Bull IV
Bull IV
Signed Mixed Media
Roy Lichtenstein
£12,000-£18,000Value Indicator
$24,000-$35,000 Value Indicator
$22,000-$35,000 Value Indicator
¥110,000-¥170,000 Value Indicator
€14,500-€22,000 Value Indicator
$120,000-$180,000 Value Indicator
¥2,270,000-¥3,410,000 Value Indicator
$15,000-$23,000 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: Mixed Media
Edition size: 100
Year: 1973
Size: H 69cm x W 89cm
Signed: Yes
Format: Signed Mixed Media
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Christie's New York | United States | |||
| March 2024 | Bonhams New York | United States | |||
| October 2023 | Christie's New York | United States | |||
| October 2019 | Christie's London | United Kingdom | |||
| July 2017 | Christie's New York | United States | |||
| April 2015 | Christie's New York | United States | |||
| April 2010 | Sotheby's New York | United States |
Meaning & Analysis
Roy Lichtenstein’s six part Bulls series from 1973 is a study of the correlation between figuration and abstraction. More specifically, it’s an exploration of art forms and printing techniques in transformation. In this series, Lichtenstein draws primarily on Theo van Doesburg’s pencil studies, The Cow (1916-17), and Pablo Picasso’s lithographs, The Bull (1945-46). Both artists abstracted the image of the animal in order to find its truest form.
Following an in-depth investigation of photographs found in 1970s cattle sales catalogues, Lichtenstein renders the image of the bull in line with his art historical predecessors. Contrary to van Doesburg and Picasso however, he calls into question the presumed distinction between realistic and abstract depictions. Basing his prints on preconceived drawings and reworked preparatory collages, he gradually reworks the naturalistic image of the bull into a mere cypher.
Bull IV is graphically slick and applies a combination of screenprint and lithography, with the addition of line cut, a process usually associated with commercial printing. Extracting the simplified forms and primary colours of Bull III, the work obscures the animal’s shape further. The bull’s tail and horns are emphasised through Lichtenstein’s comic book style, while the rest of its body is close to an indecipherable arrangement of colourful geometric shapes.
