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:
Discover how the artwork has performed looking at the estimated historical value to date for this artwork, with its prior recorded sales and comparable artworks.
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 | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
May 9, 2022 | Christie's | New York | The Collection of Thomas and Doris Ammann Evening Sale | 36A | $****** - ****** | Shot Sage Blue Marilyn |
paintings
101.6 x 101.6 cm (40 x 40 in)
acrylic and silkscreen ink on linen
signed and dated 'Andy Warhol / 64' (on the overlap)
Leon Kraushar, New York
Leo Castelli Gallery, New York
Fred Mueller, New York
Private collection
Blum Helman Gallery, New York
S. I. Newhouse, New York
Thomas Ammann Fine Art AG, Zurich, circa 1982-1983
Acquired from the above by the present owner
New York, Solomon R. Guggenheim Museum, The Photographic Image, January-February 1966, n.p., no. 28.
Pasadena Art Museum; Chicago, Museum of Contemporary Art; Eindhoven, Stedelijk van Abbemuseum, Andy Warhol , May-November 1970, p. 14, no. 105.
Zurich, Thomas Ammann Fine Art AG, Faces and Figures, June-September 1989, no. 29 (illustrated).
London, Royal Academy of Arts; Cologne, Museum Ludwig; Madrid, Centro de Arte Reina Sofía, Pop Art, September 1991-September 1992, p. 113, pl. 65, no. 244 (London, illustrated); pl. 63 (Cologne, illustrated); p. 117 (Madrid, illustrated).
Basel, Fondation Beyeler, Andy Warhol. Series and Singles, September-December 2000, p. 135, no. 72 (illustrated).
Paris, Centre Georges Pompidou, Les années Pop, March-June 2001, n.p., no. 64.43 (illustrated).
Berlin, Neue Nationalgalerie; Los Angeles, Museum of Contemporary Art, Andy Warhol. Retrospective, October 2001-August 2002, p. 145, no. 96 (illustrated).
Zurich, Thomas Ammann Fine Art AG, Thirty Three Women, June-September 2003, no. 16 (illustrated).
J. Coplans, Andy Warhol, London, 1970, p. 69 (illustrated).
R. Crone, Andy Warhol , New York, 1970, p. 239, no. 71.
Warhol, Tate Gallery, exh. cat., London, 1971, p. 97, fig. 1 (illustrated and illustrated on the front cover).
F. Zdenek, "Die Kunst als eine Art der Dokumentation," Kunst Nachrichten, vol. 7, no. 6 February 1971 (illustrated).
R. Crone, Das Bildnerische Werk Andy Warhols , Berlin, 1976, p. 331, no. 78 (illustrated).
W. Schmalenbach, Amerikaner. Kunst aus USA nach 1950 , Düsseldorf, 1977, p. 35 (illustrated).
C. Ratcliff, Andy Warhol, Munich/Lucerne, 1984, p. 86, no. 82 (illustrated and illustrated on the front cover).
E. Billeter, "Ein Grosser starb: Andy Warhol," Art-Expo. Internationales Kunstjahrbuch, 1987, p. 239 (illustrated).
B. Curiger, Parkett No. 12. Collaboration Andy Warhol , 1987, p. 85 (illustrated).
D. Gimelson, "Ammann for all Seasons," Art and Auction, vol. 10, no. 4, 1987, p. 192 (illustrated).
K. Honnef, Andy Warhol 1928-1987 Kunst als Kommerz, Cologne, 1989, p. 15 (illustrated).
H. H. Holz, "Andy Warhol Vom Mechanismus des Erfolgs," Artis, vol. 41, no. 7-8, July-August 1989, pp. 34-35 (illustrated).
L. Romain, "Pop Art," PAN. Zeitschrift für Kunst und Kultur, no. 11, 1991 (illustrated on the front cover).
T. Osterwold , Pop Art, Cologne, 1991 (illustrated on the front cover).
L. Romain, Andy Warhol, Munich, 1993, p. 12, no. 5 (illustrated).
A. Nemeczek, "Comeback mit Bildern aus dem zweiten Leben," Art. Das Kunstmagazin, no. 11, November 1993, p. 16 (illustrated).
M. Klant, Bildende Kunst 3. Sehen, Verstehen, Gestalten, Hanover, 1995 (illustrated on the front cover).
I. Walther, Malerei der Welt. Band II: Von der Romantik zur Gegenwart, Cologne, 1995, p. 659 (illustrated).
J. Tesch and E. Hollmann, Kunst! Das 20. Jahrhundert, Munich, 1997, p. 155 (illustrated)
J.M. Faerna, Andy Warhol The Great Modern Master, New York, 1997, p. 41, pl. 35 (illustrated and illustrated on the front cover, incorrectly titled Turquoise Marilyn ).
A. Nemeczek, Das Bild der Kunst, 1999, pp. 14-15 (illustrated).
M. Chini, Pop art. Miti e linguaggio della comunicazione di massa, Florence, 2003, p. 38 (illustrated).
S. Watson, Factory Made: Warhol and the Sixties, Toronto, 2003, p. 174.
G. Frei and N. Printz, eds., The Andy Warhol Catalogue Raisonné of Paintings and Sculptures 1964-1969 , vol. 2A, London, 2004, pp. 275 and 278, no. 1293 (illustrated).
D. Fogle, Andy Warhol/Supernova: Stars, Deaths, and Disasters 1962-1964, Minneapolis, 2005, p. 16.
V. Bockris, Warhol: The Biography , Cambridge, 2009, p. 201.
J. Wilcock, The Autobiography and Sex Life of Andy Warhol, New York, 2010, p. 50 (illustrated).
J. Blessing, Haunted Contemporary Photography, Video, Performance, New York, 2010, p. 63.
S. Hunter, Modern Art: Painting, Sculpture, Architecture, Photography, New York, 2020 (illustrated on the front cover).
ANDY WARHOL (1928-1987)
Shot Sage Blue Marilyn
signed and dated 'Andy Warhol / 64' (on the overlap)
acrylic and silkscreen ink on linen
40 x 40 in. (101.6 x 101.6 cm.)
Painted in 1964.
