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Imperfect Diptych (C. 219) - Signed Print by Roy Lichtenstein 1988 - MyArtBroker

Imperfect Diptych (C. 219)
Signed Print

Roy Lichtenstein

£35,000-£50,000Value Indicator

$70,000-$100,000 Value Indicator

$60,000-$90,000 Value Indicator

¥320,000-¥450,000 Value Indicator

40,000-60,000 Value Indicator

$340,000-$480,000 Value Indicator

¥6,750,000-¥9,650,000 Value Indicator

$45,000-$60,000 Value Indicator

15% AAGR

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

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Medium: Planographic print

Edition size: 45

Year: 1988

Size: H 117cm x W 232cm

Signed: Yes

Format: Signed Print

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Roy Lichtenstein's Imperfect Diptych (C. 219) from 1988 is a signed Planographic Print, estimated to be worth between £35,000 and £50,000. This artwork has shown consistent value growth, with an average annual growth rate of 15%. Over the past five years, the hammer price has ranged from £29,031 in October 2020 to £39,101 in July 2020. This work is somewhat rare, having been sold 6 times since its initial sale in April 2011. The edition size of this artwork is limited to 45.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2020Phillips New York United States
July 2020Phillips New York United States
September 2019Christie's London United Kingdom
April 2019Phillips New York United States
July 2018Christie's New York United States
April 2011Christie's New York United States

Meaning & Analysis

Created between 1978 and 1995, his Perfect/Imperfect series is a sensational example of the varied technical and formal strategies implemented by Lichtenstein. Although they were created concurrently and are thematically identical, the two series manifest the same composition differently. Whereas the shapes in the Perfect prints adapt to the framework, the Imperfect prints pointedly undermine pictorial boundaries.

Imperfect Diptych 46, completed in 1988, is a stunning unison of the two sequences. The print is based on the historical tradition of altarpieces, and therefore depicts the illusion of a paired print on a single panel. Instead of a continuous but divided composition, Lichtenstein composes separate but closely related images. The two sides are joined in a similar fashion through their colour scheme and geometrical shapes. The left image is contained within the limits of its base, while the right side is a distinct Imperfect creation, breaking out of its frame with one sharp stab.

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