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Imperfect (C. 222) - Signed Print by Roy Lichtenstein 1988 - MyArtBroker

Imperfect (C. 222)
Signed Print

Roy Lichtenstein

£30,000-£50,000Value Indicator

$60,000-$100,000 Value Indicator

$50,000-$90,000 Value Indicator

¥270,000-¥460,000 Value Indicator

35,000-60,000 Value Indicator

$290,000-$490,000 Value Indicator

¥5,660,000-¥9,430,000 Value Indicator

$40,000-$60,000 Value Indicator

-9% 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 150cm x W 190cm

Signed: Yes

Format: Signed Print

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Roy Lichtenstein's Imperfect (C. 222) from 1988, a signed Planographic Print, is estimated to be worth between £30,000 and £50,000. This artwork has been sold 7 times at auction since its initial sale in April 2010. There have been no sales in the last 12 months. Over the past five years, the hammer price has ranged from £38,304 in September 2022 to £53,478 in October 2020. The average annual growth rate of this piece is -9%. 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
September 2022Christie's London United Kingdom
April 2021Sotheby's New York United States
October 2020Sotheby's New York United States
April 2018Christie's New York United States
October 2017Christie's New York United States
December 2013Phillips London United Kingdom
April 2010Christie's New York United States

Meaning & Analysis

Lichtenstein’s Perfect/Imperfect series were completed between the years of 1978 and 1995. Both sequences demonstrate the varied technical and formal strategies Lichtenstein employed throughout his career. Although they were created concurrently and are thematically identical, the two series manifest the same subject matter differently. On the one hand, Lichtenstein presents fixed abstractions in his Perfect prints. Conversely, his Imperfect prints humorously sabotage pictorial limitations, breaking the edges of the canvas wherever possible.

In Imperfect (C. 222), Lichtenstein connects the contours of numerous geometrical shapes into one controlled and continuous line. The work showcases flat areas of intense colour and compact forms populated by dots and stripes. While the patterns evoke tone and texture, assertive black outlines provide shading, making the components emerge as three dimensional. As a result, the composition appears to be subtly protruding, puncturing the framework in several places.

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