Andy Warhol – Marilyn Monroe (F&S II.29) 1967

Marilyn Monroe (Marilyn) 1967

Artist: Andy Warhol
Title: Marilyn Monroe (Marilyn)
Year: 1967
Medium: Screenprint in colours on wove paper
Sheet & Image Size: 913 × 911 mm (approx. 36 × 36 in)
Edition: 250 + 26 Artist's Proofs (lettered A–Z)
Signature: Signed in pencil on the reverse; stamp-numbered /250
Authentication: Andy Warhol Authentication Board stamp verso — numbered A1092.108
Publisher: Factory Additions, New York
Reference: Feldman & Schellmann II.29
Type: Limited edition screenprint — from the landmark 1967 Marilyn portfolio

Description

Marilyn Monroe (Marilyn) (1967) is one of the most iconic and most historically significant prints ever made — a work that does not merely occupy a place in art history but helped to define it. This impression is from the ten-print portfolio that Warhol published through Factory Additions, New York in 1967 — five years after Marilyn Monroe's death, and five years after the paintings of 1962 that first established her face as the supreme Pop Art icon. The portfolio revisited and systematised that original gesture, producing ten large-format screenprints in which the same photographic source — a publicity still from the 1953 film Niagara — is subjected to ten different and deliberately artificial chromatic transformations.

Feldman & Schellmann II.29 presents one of the portfolio's most vivid and most reproduced colourways — the specific combination of face colour, hair colour, eye shadow, and background that distinguishes this print within the series of ten. Each colourway is a distinct artistic statement: not a variation on a theme but a full and independent proposition about how colour constructs meaning, transforms recognition, and mediates the relationship between the viewer and the image of celebrity. Warhol understood, more profoundly than any of his contemporaries, that Marilyn's face had ceased to belong to a woman and had become a surface — a screen onto which culture projected its fantasies of desire, beauty, and destruction — and that his screenprints were not portraits but participation in that projection.

At 913 × 911 mm — virtually square, the format of a billboard reduced to the scale of a painting — this is a work of genuine physical authority. The wove paper carries the ink with the flatness and the luminosity that Warhol demanded: no texture, no atmosphere, no painterly incident, only the absolute fact of colour laid down with mechanical precision. Signed in pencil on the reverse and stamp-numbered within the edition of 250, with the Andy Warhol Authentication Board stamp numbered A1092.108 — one of the most complete authentication records available for a 1967 Marilyn impression. Published by Factory Additions — Warhol's own New York publishing imprint. Referenced as Feldman & Schellmann II.29

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