Imperfect (C. 224)
Imperfect (C. 224)
Signed Print
Roy Lichtenstein
£40,000-£60,000
$80,000-$120,000 Value Indicator
$70,000-$110,000 Value Indicator
¥370,000-¥550,000 Value Indicator
€50,000-€70,000 Value Indicator
$390,000-$590,000 Value Indicator
¥7,770,000-¥11,650,000 Value Indicator
$50,000-$80,000 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 161cm x W 226cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2023 | Christie's London - United Kingdom | Imperfect (C. 224) - Signed Print | |||
| October 2022 | Sotheby's New York - United States | Imperfect (C. 224) - Signed Print | |||
| October 2014 | Phillips New York - United States | Imperfect (C. 224) - Signed Print | |||
| October 2008 | Sotheby's New York - United States | Imperfect (C. 224) - Signed Print |
Meaning & Analysis
Roy Lichtenstein was one of the first artists of the Pop Art movement, who mimicked the visual language of commercial design in his contemporary artworks. The artist was also known for breathing new life into long-established art historical genres, thereby initiating bold dialogues with the art of the past.
The Perfect/Imperfect series were executed between the years of 1978 and 1995. These prints are sensational examples of the varied technical and formal strategies Lichtenstein employed throughout his career. What further sets the Perfect/Imperfect series apart is that the subject matter is entirely self-generated. Rather than deriving his shapes from mass-produced images, Lichtenstein bases both series on an original design. Nevertheless, the two sequences represent the subject matter of pure abstraction quite differently. As opposed to his Perfect prints, where the geometrically precise forms enforce boundaries, the Imperfect prints humorously undermine pictorial limitations.
Imperfect (C. 224), finalised in 1988, is primarily composed of controlled and continuous lines. In this work, Lichtenstein presents an interconnected web of flat geometrical areas in light fuchsia and scarlet. The middle of the composition is adorned by stripes and dots, bordered by strict black contours. Certain lines go out beyond the rectangular base of the print, as if they missed the edge somehow, subtly piercing the alabaster backdrop.
