A defining image of Pop Art by Andy Warhol, this limited-edition lithograph revisits the iconic Campbell’s Soup Can series first introduced in 1962. Released in collaboration with the Carnegie Museum of Art, the work is numbered from an edition of 3000 and carries official institutional authentication.
Maintaining the original series scale at 40 × 50 cm, the composition reflects Warhol’s exploration of repetition, consumer culture, and mass production—an approach that redefined contemporary art.
Collector Details
Artist: Andy Warhol
Title: Chicken Noodle Soup
Year: 1986
Medium: Lithograph
Edition: 2009/3000
Publisher: Carnegie Museum of Art (CMOA)
Image Size: 40 × 50 cm
CM Collector’s Note
An internationally recognised work that offers an accessible entry into the Warhol market, underpinned by strong cultural relevance and enduring global demand.
In an extraordinary moment for Canterbury’s art scene, one of Banksy’s most recognised works, Forgive Us Our Trespassing, is now available for private viewings and for purchase. Last sold at an Auckland auction for $11,000, this piece offers collectors a rare opportunity to own a fragment of street-art history, right here in Aotearoa.
Originally appearing in the 2010 documentary 'Exit Through the Gift Shop', Forgive Us Our Trespassing captures the quiet tension between reverence and rebellion. A hooded figure haloed in graffiti, seeking redemption through defiance. It’s a visual prayer for the modern age, one that feels especially resonant in Christchurch, a city rebuilt on creativity and conviction.
The timing couldn’t be more fitting. With the Banksy exhibition set to open in Christchurch this December, the city’s relationship with street art comes full circle, from earthquake-scarred walls to world-class collections. Forgive Us Our Trespassing stands as both a prelude and a provocation: an artwork that challenges, redeems, and redefines what ownership of art truly means.
Private viewings are now open for serious collectors who want a chance to acquire not just a print, but a piece of cultural commentary that continues to shape how we see the streets and ourselves.
A lost portrait, a 1917 Christchurch catalogue and the evidence reigniting the Goldie conversation
Before there was a Goldie, there was Pātara.
Pātara Te Ngūngūkai was a renowned tohunga of Tūhourangi Ngāheke, Te Arawa. A man of considerable mana and tapu, historical records describe responsibilities that included the sacred preparation of kōiwi following exhumation for reburial. His likeness survives in archival photography and in this remarkable portrait that has travelled for more than a century.
Lost in Thought, Ngaheke, An Arawa Chieftain, attributed to C. F. Goldie, has returned to Christchurch 109 years after it was exhibited here.(sic, the k was likely misread as a tz from Goldie's handwriting as there is no z in the Maori alphabet)
That homecoming matters.
The surviving catalogue from the 1917 Canterbury Society of Arts exhibition records it plainly: No. 15. C. F. GOLDIE — Lost in Thought, Ngahetze, An Arawa Chieftain. £15 15s. The exhibition label surviving with the painting is also numbered 15.
Immediately following it in that same catalogue is another Goldie, No. 16, Distrust, Maramina Wiari, priced at £14 14s. That piece was very recently sold at auction.
For collectors, these details matter. Labels, catalogue entries, frames, inscriptions, photographs and conservation findings are the fragments from which provenance is reconstructed. A label cannot establish authorship by itself, but the correspondence between No. 15 on the object and No. 15 in the contemporary Christchurch catalogue is a compelling piece of its documented history.
No. 15 has come home.
PĀTARA FIRST
Perhaps the most interesting response to the painting's reappearance comes not from the art market, but from Pātara's own people.
Tūhourangi Tribal Authority chair Kirikowhai Mikaere has raised the deeper question of what ownership means when historic portraits depict tūpuna. Speaking after developments surrounding the painting, she wondered whether the koroua might be “exercising governance over his own image.
It's a powerful thought.
Regardless of the debate over the hand that painted him, Pātara is not in doubt. His whakapapa, mana and connection to Tūhourangi give this portrait a significance that cannot be reduced to a price on the art market.
There is a beautiful Christchurch parallel.
Christchurch Art Gallery Te Puna o Waiwhetū already holds Goldie's A Hot Day (1901), depicting another Māori leader named Pātara — Wiremu Pātara Te Tuhi of Ngāti Mahuta. They were different men from different iwi, but both portraits have extraordinary connections with Canterbury's art history. A Hot Day was exhibited here in 1902 and purchased by the Canterbury Society of Arts.
One Pātara stayed. Another disappeared from public view.
Now, more than a century later, the second has returned.
THE GOLDIE QUESTION
There has been vigorous debate over the attribution of Lost in Thought. Some established art experts have challenged it with the focus being on how it looks. On the other side sits years of research, conservation work, and archival evidence. Authentication and attribution is also about its history and the documentary evidence. Here the painting is supported by a number of art experts including a former national art gallery curator, a national art conservator with over 40 years experience, an expert on Oceania and Maori art, a senior art gallery curator, and two retired Art History Professors, with letters of authentication and valuations.
CM believes new evidence deserves serious consideration.
Art scholarship evolves. Technology improves, archives open, conservation reveals information and objects separated for generations can suddenly be connected again.
That's what makes collecting so fascinating. CM's The Art Collector has always looked beyond decoration towards works with history, provenance, cultural significance and enduring value. Lost in Thought certainly brings all four into the room.
But this story ultimately belongs to the man looking back at us.
Pātara left Christchurch's public gaze after 1917. The painting travelled, disappeared and resurfaced generations later.
Now he is back in Canterbury.
Coincidence? Provenance? Fate?
Perhaps Pātara simply knew his way home.
Few artists reshaped the visual language of the twentieth century as profoundly as Piet Mondrian. Through disciplined geometry, bold black lines and carefully placed fields of colour, Mondrian reduced painting to its purest elements of balance, clarity and universal harmony.
This limited-edition lithograph reflects the essence of Mondrian’s mature visual philosophy. A commanding coral-red plane anchors the composition, intersected by precise black lines and balanced with subtle accents of blue and yellow. The result is a composition that feels both architectural and meditative.
Mondrian was a founding voice of De Stijl, a movement that sought to express a new visual order through abstraction, proportion and simplicity. His grid-based compositions would go on to influence architecture, design, fashion and contemporary art for generations.
Lithographs such as this hold particular significance for collectors. Produced using traditional printmaking methods and released in controlled editions, they represent an authentic and highly regarded form of artistic reproduction within the modern print tradition.
Today, Mondrian’s works remain among the most recognisable images in modern art—timeless studies in proportion, restraint and intellectual beauty.
Lithograph no. 28/200
Measurements: 50 × 70 cm
CM Collector’s Note
Signed and numbered lithographs by Mondrian remain highly sought after, offering collectors an opportunity to acquire a work connected to one of the most influential figures in modern art history.
One of his most famous works, WHAAM!, 1963 is a large, two-canvas painting by the American pop artist Roy Lichtenstein that takes its composition from a comic book strip.
Right-Hand Panel, size 75 cm x 64 cm unframed, Original Offset Lithograph diptych on thick wove paper, Published by The Tate Gallery, London and printed in Great Britain, 1982 from the original created by Roy Lichtenstein in 1963.
The left-hand canvas, size 75 cm x 64 cm unframed, features an American fighter plane firing a missile into the right-hand canvas and hitting an approaching enemy plane; above the American plane, the words of the pilot appear in a yellow bubble: ‘I PRESSED THE FIRE CONTROL… AND AHEAD OF ME ROCKETS BLAZED THROUGH THE SKY…’. The outline of the resulting explosion emanates in yellow, red and white; the work’s onomatopoeic title, ‘WHAAM!’, jags diagonally upwards to the left from the fireball in yellow, as if in visual response to the words of the pilot.
The piece is rendered in the formal tradition of machine-printed comic strips with thick black lines enclosing areas of primary colour and lettering, with uniform areas of Ben-Day dots, purple for the shading on the main fighter plane and blue for the background of the sky.
Lichtenstein was an American pop artist. During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. His work defined the premise of pop art through parody. Inspired by the comic strip, Lichtenstein produced precise compositions that documented while they parodied, often in a tongue-in-cheek manner. His work was influenced by popular advertising and the comic book style. His artwork was considered to be "disruptive". He described pop art as "not 'American' painting but actually industrial painting". His paintings were exhibited at the Leo Castelli Gallery in New York City.
Is this piece for you? Contact cantabrianmagazine@gmail.com for more details. Private viewings by appointment only.
