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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 18, 2018 | Christie's | New York | Post-War and Contemporary Art Evening Sale | 15B | $****** - ****** | Most Wanted Men No. 11, John Joseph H., Jr. | |||
May 6, 1992 | Sotheby's | New York | Contemporary Art Part I | 39 | Estimates not disclosed | Most wanted men no 11, John Joseph H |
paintings
124.5 x 96.5 cm (49 x 38 in)
diptych—silkscreen ink on linen
Mickey Ruskin, New York
Walter Kelly Gallery, New York
Mr. and Mrs. Ronald K. Greenberg, St. Louis
Leo Castelli Gallery, New York
Saatchi Collection, London
Anon. sale; Sotheby's, New York, 06 May 1992, lot 39
Acquired at the above sale by the present owner
Kunsthaus Zürich, Andy Warhol, May-July, 1978, pp. 130 and 208, no. 101 (illustrated).
London, Saatchi Gallery, Judd, Warhol, Twombly, Marden, March-November 1985.
New York, Museum of Modern Art; London, Hayward Gallery; Paris, Musée National d'Art Moderne, Centre Georges Pompidou, Andy Warhol: A Retrospective, February 1989-September 1990, p. 289, no. 298 (illustrated).
Minneapolis, Walter Art Center; Chicago, Museum of Contemporary Art; Toronto, Art Gallery of Ontario, ANDY WARHOL/SUPERNOVA: Stars, Deaths, and Disasters, 1962-1964, November 2005-October 2006, pp. 83 and 107, no. 38 (illustrated in color).
R. Crone, Andy Warhol, New York, 1970, p. 302, no. 404.
R. Crone, Das Bildnerische Werk Andy Warhols, Berlin, 1976, no. 721.
A. Kagan, "Most Wanted Men: Andy Warhol and the Anti-Culture of Punk," Arts, vol. 53, no. 1, September 1978, pp. 119-121 (illustrated).
J.-C. Ammann, et al., Art of Our Time: The Saatchi Collection, vol. 2, London, 1984, n.p., no. 76 (illustrated in color).
M. Bourel, "Andy Warhol à Paris dans les années 60," Artstudio, no. 8, Spring 1988, p. 102 (illustrated).
R. Pincus-Witten, "Pre-Entry: Margins of Error," Arts Magazine, vol. 63, no. 10, Summer 1989, p. 58 (illustrated).
C. Ratcliff, "Master of Modern Paradox," Art International, Summer 1989, p. 78 (illustrated).
M. Jover, "Le voleur d'images," Paris: Beaux Arts Hors Série, 1990, p. 13 (illustrated).
T. de Duve, Cousus de fil d'or: Beuys, Warhol, Klein, Duchamp, Villeurbanne, 1990, p. 41 (illustrated).
M. Livingstone, Pop Art: A Continuing History, New York, 1990, pp. 118 and 269, no. 165 (illustrated).
E. Shanes, Warhol: The Masterworks, New York, 1991, p. 95 (illustrated)
A. Boatto, "Warhol," Art e Dossier, no. 105, October 1995, p. 40 (illustrated).
H. Foster, "Death in America," October, vol. 75, Winter 1996, p. 57 (illustrated).
B. Name, D. Hickey and C. Schorr, All Tomorrow's Parties: Billy Name's Photographs of Andy Warhol's Factory, London and New York, 1997, p. 33 (studio view illustrated in color).
G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné: Paintings and Sculptures 1964-1969, vol. 02A, New York, 2004, pp. 44 and 51, no. 563 (illustrated in color).
E. Shanes, Warhol: The Life and Masterworks, New York, 2004, pp. 148-149 and 206 (illustrated).
R. Meyer, Outlaw Representation: Censorship and Homosexuality in Twentieth-Century American Art, Boston, 2012 (illustrated on the cover).
