Flash November 22 1963 Feldman Schellmann Ii 32 42 Signed Print By Andy Warhol

Andy Warhol’s portfolio Flash — November 22, 1963 is one of the most incisive print responses to American media and tragedy. For appraisers and serious collectors, understanding the Feldman/Schellmann citation “FS II.32–42,” how authentic signatures typically appear, and what condition issues are common is essential to separating a great example from an average one—and to pricing it correctly.

Below is a focused guide to identifying, authenticating, and appraising a signed print from this celebrated series.

What is “Flash — November 22, 1963”?

• Subject and concept: Warhol created the Flash portfolio in 1968, five years after President John F. Kennedy’s assassination on November 22, 1963. The series appropriates wire-service teletype words (“FLASH”) and mass-media press photographs of JFK and Jacqueline Kennedy to examine the spectacle and speed of news in modern life—core concerns in Warhol’s Pop Art practice.
• Medium and technique: Screenprint in colors on wove paper, often incorporating fluorescent (Day-Glo) inks and layered halftone imagery. The interplay of bright grounds and black photographic screens is a hallmark of these sheets.
• Format: Square compositions with full margins; typical sheet size is approximately 21 x 21 in (about 53.3 x 53.3 cm). Always measure your sheet—small discrepancies can occur, but anything materially different warrants closer scrutiny.
• Portfolio structure: The portfolio comprises 11 individual screenprints. Each image is catalogued separately in the Feldman/Schellmann raisonné, allowing for collection and trade of single sheets as well as complete sets.

Decoding Feldman/Schellmann II.32–42 and edition facts

• Catalogue raisonné reference: “FS II.32–42” is the standard citation from Feldman/Schellmann’s Andy Warhol Prints (Vol. II denotes the prints volume; numbers 32 through 42 identify the 11 Flash images). When appraising, tie the sheet in hand to its exact FS number by image.
• Year: 1968.
• Publisher and printer: Published in New York (commonly credited to Racolin Press, Inc.); printed by a New York screenprinting workshop active with Warhol at the time. The publisher credit is part of the work’s identity; original documentation referencing the publisher supports authenticity.
• Editioning:
  • Standard edition: 200 impressions per image is the commonly cited edition size.
  • Proofs: In addition to the numbered edition, expect Artist’s Proofs (APs), and possibly some H.C. (hors commerce), Printer’s Proofs (PP) or Trial Proofs (TP). Proofs are fewer in number and sometimes carry notations like “AP,” “H.C.,” “PP,” or “TP” instead of numerals.
• Numbering conventions:
  • Numbered examples typically read, for example, “175/200.”
  • The notation is usually in pencil or ball-point on the verso or recto margin, depending on the batch. Early Warhol print portfolios frequently carry numbering and signatures on the verso.
• Complete portfolio vs. single sheet:
  • Many sets have been broken; it is common to encounter single images from FS II.32–42 on the market.
  • Complete portfolios command a premium, especially when accompanied by the original publisher’s folder or box and any original documentation.

Signatures, inscriptions, paper, and tell-tale traits

• Signature:
  • Authentic Warhol signatures from this period are commonly in pencil or ball-point pen.
  • Placement varies by portfolio and handling, but for Flash you may encounter signatures either on the recto margin or on the verso (lower right or lower edge). The verso-only signature is not unusual on late-1960s Warhol screenprints.
  • Handwriting: Warhol’s signature has distinctive letter forms, often with a loosely written, slightly right-leaning “Andy” and a more deliberate “Warhol.” Compare with known authentic examples from the same period if in doubt.
• Paper and margins:
  • Wove paper with full margins. Edges should not be deckled.
  • The fluorescent inks tend to sit on the paper surface; you may see slight gloss variation between ink layers and paper.
• Image qualities:
  • Photographic halftone screens (dot patterns) are produced by silkscreen, not by offset lithography. Under magnification, expect the characteristic screenprint dot structure and slight edge “lift” in thicker ink areas, not the rosette pattern typical of offset printing.
  • Fluorescent hues are vivid and can fluoresce under UV light—both a feature and a conservation concern.
• Stamps and blindstamps:
  • Some impressions may bear a printer’s or publisher’s stamp on the verso. Presence or absence of a stamp alone is not determinative but can support authenticity.
• Inscriptions:
  • Aside from numbering and signature, you may find notations like “A.P.” or “H.C.” on proof impressions. Avoid examples with extraneous titles or inscriptions not consistent with mid-20th-century Warhol practice; these can be red flags.

Condition sensitivities and what they mean for value

Warhol’s late-1960s screenprints are condition-sensitive, and Flash is no exception. Key issues to check:

• Light sensitivity and fading:
  • Fluorescent inks are highly light-sensitive. Fading or color-shift can be uneven; compare protected margins (if any) to exposed fields. Significant fading materially affects value.
• Surface scuffing and abrasion:
  • The ink layers can abrade from handling or stacking. Look across the surface at a raking angle for scuffs, rubs, or mat burn.
• Creases and handling dents:
  • Handling creases in the margins are common; hard creases into the image are more serious. Watch for corner bumps from past framing.
• Ink cracking:
  • In thicker, highly saturated areas, micro-cracking can occur, especially if the sheet has flexed. Stabilized, minor cracking may be tolerable; flaking is a bigger problem.
• Paper tone and staining:
  • Generalized toning from poor matting or UV exposure, foxing in margins, and tape stains from non-archival hinges are frequent. Mat-burn lines can often be reduced by a conservator, but not always invisibly.
• Restoration:
  • Acceptable professional conservation might include hinge removal, light surface cleaning, and stabilization. Inpainting or paper infills in the image area are more detrimental. Obtain conservation reports when possible.

Condition grades significantly influence price. Two visually similar impressions can diverge sharply in value based on saturation of the fluorescent grounds and the presence (or absence) of creases, stains, and abrasions.

Authentication and risk management: how to be sure it’s right

• Catalogue match:
  • Start by matching the image exactly to FS II.32–42, identifying the correct number by subject. Use authoritative images and measurements. Minor color variation within the edition occurs, but composition and scale should align precisely.
• Signature verification:
  • Compare the signature to authenticated examples from 1967–1968 Warhol prints. Consistency of line quality (pencil or ball-point pressure), slant, and letter formation matters.
• Edition and inscriptions:
  • Confirm the edition notation is consistent with Warhol’s practice and the period. Be wary of modern graphite that appears unusually dark and waxy or suspicious pen inks.
• Provenance:
  • Ideal documents include invoices from reputable galleries or auction houses, references to the original publisher, or a record of acquisition close to the publication date.
• Forensic and professional review:
  • If value is significant or doubts persist, consider paper analysis, magnified ink inspection, and a specialist opinion from a well-established print expert or institution familiar with Warhol screenprints.
• Certificates:
  • Approach “COAs” critically. Their weight depends on the issuer’s credibility. The Warhol Authentication Board no longer issues opinions; rely instead on scholarship (F&S), strong provenance, and expert reports.

Market performance and value drivers for FS II.32–42

• Subject hierarchy within the portfolio:
  • Certain images (for example, emotive portraits of Jacqueline Kennedy or bold “FLASH” text compositions) often draw stronger demand. Appraisers should gauge relative desirability within the series when selecting comparables.
• Signature and proof status:
  • Clean, well-placed signature and standard numbering are market-positive. Proofs can be desirable due to scarcity; however, market preference varies—some collectors prioritize low edition numbers; others prize APs or H.C.s.
• Completeness and set integrity:
  • A complete, uniformly preserved portfolio with original publisher’s housing can attract a premium over the sum of single-sheet values.
• Condition and color strength:
  • Fresh, unfaded fluorescent inks and minimally handled surfaces are the most important value multipliers. The difference between excellent and merely good color saturation is often the biggest price lever.
• Timing and comparables:
  • Warhol print markets are cyclical. Use recent comparables for the exact FS number, matched for edition type and condition, and note whether results were for framed or unframed works and whether restoration was declared.

Appraisal workflow: from intake to opinion of value

1. Intake and documentation: Photograph front, back, margins, signature, edition notation, and any stamps. Record exact measurements to the millimeter.
2. Catalogue alignment: Identify the precise FS number within II.32–42 by image. Note year, publisher, and medium exactly as catalogued.
3. Signature and inscription assessment: Compare to period signatures; note pen/pencil type; document proof markings if present.
4. Condition report: Under normal and raking light (and optionally UV), log fading, scuffs, creases, stains, hinge residues, and any restorations. Grade overall condition.
5. Provenance and paperwork: Assemble invoices, letters, and prior appraisals. Confirm dates and entities.
6. Market research: Select comparables by FS number, condition bracket, signature/proof status, and recency of sale. Adjust for condition and color strength.
7. Value conclusion: Provide a range with rationale, note assumptions, and flag any risks (e.g., suspected restoration not yet confirmed).

Practical checklist: Flash — November 22, 1963 (FS II.32–42)

• Verify the image matches the correct FS II.32–42 sheet by composition and approximate 21 x 21 in sheet size.
• Confirm medium is screenprint in colors with halftone imagery; under magnification, look for screenprint dot structure, not offset rosettes.
• Locate and document signature (pencil or ball-point) and edition notation; note placement (recto vs verso).
• Inspect fluorescent color strength; compare image fields to unexposed margins for fading.
• Check for abrasions, handling creases, ink cracking, foxing, mat burn, and hinge or tape stains.
• Measure margins and sheet edges; look for trimming or irregular cuts.
• Note any stamps or publisher/printer marks on the verso.
• Gather provenance and any conservation history; request written reports where possible.
• Select like-for-like comparables (same FS number, similar condition and edition status) before concluding value.

FAQ

Q: How many prints are in Warhol’s Flash — November 22, 1963 portfolio? A: Eleven individual screenprints, catalogued as Feldman/Schellmann II.32 through II.42. Single sheets are commonly encountered; complete portfolios are scarcer.

Q: Where should the Warhol signature appear on Flash prints? A: Authentic signatures for this period appear either in pencil or ball-point, commonly in the margin and sometimes on the verso. Placement can vary; the key is consistency with other late-1960s Warhol signatures.

Q: What is the standard edition size? A: The typical cited edition is 200 impressions for each image, plus a limited number of proofs (AP, H.C., PP, and occasionally TPs). Proofs are scarcer and often annotated accordingly.

Q: How sensitive are the inks to light? A: Very. Fluorescent inks used in Flash fade more readily than conventional pigments. Avoid direct sunlight and use UV-filtering glazing. Significant fading negatively impacts value.

Q: What’s the most common red flag for a reproduction? A: Offset lithographic posters or reproductions misrepresented as screenprints. Under magnification, offset prints show a CMYK rosette pattern; true Warhol screenprints present a screenprint dot/halftone without the rosette. Paper quality, scale, and overly glossy surfaces can also betray reproductions.

By aligning your example precisely with FS II.32–42, confirming a period-appropriate signature and editioning, and grading condition with an eye toward fluorescent color strength, you can arrive at a confident appraisal and a market-ready value opinion for a signed Flash — November 22, 1963 print by Andy Warhol.