Annie Oakley (F. & S. II.378)
Annie Oakley (F. & S. II.378)
Signed Print
Andy Warhol
£50,000-£80,000
$90,000-$150,000 Value Indicator
$90,000-$140,000 Value Indicator
¥430,000-¥690,000 Value Indicator
€60,000-€90,000 Value Indicator
$490,000-$790,000 Value Indicator
¥8,490,000-¥13,580,000 Value Indicator
$60,000-$100,000 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: 1986
Size: H 91cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2023 | Sotheby's London - United Kingdom | Annie Oakley (F. & S. II.378) - Signed Print | |||
| October 2019 | Sotheby's New York - United States | Annie Oakley (F. & S. II.378) - Signed Print | |||
| July 2018 | Sotheby's London - United Kingdom | Annie Oakley (F. & S. II.378) - Signed Print | |||
| March 2018 | Sotheby's London - United Kingdom | Annie Oakley (F. & S. II.378) - Signed Print | |||
| November 2016 | Christie's New York - United States | Annie Oakley (F. & S. II.378) - Signed Print | |||
| April 2016 | Phillips New York - United States | Annie Oakley (F. & S. II.378) - Signed Print | |||
| October 2014 | Doyle New York - United States | Annie Oakley (F. & S. II.378) - Signed Print |
Meaning & Analysis
Andy Warhol’s print Annie Oakley (F. & S. II. 378) from his Cowboys And Indians series (1986) is a portrait of the famous American exhibition shooter and sharpshooter who starred in Buffalo Bill’s Wild West show. The series encapsulates America’s romanticised vision of the American West in popular culture, as it is depicted literature, film, and television.
Warhol makes a political comment on the way in which mass-produced and idealised images of national history in popular culture can alter and sometimes be a detriment to the understanding of that history. Appropriating a highly recognisable image of Oakley, Warhol’s portrait is stripped of its historical context through the use of luminous colours and removal of the original image’s background. The image shows Oakley ready for a performance, donning a hat and adorned with a multitude of medals, thus focusing on her fame rather than her person or historical significance.
Produced by the screen print process and rendered in a kaleidoscope of colour, Warhol draws attention to the fabricated and mass-produced nature of Oakley’s public image that has come to be symbolic of the American West. In Warhol’s renowned Pop Art style, Oakley is depicted here as a legendary pop culture icon, rather than as a historical figure.
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