£28,000-£40,000 Value Indicator
$50,000-$80,000 Value Indicator
$45,000-$70,000 Value Indicator
¥250,000-¥350,000 Value Indicator
€30,000-€45,000 Value Indicator
$270,000-$380,000 Value Indicator
¥5,100,000-¥7,290,000 Value Indicator
$35,000-$50,000 Value Indicator
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Signed Print Edition of 300
H 58cm x W 58cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|September 2023||Phillips London - United Kingdom||Flowers (F. & S. II.6) - Signed Print|
|July 2023||Christie's New York - United States||Flowers (F. & S. II.6) - Signed Print|
|June 2023||Galerie Kornfeld - Germany||Flowers (F. & S. II.6) - Signed Print|
|May 2023||SBI Art Auction - Japan||Flowers (F. & S. II.6) - Signed Print|
|May 2023||Bonhams Skinner Marlborough, Massachusetts - United States||Flowers (F. & S. II.6) - Signed Print|
|April 2023||Lama - United States||Flowers (F. & S. II.6) - Signed Print|
|April 2023||Christie's Online - United States||Flowers (F. & S. II.6) - Signed Print|
This signed print from 1964 is a limited edition of 300 from Andy Warhol’s Flowers series. Using vivid hues of pink and orange, Warhol deliberately rotates and misaligns the screen print ink that overlays the original photographic image of four hibiscus flowers against a background of undergrowth.
Taken from a photograph by Patricia Caulfield found in a 1964 issue of Modern Photography, Warhol deliberately appropriates and repeats the image excessively 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.”
Flowers (F. & S. 6) reworks the traditional art historical genre of flower painting, by appropriating an image from a magazine and reproducing it in a ‘machine-like’ manner, to challenge ideas of fine art, authorship and creativity. Warhol directly participates in appropriation and image dissemination. Consciously banal and synthetic. He rejects hierarchical compositions in favour of flattened perspective and abolishes complex colour harmonies for monochrome planes of flat colour and artificially bright ink.