Eric Emerson (Chelsea Girls), 1982 by Andy Warhol

Eric Emerson (Chelsea Girls), 1982 by Andy Warhol

Eric Emerson (Chelsea Girls), 1982; Screenprint in colors on Somerset Satin White Paper; Numbered 69/75 and signed Andy Warhol in pencil lower right; Published by Anthology Film Archives, New York; Printed by Porter-Wiener Studio, New York; Size - Sheet 30" x 22"; Frame 39 1/2 x 31 1/2"; Catalog Raisonne: Feldman/Schellmann: II.287; Framed with a white acid free mat, wood exterior frame, and UV plexiglass.

Eric Emerson was an American musician, dancer, and actor, best known for his roles in films by pop artist Andy Warhol and as a member of the seminal glam-punk group, The Magic Tramps. Born on June 23, 1945, in New Jersey, Emerson trained as a classical ballet dancer from a young age. His talents caught the attention of Andy Warhol in April 1966, after Emerson was seen performing at The Dom. Warhol invited him to appear in one of his underground films, and Emerson made his film debut in the now-famous 1967 release Chelsea Girls. He quickly became a regular at the Warhol Factory, starring in other notable Warhol films, including Lonesome Cowboys, San Diego Surf, and Heat.

Emerson’s musical career began with the band The Magic Tramps, which originated in Hollywood in 1969. After Emerson joined as lead vocalist, the band relocated to New York City in 1971, where they performed at venues like Max’s Kansas City—a popular spot for Warhol Factory regulars. That same year, Emerson appeared in Jackie Curtis’ play Vain Victory: Vicissitudes of the Damned, alongside Ondine, Holly Woodlawn, and Candy Darling, with music by The Magic Tramps and Lou Reed.

On a personal front, Eric Emerson had two children with Elda Gentile, a founding member of the band The Stilettoes. Their daughter, Erica, was born in 1967, followed by their son, Branch Emerson. In 1970, Emerson began a relationship with model and actress Jane Forth, known for her appearances in Warhol films such as Women in Revolt, L’Amour, Trash, and Bad. Together, Emerson and Forth had a son, Emerson Forth.

Tragically, on May 28, 1975, Emerson’s body was found next to his bicycle near the West Side Highway in Manhattan. His death is officially listed as a hit-and-run, and to date, no one has been arrested or charged in connection with it. Following a weekend-long wake hosted by Max’s Kansas City owner Mickey Ruskin, Emerson was laid to rest in Wharton, New Jersey. In her book Making Tracks, musician Debbie Harry recounted the circumstances surrounding Emerson’s death:

"One night we were over at Eric's apartment working on a tape of 'Heart of Glass' on his Teac four-track tape recorder, when he suddenly staggered out of the kitchen looking ashen. He looked even more distraught and sad when we left. Being satisfied drove him crazy in the end, because he had everything so he didn't care about anything anymore. He used to go out jogging every day, and did feats of physical endurance like strapping twenty-pound weights to each ankle and then bicycling up to the Factory. The next day we were sitting around the house just after we woke up when Barbara called with the bad news. 'Oh, Eric got hit by a truck.' He had been a good friend and inspiration to so many people. We didn't quite understand what had happened, but we went up to a party/wake held for him and saw a lot of people from the earlier glitter days. Eric's death definitely marked an end to the glitter period. We still miss him."

Emerson’s legacy endures in art as well. A rare original serigraph portrait of him by Andy Warhol was derived from a film clip from Chelsea Girls (1966). The print was published in A Portfolio of Thirteen Prints, which featured works by thirteen different artists to commemorate the conversion of New York City’s Second Avenue Courthouse into the new home of the Anthology Film Archives—the first museum dedicated to avant-garde film and video. Warhol’s portraits, particularly of Factory regulars and cultural icons, were celebrated for their ability to both capture likeness and transform it into a striking emblem of celebrity and modern art. In choosing to depict Emerson from his own cult film, Warhol not only immortalized the actor and dancer but also demonstrated his signature approach to portraiture: blending personal intimacy with pop art’s bold, graphic sensibilities. This decision elevated Emerson as a symbol of the Factory’s vibrant and experimental era, reflecting Warhol’s enduring fascination with fame, media, and the ephemeral nature of stardom.

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