Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
Discover how the artwork has performed looking at the estimated historical value to date for this artwork, with its prior recorded sales and comparable artworks.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 18, 2017 | Christie's | New York | Post-War and Contemporary Art Evening Sale | 58B | $****** - ****** | Big Campbell's Soup Can with Can Opener (Vegetable) | |||
Nov 10, 2010 | Christie's | New York | Post-War and Contemporary Evening Sale | 8 | $****** - ****** | Big Campbell's Soup Can with Can Opener (Vegetable) | |||
Nov 12, 1986 | Christie's | New York | N/A | 6 | $****** - ****** | Big Campbell's Soup Can with Can Opener (Vegetable) |
paintings
182.9 x 132.1 cm (72 x 52 in)
casein and graphite on linen
Stable Gallery, New York
Mr. and Mrs. Burton Tremaine, Meriden, 1962
Ted Ashley, New York
His sale; Christie's, New York, 12 November 1986, lot 6
Mayor Gallery, London
Private collection, Seattle, 1987
Anon. sale; Christie’s, New York, 10 November 2010, lot 8
Acquired at the above sale by the present owner
Hartford, Wadsworth Atheneum, American Painting and Sculpture from Connecticut Collections, July-September 1962.
Washington, D.C., Gallery of Modern Art, 20th Century Paintings and Sculpture from Connecticut Collectors, September-October 1965.
New York, Sidney Janis Gallery, Colossal Scale, March-April, 1972, n.p., no. 34A.
Katonah Gallery, American Painting, 1900-1976, July-September 1976, n.p., no. 92 (illustrated).
Stamford Museum and Nature Center, The Eye of the Collector, April-May 1978.
London, Mayor Gallery, American Paintings with Chinese Furniture, May-June 1987.
New York, Museum of Modern Art; Art Institute of Chicago; London, Hayward Gallery; Cologne, Museum Ludwig; Venice, Palazzo Grassi and Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Andy Warhol: A Retrospective, February 1989-August 1990, p. 191, no. 173 (illustrated in color).
Washington, D.C., National Gallery of Art and Seattle Art Museum, Twentieth-Century American Art: The Ebsworth Collection, March-November 2000, pp. 266-268 and 301, no. 72 (illustrated in color and on the back cover).
"The Slice-of-Cake School," Time, vol. 79, no. 19, 11 May 1962, p. 52 (studio view illustrated).
J. Coplans, Andy Warhol, New York, 1970, p. 58 (illustrated).
R. Crone, Andy Warhol, New York, 1970, n.p., no. 450 (illustrated).
Andy Warhol, exh. cat., London, Tate Gallery, 1971, pp. 14 and 97, fig. 3 (illustrated).
Realität-Realismus-Realität, exh. cat., Wuppertal, Von der Heydt-Museum, 1972, pp. 74-75 (illustrated).
The Spirit of Modernism: The Tremaine Collection: Twentieth Century Masters, exh. cat., Hartford, Wadsworth Atheneum, 1984, p. 187 (illustrated).
D. Bourdon, Warhol, New York, 1989, p. 96, no. 92 (illustrated in color).
L. Romain, Andy Warhol, Munich, 1993, pp. 84 and 189, no. 58 (illustrated in color).
M. Yonekura, Great Contemporary Masters Vol. 12 Andy Warhol, Tokyo, 1993, no. 14 (illustrated in color).
B. Baykam, Monkeys' Right to Paint and the Post-Duchamp Crisis, Istanbul, 1994, p. 244 (illustrated).
Amerika Europa: Sammlung Sonnabend, exh. cat., Munich, Kunsthalle der Hypo-Kulturstiftung, 1996, p. 31, fig. 12 (illustrated).
G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné of Paintings and Sculptures, 1961-1963, vol. 1, New York, 2004, pp. 86, 102-103, 110 and 112-113, no. 086, fig. 87 (illustrated in color and studio view illustrated).
R. Aidin, "A Wall for Every Work, Interview with Barney Ebsworth," Apollo, October 2008, p. 11 (illustrated in color and on the cover).
