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Mao (F. & S. II.97) - Signed Print by Andy Warhol 1972 - MyArtBroker

Mao (F. & S. II.97)
Signed Print

Andy Warhol

£35,000-£50,000Value Indicator

$70,000-$100,000 Value Indicator

$70,000-$90,000 Value Indicator

¥340,000-¥490,000 Value Indicator

40,000-60,000 Value Indicator

$370,000-$530,000 Value Indicator

¥6,970,000-¥9,950,000 Value Indicator

$50,000-$70,000 Value Indicator

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91 x 91cm, Edition of 250, Screenprint

Medium: Screenprint
Edition size: 250
Year: 1972
Size: H 91cm x W 91cm
Signed: Yes
Format: Signed Print
Last Auction: April 2025
Value Trend:
3% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
April 2025
Christie's New York
United States
£30,803
£36,239
£45,661
April 2025
Bonhams Los Angeles
United States
March 2024
Christie's London
United Kingdom
December 2023
Sotheby's New York
United States
October 2023
Phillips New York
United States
June 2023
Bonhams New Bond Street
United Kingdom
June 2023
Cannes Encheres SARL
France
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Track auction value trend

The value of Andy Warhol’s Mao (F. & S. II.97) is estimated to be worth between £35,000 and £50,000. This signed screenprint from 1972 has shown consistent value growth, with an average annual growth rate of 3%. This is a popular work with an auction history of 41 total sales since its entry to the market on 14th October 1998. In the last 12 months, the average selling price was £29,478, across 2 total sales. Over the past five years, the hammer price has ranged from £22,718 in April 2025 to £57,785 in October 2023. The edition size of this artwork is limited to 250.

Created with Highcharts 11.4.8Jun 2023Oct 2023Jan 2024May 2024Sep 2024Dec 2024Apr 2025£25,000£30,000£35,000£40,000£45,000£50,000© MyArtBroker

Meaning & Analysis

Warhol’s use of colour in his Mao (F. & S. 97) print works within the aesthetic of Western kitsch and alludes to the appearance of makeup on Mao’s face. Baby pink is added to enhance the lips of the statesman and his darkly coloured mole is reminiscent of Marylin Monroe’s beauty mark. In the suggestion of makeup and use of fluorescent colours, Warhol makes a statement on the false veneer that the original propaganda image attempts to portray and at the same time revitalises Chairman Mao as an unlikely Pop icon to be distributed as an image in the mass-media.

Relying on his typical method of screen printing with the aim of mass-production, Warhol reflects the wide distribution of Mao’s image in communist China whilst also comparing this to the obsessive production of mass-media images in capitalist America. The result is a humorous social commentary on these opposing systems of power during the political tensions of the Cold War.

  • Andy Warhol was a leading figure of the Pop Art movement and is often considered the father of Pop Art. Born in 1928, Warhol allowed cultural references of the 20th century to drive his work. From the depiction of glamorous public figures, such as Marilyn Monroe, to the everyday Campbell’s Soup Can, the artist challenged what was considered art by blurring the boundaries between high art and mass consumerism. Warhol's preferred screen printing technique further reiterated his obsession with mass culture, enabling art to be seen as somewhat of a commodity through the reproduced images in multiple colour ways.

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