$ (1)
(F. & S. II.274-279), 1982

set of twelve screenprints in unique color combinations on Lenox Museum board
19 1/4 by 15 1/2 inches each
Edition of 500
Each signed, numbered in pencil and stamped '© ANDY WARHOL 1982' in red on the verso

Literature
Frayda Feldman and Jorg Schellmann, Andy Warhol Prints: A Catalogue Raisonne: 1962-1987, Fourth Edition, D.A.P., New York, 2003, Catalogue Reference F&S II. .274-279.

Provenance
Collection of Donald J. Christal, Los Angeles
Joseph K. Levene Fine Art, Ltd., New York
Private Collection, Washington D.C.
Sotheby's, New York, 10/31/2013, Lot 385

Andy Warhol $ (1) (F. & S. II.274-279), 1982

Warhol's Dollar Signs among his most powerful images

The Dollar Signs are among Warhol's most powerful and essential images, perhaps equal to the historic Campbell's Soup Cans of 1962, in their brash reinvention of what is allowed in a work of art. In the Dollar Signs, Warhol unabashedly said that "big-time art is big-time money" and, with his brutal truthfulness, bluntly printed the sign for money as the sign for art.

The Dollar Signs are signature works in the extreme – the signature for cash, for art, and for Warhol, himself. They also epitomize his deadpan genius for truth-telling and sizing-up the future. When he completed the Dollar Signs in 1981, the worlds of art and business had just begun a historically money-mad decade. The originality, and affront of these paintings are even more alive today, as international collectors vie for masterworks in the art auction market.