Two Paintings: Dagwood
Two Paintings: Dagwood
Signed Print
Roy Lichtenstein
£35,000-£50,000
$70,000-$100,000 Value Indicator
$60,000-$90,000 Value Indicator
¥320,000-¥450,000 Value Indicator
€40,000-€60,000 Value Indicator
$340,000-$480,000 Value Indicator
¥6,830,000-¥9,760,000 Value Indicator
$45,000-$60,000 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: 60
Year: 1984
Size: H 136cm x W 99cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Sotheby's London | United Kingdom | ||||
| October 2022 | Phillips New York | United States | |||
| June 2022 | Wright | United States | |||
| October 2019 | Bonhams Los Angeles | United States | |||
| October 2019 | Bonhams Los Angeles | United States | |||
| February 2019 | Christie's New York | United States | |||
| January 2019 | Phillips London | United Kingdom |
Meaning & Analysis
Roy Lichtenstein completed his eight-part multimedia sequence entitled Paintings in 1984. The elaborate prints in this series not only prove his outstanding talent as a print maker, but also demonstrate his innovative conceptual range. Lichtenstein’s Paintings exhibit fictitious picture frames as their central motif.
The masterful composition of Two Paintings: Dagwood is perhaps the most complex and figurative edition of the series. Lichtenstein captures two imaginary paintings on either side of the canvas. Both are enveloped in black and white baroque style frames.The left-hand side is executed as a pastel imitation of the autographic brushwork of the abstract expressionists. Lichtenstein’s concurrent Seven Apple Woodcuts and later Brushstroke Faces pursue similar explorations of the painterly gestures of Abstract Expressionism.
Opposite, the artist inserts a dramatic comic book scene, appropriated from a 1930s cartoon named ‘Dagwood’. The distressed figure, clad in a black tuxedo and a red bowtie, is captured in the act of tumbling over. It is evident that Two Paintings: Dagwood parodies both fine and commercial modes of expression. Lichtenstein skillfully morphs the two portraits into one visually unified canvas. Ultimately, he seeks to undermine the notion of artistic originality in this print. As such, the work functions as an image in itself, while also being the representation of other images.
