The Oval Office
The Oval Office
Signed Print
Roy Lichtenstein
£40,000-£60,000
$80,000-$110,000 Value Indicator
$70,000-$100,000 Value Indicator
¥350,000-¥520,000 Value Indicator
€45,000-€70,000 Value Indicator
$390,000-$590,000 Value Indicator
¥6,730,000-¥10,100,000 Value Indicator
$50,000-$80,000 Value Indicator
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: 175
Year: 1992
Size: H 76cm x W 100cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2022 | Ketterer Kunst Hamburg - Germany | The Oval Office - Signed Print | |||
| December 2021 | Koller Zurich - Switzerland | The Oval Office - Signed Print | |||
| May 2020 | Skinner, Boston - United States | The Oval Office - Signed Print | |||
| April 2019 | Sotheby's New York - United States | The Oval Office - Signed Print | |||
| April 2017 | Christie's New York - United States | The Oval Office - Signed Print | |||
| November 2016 | Christie's New York - United States | The Oval Office - Signed Print | |||
| October 2014 | Doyle New York - United States | The Oval Office - Signed Print |
Meaning & Analysis
Roy Lichtenstein was commissioned to create Oval Office in conjunction with the 1992 Clinton/Gore election campaign. The work was featured as part of the Artists for Freedom of Expression project and benefitted the Democratic National Committee. Later, Lichtenstein’s contribution was chosen as one of six commemorative posters by the Presidential Inaugural Committee.Lichtenstein spent a long while studying the interior of the actual Oval Office at the White House. His main objective was to capture and reproduce the exact decor of the space.
The artist uses bright colours, bold black outlines, and a few Ben Day dots to accent his otherwise linear composition. Lichtenstein adds authentic decorative details to the room, as well as his referential versions of the actual paintings that once hung there. For instance, a cartoon rendition of the American flag is mounted on a wall on the right, alluding to the artist’s ownForms In Space from 1985.
Akin to Inaugural Print and I Love Liberty, the work harnesses the cultural saturation of popular imagery. Embracing a polished and mass-produced aesthetic, Lichtenstein’s take on this notorious room stylises and modernises the space. The artist’s highly illustrative and colourful representation of the presidential office is a classic example of his captivating Pop Art.