Top-100 artists:
We use our proprietary AI - LiveArt Estimate™ to calculate current market value for each artwork. Based on this data LiveArt is able to provide numerous insights into artist and artwork financial performance, including:
See the measure of artist investment performance relative to risk. A higher ratio suggests better risk-adjusted returns, indicating more consistent performance with less risk.
Explore the most prolific periods in an artist's career based on artwork production volume and current market value. It also segments these periods by category, offering insights into when the most valuable pieces were created in each category.
Free to sign up. No credit card required.
| Image | Last Sale Date | Title | Edition No. | Last Sale | Last Sale Auction House | Last Sale Location | |
|---|---|---|---|---|---|---|---|
| Dec 9, 2011 | Mao | 105 | Koller Auktionen | Zurich | |||
Prints & Multiples
91.4 x 91.4 cm (35.98 x 35.98 in)
Color screenprint, on Beckett High White
Signed on the verso: Andy Warhol, as well as with the stamped number and the copyright stamp Andy Warhol 1972
ANDY WARHOL
(Pittsburgh 1928-1987 New York)
Mao. 1972.
Color screenprint. 105/250. Signed on the verso: Andy Warhol, as well as with the stamped number and the copyright stamp Andy Warhol 1972. 91.4 x 91.4 cm on Beckett High White. Published by Castelli Graphics and Multiples, Inc., New York. Printed at Styria Studio, Inc. New York. From a portfolio of 10 works.
Catalog raisonné: - Feldman/ Schellmann, No. 94. In 1972, Richard Nixon made his legendary trip to China, with which the ice age between the United States and China, which had now lasted almost 20 years, slowly eased. This means that international reporting on the Middle Kingdom and its President Mao Tse-tung is also increasing. Andy Warhol responded to this political development with numerous works, including a portfolio of 10 serigraphs. This very well-preserved sheet comes from this folder. The template for this work comes from Chinese propaganda and shows the President head-on up to his shoulders with a very stern look. Warhol completely depoliticizes this portrait and creates a series of partly comical, partly attractive portraits through the different, sometimes very bright color combinations. What is of course explosive about the portrayal of Mao in the 1970s is that Warhol"s collectors represent exactly the opposite worldview of Mao and their political and social attitudes could not be more different. But the artist himself is completely apolitical. He uses Mao"s motif because it is present as a topic in the mass media, not because he wants to make a political statement. The present sheet shows the most important stylistic features of the early 1970s: the seriality directs the focus from what is depicted to the style and technology. It is also typical of this time that Warhol brings in more of his "own style", which he impressively achieves in our print through the painterly surface structure and the hand-drawn lines, which are different in every color combination. For the first time, paintings and prints of one subject are created at the same time.
