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Red Apple - Signed Print by Roy Lichtenstein 1983 - MyArtBroker

Red Apple
Signed Print

Roy Lichtenstein

£8,500-£12,500Value Indicator

$18,000-$26,000 Value Indicator

$16,000-$23,000 Value Indicator

¥80,000-¥120,000 Value Indicator

€10,000-€14,500 Value Indicator

$90,000-$130,000 Value Indicator

¥1,670,000-¥2,460,000 Value Indicator

$11,500-$17,000 Value Indicator

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77 x 93cm, Edition of 60, Woodcut

Medium: Woodcut

Edition size: 60

Year: 1983

Size: H 77cm x W 93cm

Signed: Yes

Format: Signed Print

Last Auction: April 2010

Value Trend:

5% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

TradingFloor

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
April 2010
Christie's New York
United States
£4,171
£4,907
£6,134
May 2005
Freeman's Online
United States
MyPortfolio
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Track auction value trend

The value of Roy Lichtenstein’s Red Apple (signed) from 1983 is estimated to be worth between £8,500 and £12,500. This woodcut print, created in a limited edition of 60, has been sold twice at auction since its initial sale on 20th May 2005. This artwork has not been sold in the last 12 months and has shown an average annual growth rate of 5%.

Created with Highcharts 11.4.8May 2005Mar 2006Jan 2007Oct 2007Aug 2008Jun 2009Apr 2010£3,500£4,000£4,500£5,000£5,500£6,000£6,500© MyArtBroker

Meaning & Analysis

Red Appledoes not attempt to commodify brushwork according to Lichtenstein’s signature aesthetic. The backdrop of the print is entirely white and stripped of all patterns. Stylistically familiar areas are scarce in this work, but its rich colour palette is distinctly ‘Lichtensteinian’. The contours of the simplistic apple in the middle of the composition are achieved through bold simulations of black brushstrokes. The outlines are disrupted in several places, letting the dark red colour spill out over the bottom half of the canvas.

There is a rhythm to Lichtenstein’s energetic sweeps, as he ridicules abstract expressionist beliefs regarding the power of brushwork. The unrefined quality of his imitation makes the beholder forget that the work is in fact a woodcut. Lichtenstein reduces the inanimate object to an essential shape, trusting that the beholder will recognise the subject matter all the same. He follows in the footsteps of renaissance and impressionist masters, demonstrating the endurance of still lifes as an art historical genre.