Ingrid Bergman, The Nun (F. & S. II.314)
Ingrid Bergman, The Nun (F. & S. II.314)
Signed Print
Andy Warhol
£18,000-£26,000
$35,000-$50,000 Value Indicator
$35,000-$45,000 Value Indicator
¥170,000-¥250,000 Value Indicator
€21,000-€30,000 Value Indicator
$180,000-$260,000 Value Indicator
¥3,370,000-¥4,870,000 Value Indicator
$23,000-$35,000 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: 250
Year: 1983
Size: H 96cm x W 96cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2023 | Rago | United States | |||
| September 2023 | Christie's London | United Kingdom | |||
| September 2023 | Phillips London | United Kingdom | |||
| May 2023 | Uppsala Auktionskammare | Sweden | |||
| October 2022 | Menzies Art Brands, Sydney | Australia | |||
| April 2022 | Doyle Auctioneers & Appraisers | United States | |||
| April 2022 | Bukowskis, Stockholm | Sweden |
Meaning & Analysis
Produced in the late stages of Andy Warhol’s career, Ingrid Bergman, The Nun (F. & S. II.314) is a print from his Ingrid Bergmanseries (1983), showing a portrait of Bergman taken from a movie still of her 1945 film The Bells of St. Mary’s. From the early 1960s Warhol had been creating screen print portraits of celebrity actors including Marilyn Monroe, Elvis Presley and Elizabeth Taylor. This late print reveals Warhol’s continued awareness and enthralment with the idea of the celebrity as the immortal public icon, perpetuated by mass-media and consumerism in capitalist America.
Rendering the portrait with an artificial colour palette, Warhol skillfully conveys his ideas on the shallow, performative nature of the mass-media image and celebrity culture. This notion of artificiality is also reflected in that Warhol has decided to show Bergman in character.
Warhol has manipulated the image to accentuate Bergman’s facial features against dark contrasts, framed by the silhouette of a traditional nun’s wimple. Warhol has drawn attention to Bergman’s lips with pink tones so as to glamorise this otherwise serious movie still. This portrait characterises the actress as an enduring sex symbol, surrounded by a culture obsessed with her unattainable beauty. Vivid blocks of colour in orange, yellow, pink and blue echo the shape of the wimple adding an element of abstraction to the piece and show her to be a formidable character.
