Flowers (F. & S. II.64-73) (complete set)
Flowers (F. & S. II.64-73) (complete set)
Signed Print
Andy Warhol
91 x 91cm, Edition of 250, Screenprint, 1970
£860,000-£1,290,000
$1,620,000-$2,430,000 Market Value Indicator
$1,610,000-$2,410,000 Market Value Indicator
¥7,650,000-¥11,470,000 Market Value Indicator
€1,000,000-€1,500,000 Market Value Indicator
$8,940,000-$13,410,000 Market Value Indicator
¥180,410,000-¥270,610,000 Market Value Indicator
$1,140,000-$1,710,000 Market Value Indicator
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Meaning & Analysis
Flowers (F. & S. II.64–73) is a complete set of ten screenprints made in 1970. Each print depicts four hibiscus flowers against a photographic ground of grass and foliage, based on a photograph by Patricia Caulfield, across ten colourways ranging from hot red and teal to pale cream and soft pink. Each print is signed and numbered from an edition of 250.
The Flowers series began in 1964 when Warhol appropriated a photograph of hibiscus by Patricia Caulfield from Modern Photography magazine. The resulting legal dispute was settled; Warhol continued producing Flowers across multiple editions throughout the 1960s and into the 1970s, making it one of the most sustained series of his career. The 1970 edition of 10 is among the most comprehensive realisations of the concept.
The composition is deceptively simple: four round flowers on a ground of photographic grass, their petals rendered as flat, unmodulated colour planes entirely detached from the photographic density of the foliage behind them. That tension – decorative abstraction floating above documentary photography – is the formal engine the prints run on.
Across 10 colourways the permutations are exhaustive: purple on black grass, red-orange on teal, yellow on olive, lavender on green, coral and blue on red, pale yellow on cream, yellow on dark teal, violet on near-black. Each colourway shifts the work's register entirely – some prints read as elegiac, others as almost aggressively cheerful, others as coolly graphic. Together they constitute one of Warhol's most thorough demonstrations that in serial practice, colour is not decoration but the primary carrier of meaning.
