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Two Paintings: Beach Ball - Signed Print by Roy Lichtenstein 1984 - MyArtBroker

Two Paintings: Beach Ball
Signed Print

Roy Lichtenstein

Price data unavailable

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: 60

Year: 1984

Size: H 92cm x W 94cm

Signed: Yes

Format: Signed Print

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Roy Lichtenstein's Two Paintings: Beach Ball, a signed Planographic Print from 1984, is estimated to be worth between £45,000 and £70,000. This artwork has been sold four times at auction since its initial sale on 28th October 2011. The hammer price for this work has shown consistency over the past five years, with an average annual growth rate of 1%. This is a rare piece with an auction history demonstrating its value. The edition size of this artwork is limited to 60.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2021Phillips New York United States
October 2014Christie's New York United States
December 2013Phillips London United Kingdom
October 2011Sotheby's New York United States

Meaning & Analysis

Mounted on a striped wall, Two Paintings: Beach Ball contrasts the composition of two disparate imaginary portraits. On the left hangs a regency style frame, depicting a reclining figure by the sea. Similar to the shapes of Lichtenstein’s Surrealist series, the captured forms are fluid and composed entirely of red dots. At the bottom left of the canvas sits a minimalist frame, exhibiting silver brushstrokes on a black and white faux-burlap background. Lichtenstein’s concurrent Seven Apple Woodcuts and later Brushstroke Faces achieve similar imitations of the emotive manner of Abstract Expressionism.

The irony of this print is mainly established through the thematic comparison of the spontaneous painterly sweeps and the detached cartoon aesthetic. The contrast is further enforced by the cropping of forms, which asserts the object quality of the work. Lichtenstein presents the idealised tradition of autographic mark making as equal to commercial types of imagery. By framing and exhibiting them both as masterpieces, the artist achieves an added connotation of self-parody.

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