The Market's Most Wanted 2023
Skull (F. & S. II.158) - Signed Print by Andy Warhol 1976 - MyArtBroker

Skull (F. & S. II.158)
Signed Print

Andy Warhol

£22,000-£35,000Value
Indicator

$40,000-$70,000 Value Indicator

$40,000-$60,000 Value Indicator

¥200,000-¥310,000 Value Indicator

26,000-40,000 Value Indicator

$220,000-$340,000 Value Indicator

¥4,000,000-¥6,370,000 Value Indicator

$28,000-$45,000 Value Indicator

2% AAGR (5YR)

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

Format: Signed Print

Year: 1976

Size: H 76cm x W 101cm

Edition size: 50

Signed: Yes

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Andy Warhol's Skull (F. & S. II.158) (signed) is a screenprint from 1976, estimated to be worth between £23,000 to £35,000. This artwork has seen a total of 3 sales at auction to date, with the first sale recorded on 10th June 2015. The hammer price has been consistent at £24,135, recorded on 15th November 2023. Sellers have enjoyed an average return of £20,515, and the artwork has demonstrated a steady increase in value with an average annual growth rate of 2%. The edition size of this artwork is limited to 50.

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
November 2023Christie's New York - United StatesSkull (F. & S. II.158) - Signed Print
September 2015Cornette de Saint Cyr Paris - FranceSkull (F. & S. II.158) - Signed Print
June 2015Phillips London - United KingdomSkull (F. & S. II.158) - Signed Print
July 2011Cornette de Saint Cyr Paris - FranceSkull (F. & S. II.158) - Signed Print
June 2002Hampel Fine Art Auctions - GermanySkull (F. & S. II.158) - Signed Print

Meaning & Analysis

As with his iconic Flowers series (1964), Warhol takes a playful approach to the art historical genre of still life painting, the subject of the skull making specific reference to ‘vanitas’ still lifes. Vanitas paintings in history were a reminder of human mortality and the fragility of life, and this deathly subject matter marks a shift in Warhol’s work, often linked to Warhol’s near-fatal shooting in 1968.

The exuberance of the yellow, green and blue blocks of colour are at odds with the grave subject matter, giving the print an unsettling but striking character. In contrast to his earlier photographic portraits of famous individuals, the Skulls series overthrows this by showing a subject devoid of any individuality. Of this, his assistant Cutrone once commented that to paint a skull ‘is to paint the portrait of everybody in the world.’ Through his obsessive repetition of the subject throughout his body of work, Warhol both desensitises and amplifies the permeating human condition of mortality.

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