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Two Paintings: Beach Ball - Signed Print by Roy Lichtenstein 1984 - MyArtBroker

Two Paintings: Beach Ball
Signed Print

Roy Lichtenstein

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92 x 94cm, Edition of 60, Planographic print

Medium: Planographic print

Edition size: 60

Year: 1984

Size: H 92cm x W 94cm

Signed: Yes

Format: Signed Print

Last Auction: June 2025

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
June 2025
Van Ham Fine Art Auctions
Germany
N/A
N/A
N/A
October 2021
Phillips New York
United States
October 2014
Christie's New York
United States
December 2013
Phillips London
United Kingdom
October 2011
Sotheby's New York
United States
MyPortfolio
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Track auction value trend

The value of Roy Lichtenstein’s Two Paintings: Beach Ball (signed) is estimated to be worth between £18,000 and £27,000. Over the past 12 months, the average selling price was £17,237, across a total of 1 sale. This Planographic Print, created in 1984, has shown consistent value growth and has an auction history of 5 total sales since its entry to the market on 28th October 2011. The artwork demonstrates an annual average growth rate of 6%. This work is rare, with an auction history of 5 total sales, and an edition size of 60.

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Meaning & Analysis

Mounted on a striped wall, Two Paintings: Beach Ball contrasts the composition of two disparate imaginary portraits. On the left hangs a regency style frame, depicting a reclining figure by the sea. Similar to the shapes of Lichtenstein’s Surrealist series, the captured forms are fluid and composed entirely of red dots. At the bottom left of the canvas sits a minimalist frame, exhibiting silver brushstrokes on a black and white faux-burlap background. Lichtenstein’s concurrent Seven Apple Woodcuts and later Brushstroke Faces achieve similar imitations of the emotive manner of Abstract Expressionism.

The irony of this print is mainly established through the thematic comparison of the spontaneous painterly sweeps and the detached cartoon aesthetic. The contrast is further enforced by the cropping of forms, which asserts the object quality of the work. Lichtenstein presents the idealised tradition of autographic mark making as equal to commercial types of imagery. By framing and exhibiting them both as masterpieces, the artist achieves an added connotation of self-parody.