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Hammer And Sickle (F. & S. II.62) - Signed Print by Andy Warhol 1977 - MyArtBroker

Hammer And Sickle (F. & S. II.62)
Signed Print

Andy Warhol

£10,500-£16,000Value Indicator

$21,000-$30,000 Value Indicator

$19,000-$29,000 Value Indicator

¥100,000-¥150,000 Value Indicator

12,500-19,000 Value Indicator

$100,000-$160,000 Value Indicator

¥2,010,000-¥3,060,000 Value Indicator

$13,000-$20,000 Value Indicator

3% AAGR

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: 50

Year: 1977

Size: H 76cm x W 102cm

Signed: Yes

Format: Signed Print

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The value of Andy Warhol’s Hammer And Sickle (F. & S. II.62) is estimated to be worth between £10,500 to £16,000. This is a signed screenprint from 1977, and has an auction history of three total sales since its entry to the market in May 2007. There has been no sales activity in the last 12 months or the last five years. The edition size of this artwork is limited to 50.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
May 2019Freeman's United States
May 2009Bonhams San Francisco United States
May 2007Bonhams San Francisco United States

Meaning & Analysis

This print demonstrates Warhol’s unrivalled ability in addressing ideological, historical and social issues within one striking image repeated across a series. Using the classic colours of Soviet propaganda – shades of red and white on this print – Warhol strips the communist hammer and sickle symbol of its origins and transforms it into an aestheticized consumerist object. Just as Warhol had done with his Mao series (1972), he directly compares the controlled propagation of official images in communist countries to the American capitalist machine of consumerism, fashion kitsch and advertising.

With the help of his assistant Robbie Cuttrone, Warhol created the still life with tools bought from a hardware shop, arranging and then photographing them. The resulting image is produced by layering blocks of flat colour with crayon-like lines overlain on the image surface.