Andy Warhol

Private Collection, United Kindgom (acquired circa 1960)

Colour: The colours in the catalogue illustration are fairly accurate although the background is warmer in the original. The catalogue illustration also fails to fully convey the reflective nature of the gold leaf and foil appliqué as well as the texture of the collaged elements apparent in the original. Condition: This work is in very good condition. The sheet is hinged verso on the two upper corners. Visible only when examined out of the window mount is some mount staining along the edges. there is some further discolouration along the left and lower edges, which seems to have been caused by a previous mount. Close inspection reveals some glue residue in isolated places, which is in keeping with the artist's working process. Further very close inspection, reveals three minute and unobtrusive losses to the gold leaf and a tiny raised area to the collaged fabric.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present work was commissioned as a magazine illustration during the late 1950s, when Warhol executed many illustrations of shoes for various enterprises (magazines and department stores). This particular piece references the ballet dancer Vera Zorina, a former dancer with Ballet Russes de Monte Carlo, who became George Balanchine's second wife. In 1939 Balanchine's ballet, Slaughter on Tenth Avenue appeared in the film version of the musical play, On Your Toes, and Zorina danced in it. The success of that scene marked a time when Hollywood would insert classical ballet sequences into musical films. Despite the acknowledged excellence of Slaughter on Tenth Avenue, Vera Zorina became a symbol, sort of poster girl - for camp, over-done interpretations of classical dance: classical ballet Hollywood-style. Thus, Warhol's referencing of "Zorina" in this beautiful and delicate collage heralds a kitsch sensibility upon which pop art itself would draw.