Campbells Soup Ii Tomato Beef Noodle Os F S Ii 61 Signed Print

For collectors and appraisers, “Campbell’s Soup II: Tomato-Beef Noodle O’s (FS II.61)” sits at the nexus of Pop Art iconography and a mature printmaking program. Understanding precisely what this work is—and isn’t—is essential to valuation, conservation, and authentication. This guide synthesizes cataloguing standards, market behavior, and condition criteria tailored for antiques and art appraisal enthusiasts.

What exactly is FS II.61?

• Artist: Andy Warhol (American, 1928–1987)
• Title: Campbell’s Soup II: Tomato-Beef Noodle O’s
• Catalogue raisonné: Feldman/Schellmann II.61 (commonly abbreviated FS II.61)
• Year: 1969
• Medium: Screenprint on paper
• Portfolio: Campbell’s Soup II (a set of 10 prints)
• Publisher: Factory Additions, New York
• Printer: Salvatore Silkscreen Co., Inc., New York
• Edition: 250, plus artist’s proofs (typically 26 lettered A–Z) and a small number of additional proofs
• Sheet size: approximately 35 x 23 inches (about 88.9 x 58.4 cm)

FS II.61 is one of ten flavors in the Campbell’s Soup II portfolio, which followed the 1968 Campbell’s Soup I set. The “Tomato-Beef Noodle O’s” subject references the mass-produced American pantry staple through a cool, mechanically layered screenprint—exactly the sort of brand-image reframing that defined Warhol’s Pop ethos. The FS number is a bibliographic reference used by specialists; it does not appear printed on the work.

Visually, the print features the familiar red-and-white Campbell’s label, with metallic ink accents absent; the palette is flat, clean, and crisp, with the “Tomato-Beef Noodle O’s” flavor text typically rendered in yellow on the lower band and typographic details like “Condensed” and the gold seal medallion. Slight variations in registration and ink density are normal within the edition.

How to identify an authentic signed impression

Because Warhol’s imagery is widely reproduced, authentication hinges on a convergence of correct attributes rather than a single hallmark.

• Medium and surface: True examples are screenprinted on a relatively smooth, medium-weight wove paper. Ink sits slightly atop the surface; you should see discrete color separations without the rosette dot pattern characteristic of offset lithography or posters.

• Dimensions: Untrimmed sheets measure roughly 35 x 23 inches. Material that is significantly smaller often signals a reproduction or later poster. Some period owners trimmed margins for framing; trimmed examples exist but affect value and should be measured and noted precisely.

• Signature and numbering: For the Soup I and II portfolios, Warhol typically signed in ballpoint pen; signatures are often on the verso (back), sometimes on the recto (front) at lower right. The edition number (e.g., 123/250) is generally on the verso, occasionally with a rubber-stamped notation and hand addition. Artist’s proofs are usually lettered A–Z instead of numbered. Expect period pen strokes rather than later felt-tip or graphite, and compare signature style to known examples if possible.

• Printing and publisher credit: While not universal, some impressions bear a publisher’s stamp or pencil inscription referencing Factory Additions; others do not. Lack of a stamp is not disqualifying, but any stamps should align with period-appropriate styles and inks.

• Backing and labels: Older mounts may carry gallery labels or invoice remnants. Original 1969 invoices, portfolio cases, and dealer paperwork enhance confidence, but their absence does not rule out authenticity.

• Catalogue alignment: The image layout, typeface spacing, and flavor text must match FS II.61 as documented in Feldman/Schellmann. Be cautious with reproductions that mimic the image but diverge in proportion or typography.

Note on COAs: Certificates of authenticity are only as strong as their issuer. A reputable gallery’s or established auction house’s documentation carries weight; generic online COAs do not.

Edition structure, signatures, and common variations

• Edition size: 250 is the standard edition for each flavor in Campbell’s Soup II. In addition, Warhol typically set aside 26 artist’s proofs labeled A–Z and a small number of printer’s or trial proofs. Proofs are materially identical to editioned prints and can carry a premium or discount depending on market context.

• Signature placement: Most Soup II examples are signed on the verso in ballpoint pen, though recto-signed impressions exist. Expect a period “Andy Warhol” signature in a compact, fluid hand. The absence of a signature decreases value; unsigned impressions are less desirable unless compelling provenance exists.

• Numbering conventions: Hand-numbered in standard fraction form on the verso is typical. Rubber-stamped notations sometimes appear; these are consistent with other Warhol portfolios of the late 1960s.

• Paper and watermark: Soup II sheets are generally on unwatermarked wove paper. The absence of a watermark is not a red flag here.

• Registration and color: Slight misregistration (a hairline halo where colors meet) is common. Uniformly perfect registration in a small-sized print is often a sign of a modern poster rather than a period screenprint.

Condition factors that drive value

As with most 1960s screenprints, condition plays an outsized role in price.

• Light-stain and discoloration: Exposure can cause overall sheet toning, especially at the margins. A darkened sheet relative to unexposed edges under the mat window indicates light-stain.

• Mat burn and tape staining: Acidic mats leave a brown “halo” line; old hinging tape can bleed adhesives through the paper. These issues are common and conservable, but they impact value.

• Handling creases and corner bumps: Warhol’s large sheet size invites handling marks. Minor ripples are expected; sharp creases reduce value.

• Ink scuffing and abrasion: Flat fields of red or white show scuffs readily. Abrasions that break the ink layer are noteworthy and should be photographed at raking light.

• Surface soiling: Dust and grime along the top edge or exposed margin can often be reduced by a paper conservator but must be disclosed.

• Trimming: Any loss of the original sheet edge or margin is a negative. Note measurements and whether the sheet has deckled or cut edges.

• Restorations: Professional, reversible treatments (washing, deacidification, hinge removal) are acceptable and often beneficial; large infills, inpainting in colored areas, or significant paper repairs must be clearly reported.

Conservation best practices:

• Frame with museum-grade, UV-filtering acrylic and 100% cotton museum board.
• Hinge with Japanese tissue and wheat starch paste; avoid pressure-sensitive tapes.
• Keep out of direct sunlight and maintain stable humidity (around 45–55%).

Market overview and valuation pointers

Warhol’s Soup portfolios enjoy deep, global demand. The Tomato-Beef Noodle O’s (FS II.61) subject is iconic enough to attract wide interest but is not necessarily the top-priced flavor in the set. Market ranges fluctuate with condition, signature placement, and recent comparables.

Indicative pricing (recent years):

• Strong, untrimmed, signed, well-preserved impressions: often six figures, commonly in the low-to-mid six-figure range.
• Examples with moderate condition issues (light-stain, minor creases): discounted, sometimes by 20–40% depending on severity and visibility.
• Trimmed, unsigned, or heavily restored impressions: substantially reduced; liquidity remains but expect steeper discounts.

Key drivers:

• Provenance: Early gallery invoices, inclusion in a complete portfolio’s original case, or long-held private collection history are favorable.
• Signature and numbering clarity: Verso signatures are market-accepted; recto signatures can be slightly more display-friendly but not necessarily more valuable.
• Timing: Warhol print markets are cyclical; major Pop Art auctions can reset benchmarks.

For insurance, appraisers typically cite recent auction comparables for the same FS number, adjusting for condition, edition status, and signature placement. If comparables are sparse, look to other flavors within Campbell’s Soup II, then adjust for subject desirability.

Red flags and common pitfalls

• Wrong medium: If it’s described as an “original lithograph” or “giclée,” be skeptical. FS II.61 is a screenprint.
• Poster reproductions: Many high-quality posters exist at smaller sizes; they often lack hand signatures and edition numbers and may show offset printing dots. Posters sometimes include additional text, margins with publisher credits, or glossy finishes inconsistent with the 1969 screenprints.
• Misuse of the FS number: Sellers sometimes apply “FS II.61” to posters for search visibility. The FS code alone doesn’t authenticate the print.
• Too-small or too-large dimensions: Significant deviations from ~35 x 23 inches suggest a reproduction or later edition unrelated to the 1969 portfolio.
• Fresh, modern COAs: A newly minted COA from an unknown issuer does not validate a 1969 Warhol. Weigh physical evidence and provenance more heavily.
• Overly bright, pristine sheets: Be wary if a purported 1969 sheet appears optically bright white with no aging under UV or raking light; this may indicate a modern paper stock or bleaching. Conversely, overly uniform brightness with no paper texture could signal a poster.

Appraisal approach: step by step

1. Intake and documentation

• Record full measurements (image and sheet).
• Photograph recto and verso, edges, corners, and any stamps, signatures, numbers.
• Note framing materials and any labels or inscriptions.

2. Identify

• Confirm medium as screenprint through magnification (no CMYK dots).
• Cross-check image layout with FS II.61 in a reputable catalogue reference.
• Verify edition number or proof designation and signature placement.

3. Condition report

• Assess light-stain, mat burn, abrasions, creases, repairs, and trimming.
• Note conservation potential and risks.

4. Provenance

• Gather invoices, correspondence, gallery labels, and prior appraisals.
• Evaluate the credibility of any COAs.

5. Market analysis

• Compile recent auction results for FS II.61 and nearby flavors in similar condition.
• Adjust for signature placement, edition status, and restorations.

6. Valuation and recommendations

• Provide retail replacement value for insurance or fair market value for resale contexts.
• Advise on conservation, reframing, and best venue for sale (private sale versus auction) based on the piece’s strengths.

Practical checklist

• Confirm screenprint medium (no offset dots; clean color separations).
• Measure sheet: ~35 x 23 in; note any trimming.
• Locate and document signature (often verso, ballpoint) and edition/proof notation.
• Inspect for light-stain, mat burn, scuffs, and handling creases.
• Photograph verso: any stamps, labels, or inscriptions.
• Compile provenance: invoices, gallery labels, prior appraisals.
• Compare to FS II.61 image and typography; watch for poster telltales.
• If needed, consult a qualified paper conservator before reframing or sale.

FAQ

Q: Is FS II.61 always part of a complete portfolio? A: No. While originally issued as one print in a portfolio of ten, FS II.61 commonly appears individually on the market. Having the complete set can command a premium, but single impressions are standard offerings.

Q: Where should Warhol’s signature appear? A: For Campbell’s Soup II, signatures are frequently on the verso in ballpoint pen. Some are signed on the recto at lower right. Unsigned impressions exist but are less desirable and require especially strong provenance.

Q: How can I tell a poster from the 1969 screenprint? A: Posters are typically smaller, often show offset printing dots under magnification, may include publisher text in the margin, and lack hand-applied signatures and numbering. The 1969 screenprint is about 35 x 23 inches with flat screenprinted color.

Q: Are there posthumous or authorized later editions of this image? A: The recognized edition for Campbell’s Soup II dates to 1969. Be skeptical of claims of later “limited editions” or “re-strikes” purporting to be equivalent to FS II.61.

Q: What framing is safest for this print? A: Use UV-filtering acrylic, archival mats and hinges, and avoid direct sunlight. If older acidic materials are present, have a paper conservator re-mat and re-hinge with museum-grade components.

By applying these identification and appraisal protocols to “Campbell’s Soup II: Tomato-Beef Noodle O’s (FS II.61),” you can confidently distinguish authentic, well-preserved impressions from the field of reproductions, position the work accurately in the market, and protect its long-term value through proper conservation.