At The Beach
At The Beach
Signed Print
Roy Lichtenstein
£18,000-£27,000
$35,000-$50,000 Value Indicator
$30,000-$50,000 Value Indicator
¥170,000-¥250,000 Value Indicator
€22,000-€35,000 Value Indicator
$180,000-$260,000 Value Indicator
¥3,540,000-¥5,310,000 Value Indicator
$23,000-$35,000 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: Lithograph
Edition size: 38
Year: 1978
Size: H 66cm x W 106cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| August 2024 | Bonhams New York | United States | |||
| March 2024 | John Moran Auctioneers | United States | |||
| May 2023 | Dobiaschofsky | Switzerland | |||
| October 2017 | Phillips New York | United States | |||
| April 2013 | Bonhams San Francisco | United States | |||
| October 2011 | Christie's New York | United States | |||
| November 2010 | Phillips New York | United States |
Meaning & Analysis
In the late 1970s, Roy Lichtenstein entered his remarkable absurdist period, inspired by the practices of Surrealism. Originating in the 1920s, surrealist artists delved into subconscious realities, stringing together peculiar types of imagery. Lichtenstein’s Surrealist series follows suit, merging disparate elements into impactful compositions.
Although these prints copy the manner in which surrealist artworks were created, the pictorial language of the Surrealist sequence is literal rather than symbolical. The series combines art historical tropes with various motifs from Lichtenstein’s own oeuvre. Accordingly, the subject matter of At The Beach, executed in 1978, precedes the artist’s abstracted Perfect/Imperfect series of the 1980s. It’s components are also the forerunners of his illustrative The New Fall Of America suite of the 1990s.
Lichtenstein anchors the print’s composition in wildly opposing forms, maximising its referential framework. At The Beach situates its protagonists amid minimalist hills and levitating futurist shapes.The fluid outlines of a sunbathing woman are stretched across the canvas. She is composed entirely of graphic red stripes and bright yellow tufts of hair. Her melting body resembles a purist modern sculpture, while also honouring the essentialist legacies of nude painting. Her companion’s shape is fixed in the background, reminiscent of a cubist ceramic, greeting the beholder with a wave.
