21, 22, 23 (2 examples), 24, 26, 27, 28, 29 (2 examples), 30, 31, 32, 33, 35, 36, 37, 38, 39, 40, 41 (2 examples), 42 (2 examples), 43, 44, 45 (2 examples), 46, 47, 48, 49, 50 (3 examples), 51, 53, 54, 55, 56 and 57; 4 examples are not recorded in Maréchal Catalogue Essay Including: Carlos Chavez, A Program of Mexican Music, 1949; Sergei Prokofiev, Alexander Nevsky, 1949; Sergei Prokofiev, Alexander Nevsky, 1949; The Nation’s Nightmare, 1952; The Boston Pops, Latin Rhythms, circa 1952; Margarita Madrigal, Madrigal's Magic Key to Spanish, 1953; William Tell Overture, Semiramide Overture, 1954; William Tell Overture, Semiramide Overture, 1954; Thelonious Monk, MONK, 1954; Count Basie, 1955; Count Basie, 1955; Joe Newman, I’m Still Swinging, 1956; Maurice Ravel, Daphnis and Chloe, 1955; Leopold Tchaikovsky, Swan Lake Acts I and II, 1955; Chopin: Nocturnes Vol. II, 1956; Cool Gabriels, 1956; The Joe Newman Octet, I’m Still Swinging, 1956; Artie Shaw and His Orchestra, Both Feet in the Groove, 1956; Artie Shaw and His Orchestra, Both Feet in the Groove, 1956; Jay Jay Johnson, Kai Winding and Bennie Green, Trombone by Three, 1956; Kenny Burrell, 1956; Johnny Griffin, The Congregation, 1957; The Story of Moondog, 1957; Kenny Burrell, Blue Lights Volume 1, 1958; Kenny Burrell, Blue Lights Volume 2, 1958; Tennessee Williams Reading from the Glass Menagerie, The Yellow Bird and Five Poems, 1960; This is John Wallowitch!!!, 1964; The East Village Other: Electric Newspaper, Hiroshima Day, USA vs Underground, 1966; ASPEN MAGAZINE, IN ALL NEW FAB, 1966; The Velvet Underground & Nico, 1967; The Velvet Underground & Nico, 1967; ANDY WARHOL ’S INDEX (BOOK), 1967; The Velvet Underground, White Light/White Heat, 1968; The Rolling Stones, Sticky Fingers, 1971; John Cale, The Academy in Peril, 1972; Paul Anka, The Painter, 1976; The Rolling Stones, Love You Live, 1977; Walter Steding and The Dragon People, The Joke, 1980; Liza Minnelli Live at Carnegie Hall, 1981; John Cale, Honi Soit…, 1981; Loredana Berte, Made In Italy, 1981; Diana Ross, Silk Electric, 1977; Diana Ross, MUSCLES, 1982; Billy Squire, Emotions In Motion, 1982; Billy Squier, Emotions In Motion, 1982; Querelle, 1982; Rolling Stones, Emotional Tattoo, 1983; Miguel Bose, Made In Spain, 1983; Miguel Bose, Fuego, 1983; Rats & Star, Soul Vacation, 1983; The Smiths, 1984; Aretha, 1986; John Lennon Menlove Ave., 1986; Debbie Harry, Rockbird (green), 1986; Debbie Harry, Rockbird (magenta), 1986; Debbie Harry, French Kissing, 1986; MTV High Priority, 1987; Vladmir Horowitz, Piano Music of Mendelssohn and Liszt, 1952; George Gershwin Rhapsody in Blue, 1956; Tchaikovsky Violin Concerto, Erica Morini and the Chicago Symphony Orchestra, circa 1953; Walter Steding Secret Spy/My Room, 1982; Walter Steding Secret Spy/My Room, 1982; Artie Shaw, Any Old Time (back cover), 1957; Bruckner and Schubert, The Concertgebouw Orchestra of Amsterdam, 1956; The Smiths, Sheila Take a Bow, 1987; and Radial Sound Read More Artist Bio Andy Warhol American • 1928 - 1987 A seminal figure in the Pop Art movement of the early 1960s, Andy Warhol's paintings and screenprints are iconic beyond the scope of Art History, having become universal signifiers of an age. An early career in commercial illustration led to Warhol's appropriation of imagery from American popular culture and insistent concern with the superficial wonder of permanent commodification that yielded a synthesis of word and image, of art and the everyday. Warhol's obsession with creating slick, seemingly mass-produced artworks led him towards the commercial technique of screenprinting, which allowed him to produce large editions of his painted subjects. The clean, mechanical surface and perfect registration of the screenprinting process afforded Warhol a revolutionary absence of authorship that was crucial
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