Edition 22 of 250 unsigned impressions; aside from the signed edition of 50. Separate alternative colourways were issued in signed editions of 10.

Released in 2005, Soup Can belongs to a group of early prints in which Banksy appropriated familiar commercial imagery to examine British consumer culture. Recasting Andy Warhol’s celebrated Campbell’s soup-can motif through the packaging of Tesco’s former Value range, the work replaces an established American Pop icon with the visual identity of a British economy product. This unsigned impression is numbered 22 from the edition of 250, aside from the signed edition of 50, and was published by Pictures on Walls, London.

The can is isolated against the unprinted surface of the paper and rendered with the flat colour, crisp contours and limited tonal range of commercial packaging. Its white body is interrupted by the emphatic blue stripes and red lettering of the Tesco Value design, while fine black marks describe the metallic lid and cylindrical form. Screenprinting reinforces the object’s association with mechanical production, standardisation and repeated consumption.

Warhol’s Campbell’s Soup Cans of 1962 had challenged distinctions between fine art, advertising and the supermarket commodity. Banksy adopts that recognisable art-historical framework but relocates it within the social and economic landscape of contemporary Britain. The substitution of Tesco’s inexpensive own-brand soup for Campbell’s more mythologised packaging introduces questions of class, affordability and the cultural meanings attached to different forms of consumption.

Alongside the principal blue, red and white design, Banksy produced numerous alternative colourways in small signed editions of ten. This serial treatment further recalls Warhol’s use of repetition, while also reflecting Banksy’s ability to adapt a single image across different formats and contexts. Soup Can therefore functions as both an acknowledgement of Pop Art and a characteristically understated critique of how branding influences perceptions of value—whether attached to food, social identity or art itself.

A detailed condition report is available upon request.