Copyright Ben Brillo, Inc.

Cover: 100 Campbell Soup Cans, 1962 and 27 other illustrations.

The catalogue is a perfect binding held with black tape and is thus very fragile and should be treated with the utmost care. It is housed in a perspex box with sliding lid and double compartment allowing for it to hang.

This publication accompanied the first museum show of Andy Warhol's work. The exhibition, organized by Sam Green, the new 25-year-old director of the Philadelphia ICA, opened in October of 1965 and, despite being a logistical disaster, is remembered as the pivotal moment signalling the triumph of Pop Art and the emergence of Andy Warhol as a fully-fledged cultural icon. In the months leading up to the opening, stories about Warhol, Edie Sedgwick, Baby Jane Holzer and other 'stars' of the Factory scene had begun appearing regularly in the fashion and style press and so, on the night that Philadelphia exhibition was set to open, a crowd began to gather early at the museum's doors, as if for a rock concert, not a museum show. By the time the doors were set to open the crowd had grown so large and raucous that Green, in a panic that art would be damaged or stolen, delayed the opening and ordered the museum staff to remove all Warhol's work from the galleries' walls. This delay only heightened the crowd's expectations but when the doors finally opened, what ensured was, as legendary curator Walter Hopps later recalled, "one of the most bizarre mob scenes I've ever witnessed. . . it was the first time I saw a young avant-garde artist have a show mobbed as if it were a movie premier." But with no art on display, there was only Warhol and his entourage left to be seen. As the crowd pressed in they retreated to a small balcony at the top of a stairway and remained there, giving a kind of impromtu performance that, with the crowd showing no intention of leaving, seemed as if it might have to continue indefinitely. Finally, with no other means of egress available, a young architectural student on the museum's staff was pressed into service - he sawed through a false ceiling that led to a fire escape, allowing Warhol et al to make a dramatic exit.