Tag: Andy Warhol

Cats and Dogs – Katzen und Hunde

Cats and Dogs – Katzen und Hunde

(German text below)
Yes, Andy Warhol was a cat lover. He had more than two dozen of them, so the legend goes. They are immortalized in Warhol’s proto-Factory ink drawings for the book ’25 Cats Name(d) Sam and One Blue Pussy’ (link to a rare hand drawing of ‘Sam’). The book was intended as a gift for his New York advertising clients, when he was still working as a graphic artist and lived with his mother in a row house 1342 Lexington Avenue on the Upper East Side. Whether he already had a dog at that time is not known, and also not to be assumed with this gang of cats around. But this changed in the Factory (Midtown Manhattan until 1968, then Union Square), the magnet for hipsters, artists, stars and starlets. And there was Archie.

Sam (one of 25 or so …) & unique Archie


Andy Warhol carried his dachshund everywhere, even to Studio 54 for night-long parties. He became the artist’s alter ego, without the makeup and the wig. Otherwise, Archie was the copy of his boss. He didn’t say a word, just like Warhol. His famous three words: “Hello. Oh? Really?” were already much of what he contributed to a conversation. Andy, not Archie.
Less known is that there were also pugs in the factory around 1985. Jean-Michel Basquiat certainly brought his, and there are Polaroids of three black pugs that Andy Warhol made. ‘Fame’ was the name of the older of the three dogs, a sweet young couple is not known by name.
I will continue my research and report (Thanks Ivana for the inspiration).


Andy Warhol carried his dachshund everywhere, even to Studio 54 for night-long parties. He became the artist’s alter ego, without the makeup and the wig. Otherwise, Archie was the copy of his boss. He didn’t say a word, just like Warhol. His famous three words: “Hello. Oh? Really?” were already much of what he contributed to a conversation. Andy, not Archie.
Less known is that there were also pugs in the factory around 1985. Jean-Michel Basquiat certainly brought his, and there are Polaroids of three black pugs that Andy Warhol made. ‘Fame’ was the name of the older of the three dogs, a sweet young couple is not known by name.
I will continue my research and report (Thanks Ivana for the inspiration).

Yes, Andy Warhol was a cat lover. He had more than two dozen of them, so the legend goes. They are immortalized in Warhol’s proto-Factory ink drawings for the book ’25 Cats Name(d) Sam and One Blue Pussy’ (link to a rare hand drawing of ‘Sam’). The book was intended as a gift for his New York advertising clients, when he was still working as a graphic artist and lived with his mother in a row house 1342 Lexington Avenue on the Upper East Side. Whether he already had a dog at that time is not known, and also not to be assumed with this gang of cats around. But this changed in the Factory (Midtown Manhattan until 1968, then Union Square), the magnet for hipsters, artists, stars and starlets. There was Archie.
Andy Warhol carried his dachshund everywhere, even to Studio 54 for night-long parties. He became the artist’s alter ego, without the makeup and the wig. Otherwise, Archie was the copy of his boss. He didn’t say a word, just like Warhol. His famous three words: “Hello. Oh? Really?” were already much of what he contributed to a conversation. Andy, not Archie.
Less known is that there were also pugs in the factory around 1985. Jean-Michel Basquiat certainly brought his, and there are Polaroids of three black pugs that Andy Warhol made. ‘Fame’ was the name of the older of the three dogs, a sweet young couple is not known by name.
I will continue my research and report (Thanks Ivana for the inspiration).


Andy Warhol carried his dachshund everywhere, even to Studio 54 for night-long parties. He became the artist’s alter ego, without the makeup and the wig. Otherwise, Archie was the copy of his boss. He didn’t say a word, just like Warhol. His famous three words: “Hello. Oh? Really?” were already much of what he contributed to a conversation. Andy, not Archie.
Less known is that there were also pugs in the factory around 1985. Jean-Michel Basquiat certainly brought his, and there are Polaroids of three black pugs that Andy Warhol made. ‘Fame’ was the name of the older of the three dogs, a sweet young couple is not known by name.
I will continue my research and report (Thanks Ivana for the inspiration).




Ja, Andy Warhol war ein Katzenliebhaber. Er hat zwei gute Dutzend von ihnen gehabt, so geht die Legende. Verewigt sind sie in Warhols Proto-Factory Tintenzeichnungen für das Buch ’25 Cats Name(d) Sam and One Blue Pussy’ (Link zu einer seltenen Handzeichnung Warhols von ‘Sam’). Das Buch war als Geschenk für seine New Yorker Werbekunden gedacht, damals arbeite er noch als Grafiker und lebte mit seiner Mutter in einem Reihenhaus 1342 Lexington Avenue in der Upper East Side. Ob er damals schon einen Hund hatte ist nicht bekannt, und auch nicht anzunehmen, bei der Katzenbande im Haus. Doch dies änderte sich in der Factory (Midtown Manhattan bis 1968, dann Union Square), dem damaligen Anziehungspunkt für Hipster, Künstler, Stars und Sternchen. Dort gab es Archie.
Andy Warhol trug seinen Dackel überall hin, sogar zum nachtelangen Feiern ins Studio 54. Er wurde das Alter Ego des Künstlers, ohne das Make-up und die Perücke. Ansonsten war Archie die Kopie seines Herrchens. Er sagte kein Wort, genau wie Warhol. Seine berühmten drei Worte: “Hallo. Oh? Wirklich?” waren schon viel, was er zu einem Gespräch beitrug. Andy, nicht Archie.
Weniger bekannt ist, dass es in der Factory um 1985 herum auch Möpse gab. Jean-Michel Basquiat hat seinen sicher mitgebracht, und es sind Polaroids von drei schwarzen Möpsen überliefert, die Andy Warhol gemacht hat. ‘Fame’ hies der ältere der drei Hunde, ein süßes junges Paar ist nicht namentlich bekannt.
Ich werde weiter recherchieren und berichten (Danke Ivana, für die Inspiration).


Marylin – Madonna

Marylin – Madonna

(German text below)

I am certainly not the first to come up with the idea of comparing Andy Warhol’s ‘Gold Marylin Monroe’ with a Christian icon. But during a short visit to the cathedral of Notre Dame in Paris (I worked these days for the Dutch auction house Catawiki at the Young International Art Fair, YIA) I met an extraordinary piece of religious art. The icon shimmered through the semi-darkness behind the altar area. She was enthroned on an easel in front of a prayer niche, slightly above eye level. Surprisingly, the face of the Virgin Mary and the Child Jesus was not surrounded by gold leaf all the way to the edges of the picture. Instead, the faces of the holy figures were surrounded by a massive gold wreath as a halo. Mary looked almost shyly into the church, the thick golden sheet metal like a shield over her forehead or even a helmet around her head. Of course I interpret it here, but the parallel of the massive halo to the yellow glowing wreath of hair of Andy Warhol’s ‘Pop Art icon’ tempts one to do it. Warhol executes the ‘golden ground’ up to the edges of the picture, but the yellow hair shines over it. Marylin was certainly not a saint, but she was stylized beyond all measure and elevated to a modern Madonna. Like the Blessed Mother, she is still immortalised by the artists of the world in many variations.

Sicher bin ich nicht der erste, der auf die Idee kommt, Andy Warhols ‚Gold Marylin Monroe’ mit einer christlichen Ikone zu vergleichen. Doch bei einem kurzen Besuch der Kathedrale von Notre Dame in Paris (ich arbeitete in diesen Tagen für das holländische Auktionshaus Catawiki auf der Young International Art Fair, YIA) begegnete ich einem außergewöhnlichen Stück religiöser Kunst. Die Ikone schimmerte durch das Halbdunkel hinter dem Altarbereich. Sie thronte auf einer Staffelei vor einer Gebetsnische, etwas über Augenhöhe. Erstaunlicherweise waren die Jungfrau Maria und das Jesuskind nicht flächig bis zu den Bildrändern von Blattgold umgeben. Statt dessen umgab die Gesichter der heiligen Figuren ein massiver Goldkranz als Heiligenschein. Beinahe schüchtern blickte Maria in den Kirchenraum, das dicke goldene Blech wie ein Schutzschild über ihrer Stirn, oder ein Helm auf ihrem Kopf. Sicher interpretiere ich hier, doch die Parallele des massiven Heiligenscheins zum gelbleuchtenden Haarkranz der ‘Pop-Art-Ikone’ von Andy Warhol verführt dazu es zu tun. Den ‘Goldgrund’ führt Warhol in seinem Werk bis zu den Bildkanten aus, doch das gelbe Haar leuchtet darüber hinweg. Sicher war Marylin keine Heilige, doch wurde sie über alle Maßen stilisiert und zu einer modernen Madonna erhoben. Wie die Gottesmutter wird sie bis heute von den Künstlern der Welt in mannigfaltigen Variationen verewigt.

Left: Andy Warhol (1928–1987) – Gold Marilyn Monroe, 1962. Silkscreen ink on synthetic polymer paint on canvas, 211.4 x 144.7 cm

Right: Icon in the Cathedral Notre-Dame de Paris