Illustration For Bayone En Entrant Dans NYC
Illustration For Bayone En Entrant Dans NYC
Signed Print
Roy Lichtenstein
£7,000-£10,500
$14,000-$21,000 Value Indicator
$12,500-$19,000 Value Indicator
¥60,000-¥100,000 Value Indicator
€8,500-€12,500 Value Indicator
$70,000-$110,000 Value Indicator
¥1,400,000-¥2,100,000 Value Indicator
$9,000-$13,500 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Intaglio
Edition size: 80
Year: 1992
Size: H 28cm x W 35cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Rago | United States | |||
| May 2018 | Bonhams New York | United States |
Meaning & Analysis
In 1991, Allen Ginsberg, the seminal poet of the Beats generation, asked Roy Lichtenstein to create illustrations for La Nouvelle Chute de l'Amérique, a French edition of his book of poetry. For this project, Lichtenstein used cut-outs of printed and hand-painted paper to design ten collages that were then transformed into etchings and acquaints.
Bayonne En Entrant Dans NYC depicts, what Ginsberg called in the poem of the same title, a ‘megapolis with burning factories’. The print is composed predominantly from overlapping paper strips that run disjointedly across the print, evoking the hustle of urban life. Triangles and squares are shapes that dominate the image against the background constituted by Lichtenstein’s trademark stripes. The abundant use of geometric figures and disorienting perspective created by the overlapping paper strips bring to mind the artist’s earlier series, such as Imperfect (1986), and points to the likes of Donald Judd and Kenneth Noland as a source of artistic inspiration.
With tall factory towers and clouds of smoke looming in the background, Bayonne En Entrant Dans NYC offers a playful yet gritty take on Ginsberg’s poetic vision of a bustling city. Considering the attachment of Lichtenstein’s name to pop art, the work also attests to the versatility of the creative practice that follows his most famous paintings of the early 1960s.
