Imperfect Print For B.A.M.
Imperfect Print For B.A.M.
Signed Print
Roy Lichtenstein
£16,000-£24,000
$30,000-$45,000 Value Indicator
$28,000-$40,000 Value Indicator
¥140,000-¥220,000 Value Indicator
€19,000-€28,000 Value Indicator
$150,000-$230,000 Value Indicator
¥3,070,000-¥4,600,000 Value Indicator
$20,000-$30,000 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: Planographic print
Edition size: 75
Year: 1987
Size: H 137cm x W 65cm
Signed: Yes
Format: Signed Print
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Track auction value trend
Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| January 2024 | SBI Art Auction | Japan | |||
| October 2020 | Bonhams New York | United States | |||
| October 2020 | Bonhams New York | United States | |||
| July 2015 | Christie's New York | United States | |||
| April 2015 | Christie's New York | United States | |||
| April 2015 | Phillips New York | United States | |||
| April 2012 | Christie's New York | United States |
Meaning & Analysis
Roy Lichtenstein was one of the first artists of the Pop Art movement to mimic the visual language of commercial design in his contemporary artworks. The artist was also known for breathing new life into long-established art historical genres, thereby initiating bold dialogues with the art of the past.
The Perfect/Imperfect series, executed between 1978 and 1995, is a sensational example of the varied visual strategies Lichtenstein employed throughout his career. Rather than deriving inspiration from mass-produced images, both sequences manifest the artist’s original abstract designs. Although they were created concurrently and are thematically identical, the two series represent the same composition differently. While the Perfect prints conform to the framework, the Imperfect prints take a different approach and subvert the pictorial boundaries.
Imperfect Print for B.A.M, completed in 1988, is the most subtle saboteur of the Imperfect Series. The print exhibits light and dark blue shapes with stark black borders, arranged into a web of interconnected lines. Tone, texture and dimension are evoked through black Ben Day dots and stripes. No sharply angled forms are piercing the edges of this print. Instead, discreet lines and corners poke at the borders, gently interrupting its outline in a select few places.
