Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321)
Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321)
Signed Print
Andy Warhol
£23,000-£35,000
$45,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥220,000-¥330,000 Value Indicator
€27,000-€40,000 Value Indicator
$230,000-$350,000 Value Indicator
¥4,710,000-¥7,170,000 Value Indicator
$30,000-$45,000 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: 60
Year: 1984
Size: H 81cm x W 112cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Bukowskis, Stockholm - Sweden | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321) - Signed Print | |||
| February 2023 | Christie's Amsterdam - Netherlands | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321) - Signed Print | |||
| October 2022 | Christie's New York - United States | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321) - Signed Print | |||
| October 2022 | Bukowskis, Stockholm - Sweden | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321) - Signed Print | |||
| March 2020 | Sotheby's Online - United Kingdom | Details Of Renaissance Paintings (Leonardo Da Vinci, The Annunciation, 1472) (F. & S. II.321) - Signed Print |
Meaning & Analysis
Andy Warhol’s print Leonardo da Vinci, The Annunciation, 1472) (F. & S. II.321) is based on Leonardo da Vinci’s The Annunciation (c. 1472-1475) now in the Uffizi gallery in Florence. Warhol has cropped Leonardo’s original to focus on the hands of the Angel Gabriel and Mary, the walled garden, and the landscape in the background. He replaces the muted colours of the original with bold purples, pints, and cerulean before adding his own outlines and emphasis in yellow and white. By drawing over this image, Warhol has changed the emphasis to the trees and mountains in the background, rather than the hands of the foreground.
Produced towards the end of his life, Warhol’s series, Details of Renaissance Paintings, render masterworks of Sandro Botticelli, Leonardo da Vinci, and Paolo Uccello in the twentieth-century medium of screen printing. Warhol first applied printing to Renaissance masterpieces after seeing the Mona Lisa in New York in 1963. Two decades later, he returned to the subject with the eyes of a mature artist, making bolder compositional choices with cropping and overdrawing. In reproducing and reinventing these masterpieces, Warhol placed himself in the canon of greats.
