Andy Warhol 1928 1987 Offset Lithograph Circa 1979

Collectors and dealers frequently encounter listings for an “Andy Warhol 1928–1987 offset lithograph, circa 1979.” The phrasing sounds authoritative, but it blends the artist’s lifespan (1928–1987) with a speculative production date (1979) and a broad printing method (“offset lithograph”). For an appraiser or buyer, getting the distinctions right matters. This guide explains what that title likely describes, how to verify what you have, and how date, attribution, and condition affect value.

What the title is (and isn’t) telling you

• “1928–1987” are Warhol’s birth and death years. This caption often appears on memorial or retrospective posters printed after his death in 1987. If those years appear as part of the design, the print cannot be earlier than 1987.
• “Circa 1979” suggests a connection to Warhol’s late-1970s output (for example Shadows, 1978–79; or the Whitney’s Portraits of the 70s exhibition, 1979). Many posters reproduce images from those years, but the poster itself may have been printed later for exhibitions, foundations, or museums.
• “Offset lithograph” indicates a photomechanical printing process common for posters. This is distinct from Warhol’s original fine-art screenprints. Offset posters are typically considered reproductions or ephemera, unless issued as limited, signed editions.

Bottom line: a piece advertised as “Andy Warhol 1928–1987 offset lithograph circa 1979” is most often a later poster after a 1979 image—or a memorial/review exhibition poster—rather than an original 1979 fine-art print.

How to identify and date a Warhol offset poster

Carefully reading the margins and the image is where most dating and attribution work happens.

• Publisher and printer line: Look for a credit along the lower margin. It may list a museum or gallery (e.g., a Whitney Museum poster), a commercial poster publisher, and a printer. A line that includes “The Andy Warhol Foundation for the Visual Arts” places printing post-1987.
• Copyright line: “© Andy Warhol” alone could be earlier or issued via the artist’s studio/licensing while he was alive. “© The Andy Warhol Foundation for the Visual Arts, Inc.” indicates posthumous authorization.
• Exhibition details: Many posters incorporate exhibition titles/dates. If the poster reads “Retrospective,” “In Memoriam,” or dates beyond 1987, it’s certainly later than 1987 even if the artwork reproduced is from 1979.
• Paper and size: Common formats include 70 x 50 cm (Europe), 84 x 59 cm (A1), or roughly 36 x 24 inches (US museum posters). Heavier coated stocks are typical for quality museum posters; thinner, glossy stock often denotes commercial reprints. Note that trimming can remove key credit lines and diminish value.
• Printing pattern: Under a 10x loupe, offset lithographs reveal a rosette dot pattern (CMYK). That’s normal for posters. Warhol’s original fine-art screenprints show solid inks with sharp, discrete edges rather than a dot matrix.
• Signature and edition: Most posters are not editioned. Some museums issued deluxe variants, sometimes hand-signed by Warhol in felt-tip pen. Signatures should sit on top of the ink (look for ink overlap and pressure) and typically appear along the lower image or margin. Numbering (e.g., 1/150) can occur on deluxe versions, but is not standard for open-edition posters.
• Provenance and labels: Institutional labels, old framers’ stickers, or receipts from the original exhibition period help confirm timing and legitimacy. Conversely, modern big-box frame shop labels are neutral; they don’t date the poster.

If the design includes “1928–1987” as part of its typography and/or bears a Foundation copyright line, treat it as a post-1987 printing regardless of the depicted artwork’s date.

Warhol posters vs. Warhol prints: attribution and literature

• Posters (offset lithographs): Most Warhol posters are reproductions of paintings or screenprints, produced for exhibitions, commercial promotions, or foundations. They are collectible ephemera, especially when earlier, scarce, or signed.
• Fine-art screenprints: Warhol’s canonical multiples are hand-pulled silkscreens, typically in signed, numbered editions with documented printers and publishers. These are catalogued in Feldman/Schellmann (FS).
• Poster catalogue raisonné: For posters specifically, the recognized reference is Paul Maréchal’s Andy Warhol Posters. If your poster appears there, cite the catalogue number in any appraisal or listing.
• Sunday B. Morning: These are screenprint after-editions of Marilyn and other subjects, not offset posters. They are frequently confused in listings. Sunday B. Morning prints are screenprinted on paper and sometimes stamped; they occupy a different market category.
• Foundation and posthumous issues: After 1987, the Andy Warhol Foundation authorized numerous posters and reproductions. Foundation-issued posters are legitimate but posthumous; they trade at lower prices than lifetime posters and far below original screenprints.

When in doubt, trace the image back to its source work, then match the poster’s imprint line with documented editions in the poster raisonné.

Condition and conservation: what matters to value

Condition is a primary price driver for posters. Appraisers typically grade from poor to excellent, considering:

• Handling creases: Soft dents from rolling or careless handling. Numerous creases reduce grade.
• Folds: Mailing or storage folds are common for vintage posters; a central horizontal/vertical fold is typical of distributed exhibition posters. Folds materially affect value unless professionally flattened/linen-backed.
• Pinholes and edge nicks: Evidence of wall display. Small, clean pinholes are often tolerated in vintage ephemera; tears and losses are more serious.
• Staining and toning: Mat burn, tape stains, foxing, and sun-fade diminish appeal. UV fading in fluorescent inks can severely impact Warhol imagery.
• Trimming: Removing margins to “fit a frame” can excise critical credits and reduce authenticity confidence and value.
• Backing: Linen-backing is standard in the poster trade and can stabilize folds and tears. It’s acceptable when disclosed. Paper-backing and restoration should be noted in condition reports.
• Inks and paper integrity: Warhol imagery often relies on saturated color. Check for scuffing, offsetting/rubbing, and differential fading where a mat once covered the margins.

For conservation, keep away from direct sunlight, use UV-filtering glazing, acid-free mats, and avoid pressure-sensitive tapes. If rolling, use a wide-diameter tube and interleave with acid-free tissue.

Market and valuation: what to expect

Values depend on date, rarity, subject, signature, and condition.

• Lifetime vs. posthumous: Posters produced during Warhol’s lifetime (especially tied to important exhibitions) command a premium over later Foundation or commercial issues.
• Signed examples: Authentic Warhol signatures on posters can multiply value. Felt-tip signatures from the 1970s–early 1980s are typical. Beware printed facsimile signatures; verify under magnification.
• Scarcity and subject: Iconic imagery (Marilyn, Mao, Campbell’s Soup, Mick Jagger) and major exhibitions tend to outperform general promotional posters or later commemoratives.
• Typical ranges: As a general orientation, many vintage Warhol posters trade from a few hundred to a few thousand dollars at auction depending on desirability and state. Scarcer, early, or signed examples can reach into mid-four or even low-five figures. Condition issues, heavy restoration, or abundant later reprints push values down.

Appraisal best practice is to cite comparable sales of the exact poster (same imprint line, size, and issue) within the past 24–36 months, giving weight to condition and whether the example was backed, trimmed, or signed.

Practical inspection checklist

• Read the entire lower margin: note publisher, printer, location, and any copyright line; photograph it.
• Look for “© The Andy Warhol Foundation…”: if present, it’s post-1987.
• Confirm the image’s origin year versus the poster’s print date; don’t conflate them.
• Examine with a loupe: verify offset rosette dots (poster) versus solid screenprint layers (fine-art print).
• Check for a genuine signature: on top of the ink, pressure marks visible, not a uniform printed facsimile.
• Measure unframed dimensions and compare to documented sizes; watch for trimming.
• Grade condition systematically: folds, creases, pinholes, tears, toning, stains, restoration, backing.
• Cross-reference in Andy Warhol Posters (Maréchal) and note the catalogue number if applicable.
• Gather provenance: exhibition leaflets, receipts, old labels; they support dating and value.
• If the design shows “1928–1987,” treat it as posthumous unless proven otherwise.

Frequently asked questions

Q: If my poster says “1928–1987” in the design, could it still be from 1979? A: No. That caption marks Warhol’s lifespan and appears on memorial or retrospective material issued after his death in 1987. A poster carrying “1928–1987” is posthumous even if the image depicts a 1979 work.

Q: Are offset lithograph posters by Warhol considered original prints? A: Generally, no. They are reproductions for exhibitions or promotions. Collectors value them as historical ephemera. Warhol’s original multiples are screenprints with documented editions. A small subset of posters was issued in deluxe, sometimes signed runs, which are more collectible but still not equivalent to fine-art screenprints.

Q: How can I tell if the signature is real? A: Use magnification to confirm the signature sits above the printed ink and shows variation and ink pooling from a felt-tip pen. Compare placement and style with known authentic examples from the era. Printed facsimiles look flat and continuous under magnification. When significant value is at stake, seek an opinion from a specialist or a reputable print dealer.

Q: Does linen-backing hurt value? A: Not inherently. In the poster market, professional linen-backing is accepted and can stabilize folds and tears. Value depends on the quality of the work and the degree of restoration. Overcleaning, color retouching across the image, or undisclosed repairs can negatively impact value.

Q: What role does the Andy Warhol Foundation play in posters? A: After 1987, the Foundation authorized and licensed numerous posters. These are legitimate but posthumous. The presence of a Foundation copyright line is a reliable indicator of post-1987 printing and typically corresponds to lower prices than lifetime posters.

In sum, when you see “Andy Warhol 1928–1987 offset lithograph circa 1979,” read it as a prompt to verify three things: the printing date, whether it’s a poster versus an original multiple, and the nature of authorization (lifetime, institutional, or posthumous Foundation). Careful attention to the imprint line, copyright text, paper, signature, and condition will tell you what you truly have—and what it’s worth.