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Skull (F. & S. II.158) - Signed Print by Andy Warhol 1976 - MyArtBroker

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

Andy Warhol

£15,000-£23,000Value Indicator

$30,000-$45,000 Value Indicator

$28,000-$45,000 Value Indicator

¥150,000-¥220,000 Value Indicator

17,000-27,000 Value Indicator

$160,000-$240,000 Value Indicator

¥2,980,000-¥4,570,000 Value Indicator

$20,000-$30,000 Value Indicator

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76 x 101cm, Edition of 50, Screenprint

Medium: Screenprint
Edition size: 50
Year: 1976
Size: H 76cm x W 101cm
Signed: Yes
Format: Signed Print
Last Auction: November 2023
Value Trend:
7% 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
November 2023
Christie's New York
United States
£20,515
£24,135
£30,411
September 2015
Cornette de Saint Cyr Paris
France
June 2015
Phillips London
United Kingdom
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Track auction value trend

The value of Andy Warhol’s Skull (F. & S. II.158) is estimated to be worth between £15,000 and £23,000. This signed screenprint, created in 1976, has shown consistent value growth, with an average annual growth rate of 6%. This work has an auction history of three sales since its entry to the market on 10th June 2015. The hammer price over the past five years has ranged from £15,040 in November 2017 to £23,000 in October 2022. The edition size of this artwork is limited to 50.

Created with Highcharts 11.4.8Jun 2015Nov 2016Apr 2018Aug 2019Jan 2021Jun 2022Nov 2023£17,500£20,000£22,500£25,000£27,500£30,000£32,500© MyArtBroker

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.