£5,500-£8,000 VALUE (EST.)
$10,500-$15,000 VALUE (EST.)
$9,000-$13,500 VALUE (EST.)
¥50,000-¥70,000 VALUE (EST.)
€6,500-€9,500 VALUE (EST.)
$50,000-$80,000 VALUE (EST.)
¥1,010,000-¥1,470,000 VALUE (EST.)
$7,000-$10,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 200
H 53cm x W 53cm
Build your portfolio, manage valuations, view return against your collection and watch works you’re looking for.
|Auction Date||Auction House||Artwork|
Return to Seller
|February 2021||Rago Arts and Auction Center - United States||Flash November 22 (F. & S. II.35) - Signed Print|
|February 2021||Wright - United States||Flash November 22 (F. & S. II.35) - Signed Print|
|January 2018||Phillips London - United Kingdom||Flash November 22 (F. & S. II.35) - Signed Print|
|June 2017||Il Ponte Auction House, Via Pontaccio - Italy||Flash November 22 (F. & S. II.35) - Signed Print|
|November 1963||Bonhams New Bond Street - United Kingdom||Flash November 22 (F. & S. II.35) - Signed Print|
Andy Warhol’s print Flash-November 22, New York from his Flash-November 22, 1963series (1968) shows an image taken from President John F. Kennedy’s presidential campaign. The print’s title stems from the phrase ‘news-flash’, alluding to a piece of highly important news in the mass-media. Warhol returned again and again to the events of Kennedy’s assassination in 1963 and its related images, notably his Jackie Kennedy prints (1965), with this portfolio being his last iteration of the subject.
Based on campaign posters, mass media photos and advertisement, the Flash-November 22, 1963 Series elevates and appropriates news items into the realm of high art, so to question the value of art in comparison to this widely disseminated imagery. Warhol uses his renowned screen printing method to deliberately flatten and colour the original photograph in bright red.
Mimicking the mass-produced and widely circulated image of Kennedy’s assassination in the news-media through the screen printing method, Warhol explores how the public has become desensitised to themes of death and tragedy with the proliferation of mass-news images. Each of the prints are supplemented by Teletype reports written by Philip Greer, providing a media narrative to the images that constructs our understanding of the event. Warhol makes it clear that mass-media coverage can detrimentally shape public opinion to the extent that it eclipses individual comprehension of such grave instances.