Andy Warhol, Tomato Beef Noodle O's Soup, F.S. II.61, 1969 colour screenprint displayed in a contemporary interior.

Andy Warhol, Tomato-Beef Noodle O's Soup (F. & S. II.61) (from Campbell’s Soup II), 1969

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Andy Warhol, Tomato-Beef Noodle O's Soup (F. & S. II.61) (from Campbell’s Soup II), 1969

Sale price£50,000

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About the Artwork

Andy Warhol’s Tomato-Beef Noodle O’s Soup (F. & S. II.61), 1969 is a striking example of the artist’s celebrated engagement with consumer culture and one of the defining images of American Pop Art. Featuring the instantly recognisable Campbell’s soup can, the work transforms an everyday grocery product into an enduring icon of 20th-century art.

Produced as part of 'Campbell’s Soup II', this colour screenprint presents the Tomato-Beef Noodle O’s variety with Warhol’s characteristic precision and bold graphic aesthetic. By reproducing a familiar commercial package as a work of fine art, Warhol challenged traditional ideas surrounding originality, authorship and the distinction between popular culture and high art.

The simplicity of the composition is central to its impact. The Campbell’s branding, typography and familiar red-and-white packaging are presented almost exactly as they might appear on a supermarket shelf, yet through repetition and scale they become visually compelling. Warhol’s use of screenprinting further reinforces the relationship between art and mass production that became central to his practice.

This 1969 Andy Warhol screenprint is from an edition of 250 and measures 88.9 × 58.5 cm (35 × 23 in). Signed and numbered on the reverse, the work is a highly recognisable example of Warhol’s iconic Campbell’s Soup imagery and an important addition to any collection of Pop Art prints.

Framed Andy Warhol Tomato-Beef Noodle O’s Soup, 1969, from the Campbell’s Soup II series.

About Andy Warhol's Campbell’s Soup Series

Few images are as closely associated with Andy Warhol and Pop Art as the Campbell’s Soup Can. Warhol first brought the subject to prominence in 1962, when he exhibited 32 paintings depicting different Campbell’s soup varieties at the Ferus Gallery in Los Angeles. The works marked a major turning point in his career, establishing his fascination with repetition, commercial imagery and the visual language of mass consumption.

Warhol returned to the subject in his printmaking practice, producing 'Campbell’s Soup I' in 1968 and 'Campbell’s Soup II' in 1969. 'Campbell’s Soup II' comprises ten screenprints, each depicting a different Campbell’s soup variety. Rather than treating the soup can simply as a representation of American consumerism, Warhol elevated an everyday object into a recognisable cultural symbol.

The Campbell’s Soup II series demonstrates why screenprinting was so well suited to Warhol’s artistic vision. The technique enabled him to reproduce commercial imagery with a deliberately mechanical appearance, while also allowing subtle imperfections and variations within the printing process. This tension between mass production and individual artwork became one of the defining characteristics of Warhol’s practice.

Tomato-Beef Noodle O’s Soup is F. & S. II.61 within the series and belongs to the group of iconic Warhol soup can prints that continue to appeal to collectors of Pop Art, contemporary prints and 20th-century American art.

Detail of Andy Warhol’s Campbell's Soup cans screenprint series, showing the Campbell’s Soup label and red and white packaging.

About Andy Warhol

Andy Warhol (1928–1987) was one of the most influential American artists of the 20th century and a central figure in the development of Pop Art. Born in Pittsburgh, Pennsylvania, Warhol initially established himself in New York as a successful commercial illustrator before turning increasingly towards fine art. His early professional experience in advertising and graphic design had a profound influence on the visual language he would later develop as an artist.

From the early 1960s onwards, Warhol began incorporating familiar images from popular and commercial culture into his artwork, including Campbell’s soup cans, Coca-Cola bottles, celebrities and newspaper imagery. His adoption of screenprinting allowed him to explore repetition and mass production while questioning conventional notions of artistic originality and the role of the artist.

Warhol’s fascination with repetition became one of the hallmarks of his work. By presenting everyday products and celebrity images again and again, he transformed things that were ordinarily overlooked into subjects worthy of sustained attention. The Campbell’s Soup series is perhaps the clearest expression of this approach: a mass-produced food product becomes an instantly recognisable work of art.

Today, Andy Warhol’s prints are held in major museum collections around the world, including The Museum of Modern Art in New York and The Metropolitan Museum of Art. His Campbell’s Soup imagery remains among the most recognisable and enduring symbols of Pop Art, securing Warhol’s place as one of the defining artists of postwar American culture.

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