Flash November 22 (F. & S. II.40)
Flash November 22 (F. & S. II.40)
Signed Print
Andy Warhol
£3,900-£6,000
$7,500-$11,500 Value Indicator
$6,500-$10,000 Value Indicator
¥35,000-¥50,000 Value Indicator
€4,450-€7,000 Value Indicator
$40,000-$60,000 Value Indicator
¥660,000-¥1,020,000 Value Indicator
$4,900-$7,500 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Screenprint
Edition size: 200
Year: 1963
Size: H 53cm x W 53cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2024 | SBI Art Auction - Japan | Flash November 22 (F. & S. II.40) - Signed Print | |||
| October 2019 | Sotheby's New York - United States | Flash November 22 (F. & S. II.40) - Signed Print | |||
| June 2004 | Christie's London - United Kingdom | Flash November 22 (F. & S. II.40) - Signed Print | |||
| February 2002 | Christie's New York - United States | Flash November 22 (F. & S. II.40) - Signed Print |
Meaning & Analysis
Andy Warhol’s print Flash-November 22 (F. & S. II.40) from his Flash-November 22, 1963series (1968) shows interlaced images of the president’s portrait, the profile of assassin Lee Harvey Oswald and the presidential seal. The print’s title stems from the phrase ‘news-flash’, alluding to a piece of highly important news in the mass-media. Warhol returned again and again to the events of Kennedy’s assassination in 1963 and its related images, notably his Jackie Kennedy prints (1965), with this portfolio being his last iteration of the subject.
Based on campaign posters, mass media photos and advertisement, the Flash-November 22, 1963 series elevates and appropriates news items into the realm of high art, so to question the value of art in comparison to this widely disseminated imagery. Warhol uses his renowned screen printing method to deliberately flatten and colour the original photograph in bright green and red.
Mimicking the mass-produced and widely circulated image of Kennedy’s assassination in the news-media through the screen printing method, Warhol explores how the public has become desensitised to themes of death and tragedy with the proliferation of mass-news images. Each of the prints are supplemented by Teletype reports written by Philip Greer, providing a media narrative to the images that constructs our understanding of the event. Warhol makes it clear that mass-media coverage can detrimentally shape public opinion to the extent that it eclipses individual comprehension of such grave instances.
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