One of Andy Warhol’s last major print projects was the 1986 “Cowboys and Indians” suite, a portfolio of ten screenprints depicting five “Cowboys” and five “Indians.” One image in the series, “Mother and Child,” was developed from the preparatory work shown on the right-hand page.

The early stages of this project began with Polaroid photographs, which Warhol used as reference for a series of hand-drawn studies. These drawings are an important part of his oeuvre and reveal a quieter, more intimate side of his practice during the final decade of his life. Often executed simply in graphite on paper, they include portraits, still lifes, skulls, shoes, and studies of hands and faces - many of which later served as preparatory sketches for paintings and screenprints.

Unlike the bold colours and mechanical repetition typical of Warhol’s silkscreens, these drawings emphasise line, gesture, and negative space, highlighting his continued reliance on direct observation and draftsmanship. They also reflect his growing engagement with mortality, spirituality, and classical art, particularly after serious health issues in the late 1970s. Collectively, his 1980s drawings demonstrate that, even at the height of his fame, Warhol remained deeply committed to drawing as a foundational and expressive medium, rather than merely a preliminary step.

The “Mother and Child” image within the Cowboys and Indians suite represents a lesser-known but important thread in Warhol’s work. Executed in a simple linear style, it recalls his 1950s commercial illustrations and his early training, as well as classical and religious imagery - especially the Madonna and Child motif. Scholars often interpret these works as evidence of Warhol’s more private concerns with care, dependency, intimacy, and spirituality, themes that became increasingly significant to him later in life