Campbells Soup Cans Painting By Andy Warhol Print

Few images in postwar art are as instantly recognizable as Andy Warhol’s Campbell’s Soup Can. For collectors and appraisers, though, the phrase “Campbells Soup Cans painting by Andy Warhol print” often conflates several different things: unique paintings, limited-edition screenprints, and mass-produced posters. Distinguishing among them—and then evaluating authenticity, condition, and market demand—is essential to an accurate appraisal.

This guide explains exactly what exists, how to identify genuine Warhol “Soup Can” prints, what to watch for in condition and provenance, and what typically drives value.

What collectors mean by “Campbells Soup Cans print”

• The paintings (1962): Warhol’s breakthrough consisted of 32 hand-painted 20 x 16 inch canvases, one for each soup flavor available at the time. These are unique works, museum-level, and rarely traded.
• The print portfolios (1968 and 1969): The vast majority of authentic, collectible “Soup Can” works available to private buyers are screenprints on paper. Warhol produced two portfolios:
  • Campbell’s Soup I (1968): 10 screenprints, each a different flavor, edition of 250 plus proofs.
  • Campbell’s Soup Cans II (1969): 10 additional screenprints, again different flavors, edition of 250 plus proofs.
• Posters and reproductions: Museums and publishers have issued open-edition posters after these images. Posters are decorative but not fine art prints and are far less valuable.

When a seller advertises a “Campbells Soup Cans painting…print,” they almost always mean a single sheet from one of the two portfolios, not a painting.

Editions at a glance: Soup I (1968) and Soup Cans II (1969)

While specifics vary by sheet and proof type, authentic Soup Can prints share core traits that appraisers rely on.

• Technique: Screenprint (serigraph) on paper, in colors. You will see discrete, flat color layers with crisp edges and occasional minor registration shifts.
• Publisher: Factory Additions, New York (Warhol’s own publishing imprint). A Factory Additions stamp on the verso appears often but not on every sheet.
• Edition size: Typically 250 for each image in both portfolios, plus artist’s proofs (AP), printer’s proofs (PP), and a small number of trial proofs (TP). Proofs are not counted within the 250.
• Signatures and numbering: Commonly signed and dated in ballpoint pen on the verso and numbered on the verso (e.g., 120/250). Warhol often avoided signing on the front to protect the printed surface. Some sheets are initialed “AW” rather than fully signed.
• Sheet size: Approximately 35 x 23 inches (about 89 x 58 cm), with slight variation depending on trimming.
• Iconography:
  • Campbell’s Soup I (1968): Largely faithful to the classic red-and-white label with the gold medallion and script lettering; distinctions are by flavor name and label details.
  • Campbell’s Soup Cans II (1969): Further explorations of the motif; imagery remains brand-focused but incorporates variations that differ from the “classic” red-white layout in subtle ways from sheet to sheet.

Complete, intact portfolios with their original colophon sheet and box command premiums, but most sets were broken and sold as individual flavors.

Authenticity: signatures, stamps, paper, and printing tells

Warhol prints are among the most reproduced in the market. For appraisers, authenticity rests on a combination of physical examination, documentary evidence, and alignment with catalogue raisonné entries.

Key points:

• Signature and date placement: For 1968–1969 Soup Can prints, a ballpoint pen signature (“Andy Warhol” or “A. Warhol”) and date on the verso is typical. Absence of a signature is a caution flag but not definitive; some proofs or examples may be unsigned. Values for unsigned sheets are typically lower.
• Numbering: An authentic fractional edition number (e.g., 73/250) on the verso is expected for standard edition sheets. Proof designations (AP, PP, TP) will be lettered accordingly, usually on the verso.
• Publisher mark: A Factory Additions stamp on the verso appears on many examples. Lack of a stamp is not automatically disqualifying, but a clear, period-correct stamp supports authenticity.
• Printing characteristics:
  • Screenprint layers show solid, uniform color with tiny edge ridges at overlaps and occasional slight misregistration.
  • Under magnification, you should not see a rosette halftone dot pattern typical of offset lithographic posters. Screen mesh patterning may be faintly visible in large flat areas.
  • Metallic or gold-toned inks on the medallion often have a slightly different sheen than adjacent colors.
• Paper: Smooth wove paper; edges are cut, not deckled. Warhol did not use a printer’s blindstamp on these portfolios.
• Notable red flags:
  • Front-of-sheet signatures made with contemporary felt-tip intended to “dress up” a poster.
  • Uniform dot patterns across the image (poster production).
  • Paper size far from the known range (many posters are smaller or significantly larger).
  • “Certificate” without a credible source or inconsistent with known publisher practices. The Andy Warhol Authentication Board no longer issues opinions; reliance on independent scholarship and qualified dealers is now standard.
• Catalogue raisonné alignment: The accepted authority for Warhol prints is the Feldman/Schellmann catalogue raisonné. Verify that the image, date, edition, and measurements align with the relevant entry for the specific flavor.

Provenance that traces back to a reputable gallery, auction, or primary purchase significantly strengthens a case for authenticity.

Condition: common flaws and how they impact value

Because Soup Can prints have large areas of flat color and minimal protective margins, even minor handling shows. The market is condition-sensitive; differences of 10–30% in price based solely on condition are common.

Watch for:

• Surface scuffing and rubs: Flat red and white fields magnify any abrasion. Scuffs are most visible in raking light and can be difficult to restore invisibly.
• Creases and handling dents: Often near edges or corners; some can be improved by professional paper conservators, but sharp creases in image areas remain visible.
• Ink inconsistencies: Light offsetting or slight registration shift is normal for hand-pulled screenprints. What’s problematic is ink loss, scratches through ink layers, or severe registration misalignment suggesting post-print distortion.
• Stains and toning:
  • Mat burn: Brown lines where old acidic mats overlapped the sheet.
  • Tape/hinge stains: At top edge; very common from prior framing.
  • Light-stain (overall yellowing): From prolonged UV exposure; whites should not be cream unless aged.
  • Foxing: Small brown spots from humidity.
• Metallic ink oxidation: The gold medallion can discolor or tarnish over decades. Mild changes are acceptable; heavy darkening affects value.
• Tears and edge nicks: Very detrimental, especially if they intrude into the printed image; expertly repaired tears still reduce value.
• Trimming: The sheet should not be cut down. Any loss of margin or image edge reduces desirability.
• Over-cleaning or color retouch: Under UV light, look for inpainting; collectors prefer minimally restored examples with transparent conservation records.

Professional, reversible conservation to address hinging and mat burn can improve presentation and marketability, but remember that restoration seldom returns a work to “as new.” Always disclose interventions.

Market values and what drives them

Values fluctuate with broader Warhol demand, but Soup Can prints remain blue-chip within Pop prints. As of recent cycles:

• Individual sheets from Campbell’s Soup I and II can bring mid–five figures to low–six figures at auction, depending on flavor, condition, signature, and provenance.
• Iconic flavors (e.g., Tomato) and especially crisp impressions in excellent condition often command premiums. Trial proofs with variant colors may exceed standard edition prices.
• Complete, boxed portfolios with matching numbers, strong condition, and complete documentation can reach substantially higher totals than the sum of individual sheets.
• Unsigned sheets, trimmed examples, heavy condition issues, or weak provenance trade at discounts that can be significant (20–50% below comparable signed, clean examples).
• Edition number has minimal impact on value within the 1–250 range; condition and desirability of the specific flavor matter more.

For insurance or formal appraisal, align your opinion of value with the most recent, closely comparable sales (same flavor, same portfolio, similar condition and signature status), adjusting for condition and timing.

How to appraise your Soup Can step-by-step

1. Identify the portfolio and flavor

• Read the flavor name on the label. Confirm whether it belongs to Soup I (1968) or Soup Cans II (1969) based on design cues and size.

2. Measure and inspect the sheet

• Record sheet dimensions to the nearest millimeter. Check edges for trimming and corner condition.

3. Examine printing characteristics

• Use a loupe or macro lens to confirm screenprint character (solid, layered color) and absence of halftone dots.

4. Document verso inscriptions

• Note signature style, date, edition number or proof notation, and any Factory Additions stamp.

5. Assess condition comprehensively

• In raking light and under UV, map scuffs, stains, creases, tears, toning, and any retouching. Photograph all issues.

6. Compile provenance and paperwork

• Gather invoices, catalog references, gallery labels, prior auction listings, and conservation reports.

7. Match to catalogue raisonné entry

• Verify title, date, flavor, sheet size, and edition details against the standard reference.

8. Build comparables and value

• Select recent sales of the same flavor and portfolio with similar signature and condition. Adjust for differences; justify any premium/discounts.

9. Recommend conservation if needed

• If appropriate, outline reversible treatments (hinge removal, deacidification, stain reduction) and weigh costs versus market benefit.

10. Frame to museum standards

• Use UV-filtering glazing, 100% cotton rag board, and non-invasive hinges. Avoid pressure on the print surface.

Quick practical checklist

• Portfolio and flavor identified (1968 Soup I or 1969 Soup Cans II)
• Screenprint confirmed (no halftone dots; solid color layers)
• Signature/date on verso consistent with Warhol’s hand
• Edition or proof marking present and plausible
• Factory Additions stamp noted (if present)
• Sheet size within known range; no trimming
• Condition issues mapped: scuffs, creases, stains, oxidation
• Provenance documented (invoices, labels, prior sales)
• Comparable sales gathered (same flavor, similar condition)
• Conservation and framing recommendations prepared

FAQ

Q: How can I tell a fine art screenprint from a poster? A: Under magnification, a screenprint shows solid, flat color areas with crisp, sometimes slightly raised edges where layers overlap; posters show a rosette halftone dot pattern. Authentic prints are on heavier wove paper, often signed and numbered on the verso, and typically around 35 x 23 inches.

Q: Do unsigned Warhol Soup Can prints exist? A: Yes, some proofs or examples may be unsigned. However, unsigned sheets are less desirable and require stronger provenance to achieve comparable values. Be cautious of unsigned examples without documentation.

Q: Which portfolio is more valuable, Soup I (1968) or Soup Cans II (1969)? A: Both are highly collected. Value is driven more by flavor, condition, and signature status than by portfolio alone. Iconic flavors and trial proofs often bring premiums.

Q: What’s the role of the Factory Additions stamp? A: It’s the publisher’s mark and supports authenticity when present, but not all sheets bear the stamp. A convincing signature/numbering, correct sheet size, and screenprint characteristics are just as critical.

Q: Should I restore a stained or creased print before selling? A: Light, reversible conservation (e.g., hinge removal, deacidification) often improves appeal. Heavy restoration of image areas is risky and should be disclosed. Request a conservator’s written treatment proposal and consider cost versus likely value gain.

With careful identification, a disciplined condition assessment, and solid market comparables, you can appraise a Warhol Campbell’s Soup Can print with confidence—and protect both the work and its value for the long term.