Marilyn (F. & S. II.28)
Marilyn (F. & S. II.28)
Signed Print
Andy Warhol
£150,000-£220,000
$290,000-$430,000 Value Indicator
$260,000-$370,000 Value Indicator
¥1,360,000-¥2,000,000 Value Indicator
€180,000-€260,000 Value Indicator
$1,470,000-$2,160,000 Value Indicator
¥28,550,000-¥41,870,000 Value Indicator
$190,000-$280,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 250
Year: 1967
Size: H 91cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2023 | Christie's London - United Kingdom | Marilyn (F. & S. II.28) - Signed Print | |||
| June 2023 | Phillips London - United Kingdom | Marilyn (F. & S. II.28) - Signed Print | |||
| May 2023 | Brunk Auctions - United States | Marilyn (F. & S. II.28) - Signed Print | |||
| September 2022 | Sotheby's Online - United Kingdom | Marilyn (F. & S. II.28) - Signed Print | |||
| January 2022 | Phillips London - United Kingdom | Marilyn (F. & S. II.28) - Signed Print | |||
| October 2021 | Sotheby's New York - United States | Marilyn (F. & S. II.28) - Signed Print | |||
| December 2020 | Karl & Faber - Germany | Marilyn (F. & S. II.28) - Signed Print |
Meaning & Analysis
Andy Warhol’s screen print Marilyn (F. & S. II.28) from his renowned Marilyn series was published in 1967 by the artist and his assistants under the name Factory Additions. The series, made up of 10 screen prints depicting the legendary actress Marilyn Monroe, is based on a publicity photograph taken by Gene Kronman from her film Niagra (1953).
Warhol exemplified the playfulness of his screen printing method by layering a number of different screens to create a variety of unique colour combinations in each print. This print shows the photographic image layered with vivid hues of blue, orange and pink, set against a baby pink background. In using this technique Warhol engages in the act of commercial artproduction by appropriating and repeating Monroe’s image excessively, so as to mirror the mechanical forms of reproduction found in mass-media that he was so fascinated by. This idea of assembly-line production was reinforced by Warhol’s ‘Factory’ that opened in New York in 1964, where he produced many of his screen prints, noting: ‘Mechanical means are today and using them I can get more art to more people. Art should be for everyone.’
This portfolio has become the largest screen print series of Warhol’s career and probably his most famous, establishing his critical acclaim as one of the most ubiquitous artists of the 20th century. Warhol’s juxtaposition between the photographic image and high saturated, flattened colour in this Marilyn (F. & S. II.28) print, has become synonymous with the trademark Warholian style and 20th century popular culture more generally.
