This framed 2006 print by BANKSY titled 'Tesco Tomato Soup' is an offset lithograph on woven paper that was released by 'Pictures on Walls' (POW) and contains the BANKSY signature in plate on the lower right of the print. Comes with original POW tube and receipt. Not hand signed or numbered.
In 2005, Banksy pranked The Museum of Modern Art by secretly installing a painting of a Tesco Value soup can (a spoof on Andy Warhol’s famous silkscreens of Campbell’s Soup Cans) in one of its galleries—a hoax that went unnoticed by the museum’s staff for six days and inspired a series of Tesco Value soup can posters in the years that followed. Contrary to Warhol’s homage to the endlessly reproduced images of consumer society, here Banksy offers a biting criticism of the supermarket giant who has come to take over the contemporary marketplace. The print shows cans of the same flavour soup – as opposed to Warhol’s range of flavours – showing the stark reality and monotony, of surviving on a tight budget. Printed in three colours on a cream background, the print evokes the vintage aesthetic that is now called upon by supermarkets such as Tesco to sell British products. Printed and Published by POW (Pictures on Walls) in England, this poster is out of print and is no longer available. The number printed, or edition size, per POW was 500 but these posters were not numbered. Very rare and very collectible.
Framed size: 880 x 620mm
What is Pictures on Walls? (POW) POW was started in 2003 by a loose collection of artists, graffiti writers and illustrators who were shunned by the controlling influencers of the day. Over the years many of the artists, including Banksy, mastered their craft, and despite attempts at price fixing, some POW prints are now worth tens of thousands of pounds. Either unable or unwilling to become part of the art market, POW called it quits and shut down in 2017. Banksy’s most famous work, ‘Girl With Balloon’ (2004 unsigned edition of 600) was originally listed on POW for just £75.
Whether plastering cities with his trademark parachuting rat, painting imagined openings in the West Bank barrier in Israel, or stenciling “We’re bored of fish” above a penguins’ zoo enclosure, Banksy creates street art with an irreverent wit and an international reputation that precedes his anonymous identity. Banksy has gained his notoriety through a range of urban interventions, from modifying street signs and printing his own currency to illegally hanging his own works in institutions such as the Louvre and the Museum of Modern Art. Most often using spray paint and stencils, Banksy has crafted a signature, immediately identifiable graphic style—and a recurring cast of cops, soldiers, children, and celebrities—through which he critically examines contemporary issues of consumerism, political authority, terrorism, and the status of art and its display.