$100,000-$130,000 Value Indicator
$90,000-$120,000 Value Indicator
¥450,000-¥630,000 Value Indicator
€60,000-€80,000 Value Indicator
$490,000-$690,000 Value Indicator
¥9,270,000-¥12,980,000 Value Indicator
$60,000-$90,000 Value Indicator
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.
Format: Signed Print
Size: H 91cm x W 91cm
Edition size: 250
Andy Warhol's Mao (F. & S. II.97) (signed), a screenprint from 1972, is estimated to be worth between £50,000 and £70,000. Over the past 12 months, there have been 5 sales, with an average selling price of £36,463. Looking at the last five years, the hammer price has ranged from £26,686 in October 2019 to £57,785 in October 2023. The average return to the seller for this work is £29,875, and the artwork has demonstrated a solid increase in value with an average annual growth rate of 16%. Since its first sale in October 1998, this work has sold 41 times at auction. The edition size of this artwork is limited to 250.
|Auction Date||Auction House||Artwork|
Return to Seller
|October 2023||Phillips New York - United States||Mao (F. & S. II.97) - Signed Print|
|June 2023||Bonhams New Bond Street - United Kingdom||Mao (F. & S. II.97) - Signed Print|
|June 2023||Cannes Encheres SARL - France||Mao (F. & S. II.97) - Signed Print|
|June 2023||Rago Arts and Auction Center - United States||Mao (F. & S. II.97) - Signed Print|
|March 2023||Bonhams Los Angeles - United States||Mao (F. & S. II.97) - Signed Print|
|September 2022||Bonhams Skinner Marlborough, Massachusetts - United States||Mao (F. & S. II.97) - Signed Print|
|April 2022||Bukowskis, Stockholm - Sweden||Mao (F. & S. II.97) - Signed Print|
Taken from his renowned Mao series from 1972, Mao (F. & S. II.97) is a print by Andy Warhol that features a striking portrait of the Chinese communist leader Chairman Mao Zedong. The print contrasts pink hues in Mao’s face and tunic against a lurid yellow background, that seeps into his eyes and Warhol has deliberately left created imperfections with the ink.
Warhol’s use of colour in his Mao (F. & S. 97) print works within the aesthetic of Western kitsch and alludes to the appearance of makeup on Mao’s face. Baby pink is added to enhance the lips of the statesman and his darkly coloured mole is reminiscent of Marylin Monroe’s beauty mark. In the suggestion of makeup and use of fluorescent colours, Warhol makes a statement on the false veneer that the original propaganda image attempts to portray and at the same time revitalises Chairman Mao as an unlikely Pop icon to be distributed as an image in the mass-media.
Relying on his typical method of screen printing with the aim of mass-production, Warhol reflects the wide distribution of Mao’s image in communist China whilst also comparing this to the obsessive production of mass-media images in capitalist America. The result is a humorous social commentary on these opposing systems of power during the political tensions of the Cold War.