Imperfect (C. 221)
Imperfect (C. 221)
Signed Print
Roy Lichtenstein
£45,000-£70,000
$90,000-$130,000 Value Indicator
$80,000-$120,000 Value Indicator
¥410,000-¥630,000 Value Indicator
€50,000-€80,000 Value Indicator
$440,000-$680,000 Value Indicator
¥8,780,000-¥13,660,000 Value Indicator
$60,000-$90,000 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: 45
Year: 1988
Size: H 147cm x W 234cm
Signed: Yes
Format: Signed Print
TradingFloor
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 | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2018 | Christie's New York - United States | Imperfect (C. 221) - Signed Print |
Meaning & Analysis
Roy Lichtenstein, a pioneer of American Pop Art, became infamous for breathing new life into long-established art historical genres. His oeuvre frequently mimicked the appearance of industrially made images. Although seemingly mass-produced at first glance, the artist executed his artworks manually and with laborious precision.
Created between the years of 1978 and 1995, the Perfect/Imperfect series is a sensational example of the varied technical and formal strategies implemented by Lichtenstein. Although they were created concurrently, the two series manifest the subject matter of pure abstraction differently. Whereas the Perfect prints stay within the limits of the composition, the Imperfect prints disrupt pictorial limitations.
Imperfect (C. 221) from 1988 shows variably sized triangular elements, bordered by strong black outlines. Some components are depicted through flat colour planes, while others are supplied with texture and tone by the dots and stripes populating their surfaces. The left of the canvas is black and white, composed of complete geometrical forms. On the opposite side, Lichtenstein presents a brilliant colour scheme and a fractured array of smaller shapes. The sharp tip of a triangle protrudes through the right of the rectangular backdrop, breaking the edge of the framework.
