Revolver Gallery - Your Andy Warhol Specialists

04/06/2026

Andy Warhol wishes you a Happy Easter.

Though known for his fascination with celebrity and consumer culture, Warhol remained a practicing Catholic throughout his life. His faith was quiet, private, and often filled with contradictions.

He sometimes stayed at Sunday mass for only a few minutes. He avoided the “Peace be with you” handshake. And yet, he attended church regularly.

Easter, in particular, revealed this tension. From the Warhol Diaries:

In 1978, Warhol filled a peanut jar with holy water and sprinkled it throughout his house.
In 1981, he cried three times before attending Easter mass.
In 1984, he skipped a 4:30 AM service, stayed in bed eating chocolate, and later believed he was being punished when his face broke out.
In 1986, he spent Easter serving meals to the poor.

Behind the Pop Art persona was a lifelong believer. One who understood that, in modern life, fame and consumer culture were beginning to replace traditional religious icons.

Even so, Warhol’s faith remained.

Happy Easter.
Image Credits:
1. Andy Warhol meeting Pope John Paul II. Photograph by Lionello Fabbri, 1980.
2-3. Last Supper. Andy Warhol, 1985.
4. Chocolate Bunny. Andy Warhol, 1983
5-6. Last supper (Mr. Peanut). Andy Warhol, 1986.
7. Easter Eggs. Andy Warhol, 1982.
8-9. Details of The Last Supper. Andy Warhol, 1986.
10. The Last Supper. Andy Warhol, 1986.

02/18/2026

For Valentine’s Day, we’re revisiting one of the most iconic goodbyes in cinema.

This 1983 trial proof shows Ingrid Bergman transformed into a Pop icon. Electric blue skin, golden hair, and a sharply angled hat cutting through a field of black. A rare glimpse into Andy Warhol’s color experimentation before final production.

The image of Bergman is taken from the final scene of Casablanca (1942). For anyone who has seen the film, that moment lingers long after the credits roll. Bergman’s character leaves the man she truly loves. She chooses responsibility over desire, the greater good over personal happiness. Love, loss, and restraint collide in a single, unforgettable frame.

Warhol understood the power of images like this. He was drawn to the precise moment when emotion becomes fixed in collective memory. By isolating Bergman at her point of emotional vulnerability, Warhol transformed a cinematic goodbye into something timeless.

Some love stories don't end. They echo.

Newly arrived at Revolver Gallery.
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Music: As Time Goes By - Dooley Wilson (from Casablanca, 1942)

02/18/2026

Today, Canada’s Heffel Auctions broke the record of highest Andy Warhol edition print sold in history with its Queen Elizabeth II in Royal Blue.

07/07/2025

Giorgio Armani by Andy Warhol, 1981.

Warhol shot these Polaroids of Armani in ’81—a quick session that turned into a cool silkscreen portrait. Armani said Andy stopped him in a hallway, took the photo in seconds, and that was that.

You can see what Andy saw: It’s Armani before the global empire, but already pure elegance: soft blazer, sharp cheekbones, that just-woke-up-and-designed-a-masterpiece energy.

“I believe he wanted to portray me as an icon,” Armani said to Interview Magazine, “That’s what Warhol portraits do.”

Warhol once said, “I like boring things.” But this wasn’t that. Armani understood restraint. Warhol understood repetition. Somehow, together, it worked. When Pop art meets fashion both walk away cooler.
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Image credits:
1, 3: Polaroids by Andy Warhol, Giorgio Armani, 1981. © The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, New York. 2: Giorgio Armani, 1981, Andy Warhol. © 2008 The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, New York.
Photo: © The Andy Warhol Foundation, Inc. / Art Resource N.Y.

And yes, the music is about another Giorgio… but we couldn’t resist.

05/19/2025

Andy Warhol, photographed by Charlie Steiner in 1965, signing soup and sealing the future of American art.

This moment, captured at his first-ever U.S. museum exhibition at the Institute of Contemporary Art in Philadelphia, marks the instant Pop Art officially crashed the institutional gates. Dressed in black, wielding a marker like a magic wand, Warhol turns a humble Campbell’s can into both relic and performance.

He wasn’t just redefining what art could be—he was reframing who gets to be an artist. With his platinum wig, plastic-framed armor, and deadpan charm, Warhol became both creator and commodity. He didn’t just blur the line between art and commerce—he turned it into a product line.

This wasn’t irony—it was prophecy. And in 1965, the art world was just starting to catch up.
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05/14/2025

While Warhol had vied for photographer Robert Mapplethorpe, Michael Halsband was ultimately chosen by Basquiat to capture these iconic 1985 images of the artist and Andy Warhol clad in boxing regalia, posing like the two art world powerhouses that they were. These photos were used as the poster of the Basquiat and Warhol exhibition in September 1985 at the Tony Shafrazi gallery in New York, which featured an extensive collection of dynamic, monumental paintings that the two artists collaborated on.

About the photoshoot, Halsband recollects, “Andy’s always kind of quiet and looked a bit lost in the sense that he was leaving a lot up to Jean and to me, which was good in the sense that right away, Jean took responsibility for initiating it and kind of getting it off the ground. They sort of put their hands in the gloves, didn’t really lace them up right away, and they were just sort of feeling it out, testing it out. And then I was just following them. And I knew that we had to get two single pictures for the poster, but really my agenda was like, I really got to get a great picture of the two of them together.”

05/13/2025

Andy Warhol with piglet.

Andy was already a devoted dog dad to his dachshund, Archie—who went with him almost everywhere. So maybe this little one was just a visitor to the studio… or maybe Andy was considering a new addition?

Andy holds the piglet like he’s afraid it might squeal or squirm away. But you can tell he really likes animals. Cats, dogs, pigeons, piglets—if it had eyes and personality, Andy probably loved it.

Later, he took some Polaroids and turned the moment into a work called "Fiesta Pig"—a pink pig at a table set for dinner. Part still life, part joke, part something else entirely. It’s hard to say what he was thinking, but for a moment that pig was the star of the Factory.
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Image credits:
1. Andy Warhol with piglet by Rupert Jasen Smith
2. Polaroids by Andy Warhol © 2012 The Andy Warhol Foundation for the Visual Arts, Inc. / ARS, New York / Christie’s Images
3. Andy Warhol, Fiesta Pig (1979), FS II.184 

05/10/2025

Warhol, unwrapped. 1981.

Shot by Ari Marcopoulos, this is Andy like you’ve never quite seen him—shirtless, swathed in a sheet, and crowned with platinum wig slightly askew. Somewhere between a Greek statue and a glam ghost of Hollywood past.

This wasn’t drag, it was concept. By this time, Warhol was the brand. His wigs were his armor, his mask, his commentary on fame, identity, and reinvention. He understood that to be seen is to be consumed—and in typical Warhol fashion, he served himself up as art.

Cropped for IG format. Photos and full images by Ari Marcopoulos.

05/07/2025

Before the silver wigs, The Factory, and Marilyns in technicolor, Andy Warhol was just Andrew Warhola, a 27-year-old illustrator from Pittsburgh with big ambitions and a passport photo that screams mid-century modern intellectual.

Snapped in 1956, this photo predates his Pop Art fame but captures the clean-cut precision of a man already obsessed with image, repetition, and identity. That tie? Intentional. The thick glasses? Iconic before they were iconic (and perhaps just a little bit ironic). Just months after this was taken, Warhol would travel to Europe, soaking in the Old Masters and avant-garde just like the Grand Tour of old—experiences that would fuel his transformation from ad man to art-world disruptor.

In the next photo, Warhol haphazardly, and perhaps obsessively, sketches in a full head of hair and the contours of a slimmer nose to shield two major insecurities of his (early signs of balding and a bulbous nose tip) that he would act upon later that same year, famously with his first hair piece and with a lesser-known rhinoplasty whose results were hardly noticed.

This is Warhol on the brink. Still understated, but already carefully curating the persona that would become his greatest work of art.

05/05/2025

05/02/2025

Warhol in bloom.

In this rare and radiant 1964 photo series by William John Kennedy, Andy Warhol stands quietly among a field of sunflowers—clutching the real thing in front of one of his Flowers silkscreens. It’s part pastoral fantasy, part Pop Art performance. Wrapped in a chunky sweater and framed by bright blossoms, Warhol blends irony with sincerity, turning himself into a living extension of his work.

The scene looks soft, but the symbolism runs deep: nature meets artifice, the ephemeral meets the reproducible, and Warhol—the once-commercial illustrator—fully steps into his role as modern mythmaker. These images, forgotten for decades and later rediscovered as The Lost Archive, remind us that Warhol didn’t just depict culture—he planted himself inside it.