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Imperfect Diptych (C. 219) - Signed Print by Roy Lichtenstein 1988 - MyArtBroker

Imperfect Diptych (C. 219)
Signed Print

Roy Lichtenstein

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117 x 232cm, Edition of 45, Planographic print

Medium: Planographic print

Edition size: 45

Year: 1988

Size: H 117cm x W 232cm

Signed: Yes

Format: Signed Print

Last Auction: October 2020

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
October 2020
Phillips New York
United States
£24,676
£29,031
£36,579
July 2020
Phillips New York
United States
September 2019
Christie's London
United Kingdom
April 2019
Phillips New York
United States
July 2018
Christie's New York
United States
April 2011
Christie's New York
United States
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Track auction value trend

The value of Roy Lichtenstein's Imperfect Diptych (C. 219) is estimated to be worth between £35,000 and £50,000. This signed planographic print, created in 1988, has shown consistent value growth, with an average annual growth rate of 5%. This work has an auction history of six total sales since its entry to the market in April 2011. In the last 12 months, the hammer price has ranged from £29,031 in October 2020 to £39,101 in July 2020. The average return to the seller over the past five years is £28,956. The edition size of this artwork is limited to 45.

Created with Highcharts 11.4.8Apr 2011Nov 2012Jun 2014Jan 2016Aug 2017Mar 2019Oct 2020£22,500£25,000£27,500£30,000£32,500£35,000£37,500£40,000© MyArtBroker

Meaning & Analysis

Created between 1978 and 1995, his Perfect/Imperfect series is a sensational example of the varied technical and formal strategies implemented by Lichtenstein. Although they were created concurrently and are thematically identical, the two series manifest the same composition differently. Whereas the shapes in the Perfect prints adapt to the framework, the Imperfect prints pointedly undermine pictorial boundaries.

Imperfect Diptych 46, completed in 1988, is a stunning unison of the two sequences. The print is based on the historical tradition of altarpieces, and therefore depicts the illusion of a paired print on a single panel. Instead of a continuous but divided composition, Lichtenstein composes separate but closely related images. The two sides are joined in a similar fashion through their colour scheme and geometrical shapes. The left image is contained within the limits of its base, while the right side is a distinct Imperfect creation, breaking out of its frame with one sharp stab.