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Andy Warhol, Diamond Dust Shoes, 1980. 40 x 60"
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Warhol in Manhattan. c. 1948–49. Photograph by Philip Pearlstein
“Being good in business is
> Boots to Splash In, Illustration for Vogue
the most fascinating kind of art. Making money is art and working is art and good business is the best art.” Andy Warhol
Happy Butterfly Day - 1955
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My Shoe is Your Shoe, 1955
Cover of A la Recherche du Shoe Perdu.1955. 25 x 19"
“Andy did several versions of each of his assignments, showing all of them to
Judy Garland, 1956. 51 1/5 x 30 2/5'
Illustration for I. Miller. 1958
the art directors, who loved him for that. He studied the printed results carefully for the effectiveness of his work and applied the results of those self critiques to his next assignments.� Philip Pearlstein
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Paisley Pink Shoe on Red-Stockinged Leg.c. 1955. 13 1/2 x 19 3/4"
arhol became particularly known for his shoe illustrations. The depictions were gaudy, flamboyant, and everything that illustrations weren’t before. His first ones were met with hesitancy from sales teams because of how different the ads were from others.
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Cover Illustration for November 1948 issue of Cano. 9 x 6"
Christmas Card Design for Tiffany & Co. 1928–1987. 115/8 x 12 1/4"
New York This Week Magazine cover, December 13, 1959
Along with magazine illustrations, Warhol designed greeting cards for Tiffany & Co., stationery for Bergdorf Goodman, and place mats for the birdcage restaurant at Lord & Taylor. Art directors gave Warhol commissions because he worked fast, met deadlines, and displayed a properly submissive attitude when they demanded revisions. He made sure to keep himself on good terms with anyone in the position to give him work.
Butterflies. 1955. 133/4 x 10"
Vogue, page 24,September 15, 1957
n ad made for Schiaparelli gloves that ran in Vogue was dominated with a bright, bold, pink unicorn because— why not? He did low-end jobs as well, like a dachshund sketch for a Sunday newspaper supplement.
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10 Three Illustrations from 25 Cats Name Sam and One Blue Pussy. 1954
e continued as a freelancer until 1956 when he decided to try becoming a “serious artist�. He had made various books, one of which was of a bunch a brightly colored cats.
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12 Blue Lights Volume 1 Kenny Burrell, 1958. Offset Lithograph, 31.1 x 31.1’
The Story of Moondog Moondog, 1957. Offset Lithograph, 31.1 x 31.1’
Monk, Thelonious Monk, 1954. Offset Lithograph, 31.1 x 31.1’
Even though his name didn’t mean anything at the time, he was able to get jobs. Out of fifteen companies he called, he got around 6 appointments, and out of that he made about 4 or 5 covers. His acquaintance, Imilda Tuttle, said he had what she called “aggressive shyness”.
Night Beat Frank Lovejoy, 1952. Offset Lithograph, 31.1 x 31.1’
The Congregation Johnny Griffin, 1957. Offset Lithograph, 31.1 x 31.1’
long with his magazine and gallery work, Warhol also designed record covers. One of his acquaintances recalled a time where he went to a bookstore and looked through the records. He jotted down the names of companies whose record covers he liked and proceeded to go home and call them. He would say “I’m Andy Warhol, and I’d like to do a record jacket for you.”
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Andy Warhol, Diamond Dust Shoes, 1980. 40 x 60"
Ratcliff, Carter. Andy Warhol. 128 pp., 110 plates, most in color. Large 4to, wraps. New York, Abbevill Modern Masters Series, 1938. David Bourdon, Warhol, illustrated, reprint, revised. Abrams, 1991. Paul Marechal, Andy Warhol: The Complete Commissioned Record Covers, Prestel Publishing, 2015.
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Hand With Flowers, 1957. 14.24 x 10"
Designed and written by Anna Wight Typed in Myriad Arabic and Pro, typefaces designed by Robert Slimback in 2000. Copyright Š Anna Wight, Portland, Maine, Maine College of Art 16