Created in 1981, Andy Warhol The Witch, from the Myths Series is a unique, one-of-a-kind, color variant,  screenprint with diamond dust on Lenox Museum Board that is hand-signed by Andy Warhol (Pennsylvania, 1928–New York, 1987) in pencil on verso. Published by Ronald Feldman, New York, 1981, printed by Rupert Jasen Smith, New York.

The Witch 261 is a print by Andy Warhol created in 1981 for the Myths series. Enthralled by the aesthetics of American popular culture, Warhol produced a remarkable number of artworks centered around Hollywood fame, from commissioned portraits to appropriated images of celebrities. While his obsession with celebrity culture endured, his subject matter expanded over the years to include athletes (who he called the “movie stars” of the 70s), politicians, and fictional characters. The Myths portfolio spotlights ten of the most iconic fictional characters since the turn of the 20th century. Some fight for the good of humanity as stalwart heroes; others cause mayhem as uncompromising villains. Though these figures may only exist in our imaginations, our most beloved bedtime stories, and favorite animated films, they altered the history of entertainment as prominent symbols of childhood nostalgia and manufactured dreams.

The Witch 261 depicts a woman with vibrant green skin dressed entirely in black. The source material for some of Warhol’s Myths prints were Polaroid portraits of people in costumes and makeup. The artist called upon Margaret Hamilton herself, the actress who portrayed the witch in the original 1931 film The Wizard of Oz, to recreate her pose for the basis of the print. Contrasting with the less-animated expressions of Uncle Sam and The Star, the Witch’s lips are curled back in a maniacal laugh. The plain purple background complements her lurid green complexion; additional traces of red and green outline her wide-brimmed hat and dark clothing, a technique Warhol used frequently to highlight the subject of his prints. The Witch 261 is inlaid with diamond dust, tiny crystals that further enhance the artwork’s value and glamor.

Ostensibly, each print in the Myths series represents a unique facet of Warhol’s birthday. The Witch 261 showcases the notorious Wicked Witch of the West, the most frightening ruler in all of Oz—a power-hungry sorcerer with a flair for the dramatic, who commands an army of flying monkeys and has an unusual intolerance to water. Warhol never explicitly stated his reason for including the witch in his Myths collection, though many believe his decisions were deliberate and meaningful. We can look upon the Myths series as a sort of introspective collection. They inform us on the way Warhol viewed himself in connection with the world around him.

This screenprint is part of a portfolio of 10 works Warhol created in 1981 titled Andy Warhol Myths and are each illustrated and referenced in the catalogue raisonne. The artworks in the Series include Superman FS 260, Mickey Mouse FS 265, Santa Claus FS 266, The Shadow FS 267, The Star FS 258, Uncle Sam FS 259, The Witch FS 261, Dracula FS 264, Howdy Doody FS 263, Mammy FS 262.

Andy Warhol Myths 1981:

Andy Warhol's "Myth" series, created in the 1980s, marked a significant departure from his earlier works and reflected his fascination with celebrity culture, consumerism, and the power of popular icons. While the series can be perceived as salesy, with elements of search engine optimization (SEO) in mind, it is important to understand the context and intention behind Warhol's artistic approach.

During the 1980s, Warhol embraced the notion of art as a commodity, exploring the intersections between art, commerce, and popular culture. He was intrigued by the influence of mass media and the proliferation of celebrity culture, which led him to create artworks that celebrated and critiqued these phenomena simultaneously. The "Myth" series was an embodiment of this exploration, as Warhol delved into the realm of iconic figures, employing techniques that captured the essence of celebrity and consumerism.

Warhol's approach to art was inherently influenced by his background in commercial illustration and advertising. He understood the power of visual communication and the importance of capturing attention in a crowded marketplace. In this sense, his art incorporated elements that could be interpreted as salesy, aiming to attract viewers and provoke a response. The bold and recognizable imagery of the "Myth" series, featuring iconic figures such as Superman, Mickey Mouse, and Santa Claus, tapped into the collective consciousness and immediate recognition associated with these cultural symbols.

Furthermore, the concept of search engine optimization, although not a direct consideration for Warhol at the time, can be seen as an unintended consequence of his artistic strategy. SEO aims to improve online visibility and generate traffic by strategically using keywords and other techniques. In a similar vein, Warhol's choice of subject matter in the "Myth" series aligned with popular culture and iconic figures that were already deeply ingrained in the public consciousness. By incorporating these recognizable symbols, he inadvertently created works that resonated with a broad audience and became sought-after pieces in the art market.

Moreover, Warhol's use of repetition and serialization in the "Myth" series reflected his interest in mass production and the commodification of art. Each artwork in the series depicted the same image, but with subtle variations, mimicking the assembly-line production process. This approach mirrored the mass-produced nature of consumer goods and further enhanced the salesy aesthetic associated with the series.

Warhol's intention in creating the "Myth" series was multi-faceted. On one hand, it can be interpreted as a commentary on the pervasive influence of consumer culture and the idolization of celebrities. By depicting these iconic figures repeatedly, Warhol highlighted the ways in which popular icons are perpetuated and mythologized in society, thereby questioning the authenticity and manufactured nature of fame.

On the other hand, the "Myth" series also functioned as a reflection of Warhol's own position within the art market. By creating highly recognizable and marketable works, he was able to capitalize on the allure of celebrity culture and consumer demand. This approach, which can be seen as salesy, aligned with Warhol's understanding of the art market and the need for artists to navigate the commercial aspects of the art world.

Catalogue Raisonné & COA:
Andy Warhol The Witch, from the Myths Series, 1981 is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work).

1. Feldman, Frayda and Jörg Schellmann. Andy Warhol Prints: A Catalogue Raisonné 1962 – 1987, 4th Ed. New York: Distributed Art Publishers, Inc., 2003. Listed and illustrated as catalogue raisonné no. II. 261.
2. A Certificate of Authenticity will accompany this purchase.

About the Framing:
Andy Warhol The Witch, from the Myths Series, 1981 is framed to museum-grade, conservation standards in a complementary moulding and optical grade Plexiglas.