Revolver Gallery - Your Andy Warhol Specialists

10/11/2026

Warhol doesn’t want you to paint!

In an interview from the 1980s, Warhol talks about why he favors video over painting.

More than four decades later, his thoughts on video seem eerily accurate. Video has become one of the most pervasive forms of creative expression in our everyday lives.

And here you are, watching Warhol talk about the future of video on a platform that features an endless stream of creative videos.
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10/05/2026

Andy Warhol and Dracula

For his 1981 Myths series, Warhol created Dracula, casting his friend Sean McKeon, a handsome male model, as the legendary vampire.

But this wasn’t Warhol’s first encounter with Dracula. In 1974 came Blood for Dracula, presented by Andy Warhol and directed by Paul Morrissey. Udo Kier plays an aristocratic vampire searching for “wirgin” blood, part horror and part social satire.

When Warhol returned to Dracula for Myths, the character had been part of his work for years. 

The 1981 Polaroids are both seductive and campy, stylish and alluring, much like Warhol himself.

Happy Spooky Season.
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Image Credits:
1. Andy Warhol with Dracula. Photograph by Barbara J. Goldner, 1981.
2. Blood for Dracula, 1974.
3. Movie poster for Blood for Dracula, 1974.
4–5. Dracula. Andy Warhol, 1981.
6. Dracula (F. & S. II.264). Andy Warhol, 1981.
7. Andy Warhol holding Dracula from Myths. Photograph by Robert Levin, 1981.

10/01/2026

Check out Revolver Gallery’s latest Artsy exhibition:
Andy Warhol: Icons & Myths.

https://www.artsy.net/show/revolver-gallery-andy-warhol-icons-and-myths

In this curated collection, Warhol reveals a world where icons become myths and myths become icons, blurring the line between reality and fiction.

On view now until November 1, 2026

Through Warhol’s Pop Art language, icons gain mythical status while myths become ingrained in popular culture. In this curated collection, he reveals a world where icons become myths and myths become icons, blurring the line between reality and fiction.

09/26/2026

Queen Ntombi arrives at Revolver Gallery.

In 1985, Andy Warhol released Reigning Queens, a portfolio of sixteen prints portraying four of the world’s reigning monarchs, including Queen Ntombi Twala of Swaziland.

She is the only queen of color represented in the Reigning Queens portfolio, giving these prints a unique place in Warhol’s late body of work.

Queen Ntombi Twala of Swaziland Complete Portfolio (Royal Edition), now at Revolver Gallery.

09/22/2026

Andy with Grace

“Now, it seems like you have to do lots of things really well, and you don’t get to stay famous for long unless you’re always switching. Grace Jones is an example of this.”

Writing about fame, Warhol singled out Jones as an example of reinvention.

Grace Jones model, musician, actress, style icon, and indefinable. Jones appears throughout Andy Warhol’s diaries as a larger-than-life presence.

Warhol’s entries capture that personality in often hilarious moments. He documented her legendary lateness, her relationships, and her obsession with fur coats.

On Tuesday, July 24, 1984, Warhol recorded waiting hours for Jones before discovering that someone had “tracked her down at Bergdorf’s getting a fur coat out of the Revillon cooler.”

Their friendship was a creative exchange. Warhol photographed Jones, capturing her through his own artistic vision, while Jones later brought Warhol into hers with his appearance in the 1986 music video for “I’m Not Perfect (But I’m Perfect for You).”

Jones later remembered Warhol as quiet and observant, someone who enjoyed watching the wildness around him and who, she felt, was particularly comfortable with her. Their friendship appeared to reflect a genuine understanding and admiration between two great artists.
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Image Credits:
1. Andy Warhol & Grace Jones. Photograph by Elliott Erwitt, 1986.
2. Andy Warhol & Grace Jones. Photograph by Richard Young, 1978.
3. Andy Warhol & Grace Jones. Photograph by Paige Powell, 1985.
4. Andy Warhol in Grace Jones’s “I’m Not Perfect (But I’m Perfect for You)” music video, 1986.
5. Grace Jones. Photograph by Andy Warhol, 1984.
6. Grace Jones. Andy Warhol, 1986.
7–8. Grace Jones. Photograph by Andy Warhol, 1984.

09/10/2026

Warhol & Arnold Schwarzenegger

Arnold Schwarzenegger role in the 1977 docudrama Pumping Iron, following his success in bodybuilding, was propelling him into the spotlight. Warhol was fascinated by Arnold’s involvement in the Whitney Museum’s Articulate Muscle: The Male Body in Art (1976), where bodybuilders posed onstage as living works of art.

In 1977, Schwarzenegger came to the Factory and posed for Warhol’s Polaroid camera. As Schwarzenegger later recalled, Warhol asked him:

“How can you look like a piece of art? How can you be the sculptor of your own body?”

By 1985, Schwarzenegger had transformed from bodybuilder to Hollywood star, appearing on the cover of Warhol’s Interview magazine. Warhol praised its “comic-book look” in his diary.

Their friendship continued. In 1986, Schwarzenegger commissioned Warhol to paint his fiancée, Maria Shriver, as a wedding gift. Warhol later attended their wedding with Grace Jones, naturally renting a plane to get there.

Schwarzenegger later credited observing Warhol’s work ethic as an influence on his own ambitions.
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 Image Credits:
1. Andy Warhol and Arnold Schwarzenegger at the Factory. Photograph by Fred W. McDarrah, 1977.
2–3. Arnold Schwarzenegger, Articulate Muscle: The Male Body in Art, Whitney Museum of American Art, 1976.
4–7. Arnold Schwarzenegger. Photographs by Andy Warhol, 1977.
8. Arnold Schwarzenegger on the cover of Interview magazine, October 1985.
9. Andy Warhol, Grace Jones, and Arnold Schwarzenegger at the wedding of Arnold Schwarzenegger and Maria Shriver, 1986.
10. Arnold Schwarzenegger with Warhol’s portrait of Maria Shriver in his gubernatorial office. Photograph by Charles Ommanney, 2007.


Arnold Schwarzenegger
Arnold Alois Schwarzenegger

09/07/2026

September’s Featured Artworks at Revolver Gallery

A curated selection of Andy Warhol prints now available. This month’s selection highlights the wide range of subjects Warhol explored throughout his printmaking practice.

Visit the link in our bio or contact us for pricing and additional information.

Truck Complete Portfolio (FS II.367-370), 1985.
39 3/8” x 39 3/8” | 81.9 x 81.9 cm (each)
Set of 4 screenprints on Lenox Museum Board
Edition of 60, signed and numbered in pencil bottom right.

Muhammad Ali (FS II.182), 1978. 
40” x 30” | 101.6 x 76.2 cm
Screenprint on Strathmore Bristol Paper
Edition of 150, signed and numbered in pencil bottom right.

Sigmund Freud (FS II.235), 1980. 
40″ x 32″ | 101.6 x 81.3 cm
Screenprint on Lenox Museum Board
Edition of 200, signed and numbered in pencil bottom right.

Camouflage (FS II.412), 1987. 
38” x 38” | 96.5 x 96.5 cm 
Screenprint on Lenox Museum Board
Edition of 80, signed and numbered in pencil on verso by the executor of The Estate of Andy Warhol on a stamped certificate of authenticity.

Camouflage (FS II.408), 1987. 
38” x 38” | 96.5 x 96.5 cm 
Screenprint on Lenox Museum Board 
Edition of 80, signed and numbered in pencil on verso by the executor of The Estate of Andy Warhol on a stamped certificate of authenticity.

Mother and Child (FS II.383), 1986. 
36” x 36” | 91.4 x 91.4 cm
Screenprint on Lenox Museum Board
Edition of 250, signed and numbered in pencil bottom left.

Saint Apollonia (FS II.331), 1984. 
30″ x 22″ | 76.2 × 55.9 cm.
Screenprint on Essex Offset Kid Finished Paper
Edition of 250, signed and numbered in pencil bottom left.

Saint Apollonia (FS II.333), 1984. 
30″ x 22″ | 76.2 × 55.9 cm.
Screenprint on Essex Offset Kid Finished Paper
Edition of 250, signed and numbered in pencil bottom left.

U.N. Stamp (FS II.185), 1979. 
8 ½ x 11” (21.6 x 27.9 cm); image 7 x 8 ½” (17.8 x 21.6 cm)
Offset lithograph on Rives paper
Edition of 1,000, signed in felt pen vertically along the right margin and on bottom right; numbered in pencil bottom center, with a Swiss stamp on bottom left.

Visit the link in our bio or contact us for pricing and additional information.

09/02/2026

Check out Revolver Gallery’s latest Artsy exhibition,
Andy Warhol: Icons & Myths.
August 25 – November 1, 2026

Through Warhol’s Pop Art language, icons gain mythical status while myths become ingrained in popular culture. In this curated collection, he reveals a world where icons become myths and myths become icons, blurring the line between reality and fiction.

🔗 https://www.artsy.net/show/revolver-gallery-andy-warhol-icons-and-myths

09/01/2026

Warhol’s Factory, up close.

Architectural photographer Timothy Hursley Tim Hursley was commissioned by Progressive Architecture to photograph the offices of Interview magazine inside Andy Warhol’s Factory.

His photographs document the environment surrounding Warhol down to the smallest details of clutter.

Speaking with Revolver Gallery about his experience photographing the Factory, Hursley recalled:

“When I met Andy in the empty all-white basement of his Factory for a portrait, he said he liked my photos.”

Every inch of these images is visually interesting and tells a part of the story of Warhol’s day-to-day life.

Hursley returned to the space throughout the 1980s, photographing its evolving interiors, and continued documenting the Factory until Warhol’s death in 1987.
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Image Credits:
Andy Warhol’s Factory. Photograph by Timothy Hursley, 1980s.