And nowhere is that more obvious than in Warhol’s prints.
Here’s something I find fascinating (and honestly a little alarming if you own one): color can make or break the value of a Warhol by 50% or more!
Let’s talk about the 1967 Marilyn Monroe portfolio (F. & S. II.22-31). Ten screenprints. Iconic. Market-defining. And printed with fluorescent pinks and neon yellows that are notoriously light-sensitive.
That hot pink background in F. & S. II23? It’s famous for fading into a dull, chalky flesh tone over time – and most owners don’t even realize it’s happening until it’s too late.
Put two identical Marilyn prints at Christie’s side by side: One with pristine, saturated neon pink, one with muted, faded color from years near a window or under non-UV glass. The difference?
Easily double the price!
This is why colorway and color condition are the first things I look at when appraising Warhol prints. Rare or iconic colorways already command a premium, but even a common colorway in perfect condition will outperform a sought-after one that’s been compromised.
If you’ve got a Warhol (or are thinking about buying one), the question to ask isn’t just *which* print – it’s *what condition is the color in*.
We’re happy to talk through what to look for!
Image: Andy Warhol, “Marilyn Monroe (Marilyn),” 1967. Portfolio of 10 screenprints. © The Andy Warhol Foundation for the Visual Arts. (F. & S. II.22–31)
