Birmingham Race Riot 3
Birmingham Race Riot 3
Unsigned Print
Andy Warhol
£190,000-£280,000
$370,000-$550,000 Value Indicator
$340,000-$500,000 Value Indicator
¥1,790,000-¥2,630,000 Value Indicator
€230,000-€330,000 Value Indicator
$1,920,000-$2,820,000 Value Indicator
¥38,280,000-¥56,420,000 Value Indicator
$250,000-$360,000 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: 500
Year: 1964
Size: H 51cm x W 61cm
Signed: No
Format: Unsigned Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2024 | Wright - United States | Birmingham Race Riot 3 - Unsigned Print | |||
| March 2024 | Sotheby's London - United Kingdom | Birmingham Race Riot 3 - Unsigned Print | |||
| February 2024 | Sotheby's Online - United Kingdom | Birmingham Race Riot 3 - Unsigned Print | |||
| February 2024 | Rago Arts and Auction Center - United States | Birmingham Race Riot 3 - Unsigned Print | |||
| December 2023 | Leslie Hindman Auctioneers, Chicago - United States | Birmingham Race Riot 3 - Unsigned Print | |||
| October 2023 | Bonhams New Bond Street - United Kingdom | Birmingham Race Riot 3 - Unsigned Print | |||
| September 2023 | Sotheby's London - United Kingdom | Birmingham Race Riot 3 - Unsigned Print |
Meaning & Analysis
Birmingham Race Riot is a screen print by Andy Warhol that was published in 1964 as part of a portfolio entitled X + X (Ten Works by Ten Painters). As an early print by Warhol, this image shows his source material to be largely unaltered, simply enlarged, reversed and left as a stark image in black ink against white paper. The original photograph was taken from a photo-essay by the photographer Charles Moore published in 1963 in Life magazine about police dogs attacking civil rights demonstrators in Birmingham, Alabama.
From the early 1960s, Warhol began to depict menacing themes of disaster and conflict and these themes are exemplified in his Death and Disaster series from 1963 where the Birmingham Race Riot first appeared. Despite denying any political ties in his work, this image is evidence of a strong reaction to social and political issues of the civil rights movement. Using a single image from mass-media culture and repeating it several times, Warhol memorialises the political tensions that existed in America at the time, and critically illustrates the detachment of fine art from such events.
Recalling the quality and tone of the original photographic source, Warhol’s print is flattened by high contrasts that makes the image difficult to decipher. The image has also been cropped to abruptly cut off some figures in the crowded scene, thus producing an urgent and frenzied atmosphere.