Queen Ntombi Twala Of Swaziland Royal Edition (F. & S. II.348A)
Queen Ntombi Twala Of Swaziland Royal Edition (F. & S. II.348A)
Signed Print
Andy Warhol
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Medium: Screenprint
Edition size: 30
Year: 1985
Size: H 100cm x W 80cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2015 | Christie's London | United Kingdom | |||
| June 2002 | Hampel Fine Art Auctions | Germany |
Meaning & Analysis
In Queen Ntombi Twala Of Swaziland (F. & S.II.348), Andy Warhol has adapted the official portrait of the reigning queen to his signature medium of screen print, applying his love of vibrant colours. The queen is rendered in blue against a black background. Red accents allow primary colours to dominate in this edition of 30 from 1985. Warhol produced this particular image as part of his larger series, Reigning Queens.
Reigning Queens features four sitting queens, Queen Beatrix of the Netherlands, Queen Margrethe II of Denmark, and Queen Elizabeth II of the United Kingdom, in addition to Queen Ntombi Twala in large format screen prints. One of his largest portfolios, this series builds on his life-long fascination with fame and the female icon. Each of the four subjects of the series ruled over her respective kingdom at the time of production. Queen Ntombi Twala ruled as queen regent of her native Swaziland until 1986, when her son, King Mswati III, came of age. She continues to serve as joint head of state as Ndlovukati, or queen mother.
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.
