Roy Lichtenstein

United States (New York 19231997 ) - Prints Wikipedia® - Roy Lichtenstein
LICHTENSTEIN Roy Modern Head #5, From Modern Head Series

Phillips, De Pury & Luxembourg /Jan 22, 2015
5,060.09 - 7,590.13
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Artworks in Arcadja
4994

Some works of Roy Lichtenstein

Extracted between 4,994 works in the catalog of Arcadja
Roy Lichtenstein - Girl With Ball

Roy Lichtenstein - Girl With Ball

Original 1995
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Lot number: 147
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Roy Lichtenstein (1923-1998) Please Register/Login to access your Invaluable Alerts Description: Serigraph in colors on cardboard Belgium, Brussels, 1995 After Roy Lichtenstein (1923-1997) - US-American Pop Art artist Signed lower right in pencil 'rf Lichtenstein' Poster for an exhibition of the artist 1995 at the Palais des Beaux-Arts in Brussels After the original work at the MoMA in New York (copyright note left margin) Publisher: Plazier, Brussels Print: Carto, Brussels Catalog raisonné: compare Doering/Von der Osten 161 Image dimensions: 93 x 55.2 cm Very good condition Provenance: Private Collection, La Canada Flintridge, California; Private Collection, Austria Roy Lichtenstein is next to Andy Warhol one of the most famous representatives of pop art; the auction record for a signed serigraph by the artist is set at higher than €800,000 Object is regular taxed. 19% VAT is added to the purchase price for deliveries within the EU. 'Girl with Ball' is one of the iconic works by the American pop art artist Roy Lichtenstein that established his recognition, when he created it in 1961 and caught the attention of important New York gallery owner and patron Leo Castelli. Today, the original painting is located at the Museum of Modern Art in New York. This serigraph in colors was printed as a poster for an exhibition of the artist in 1995 at the Palais des Beaux-Arts in Brussels. The serigraph is signed lower right in pencil 'rf Lichtenstein'. The work is in very good condition, it is merely minimally unfresh and slight handling creases are visible. The depiction measures 93 x 55.2 cm and the dimensions of the sheet are 69.3 x 51.7 cm. Roy Lichtenstein (1923-1997) Next to Andy Warhol Roy Lichtenstein is possibly the best known representative of Pop Art. Pop Art was formed in the 1950s independently in the USA and England and spread throughout North America and Europe in the 1960s. The motifs of Pop Art originate from everyday life, the mass media, advertising and the consumer world. The illustrations are mostly striking and photo-realistic. The forms are - like in Roy Lichtenstein's work - often outlined in black color, equally to comics, as well as designed in primary colors. Thematically Pop Art deals with both the enthusiasm and the criticism of the affluent society of the 1950s and 1960s. In his early work, Roy Lichtenstein was still strongly influenced by Pablo Picasso and his Blue and Rose Period. The first signs of Pop Art in his work can be found in 1956. The international breakthrough came in 1961 with his work 'Look Mickey'. From the 1980s onwards, he returned to his artistic roots, which can be found in Surrealism and Expressionism. Roy Lichtenstein exhibited at the documenta in Kassel in 1968 and 1977. In addition to paintings he created screen and woodblock prints, collages, ceramics and sculptures. (tm)
Roy Lichtenstein - Aspen Winter Jazz

Roy Lichtenstein - Aspen Winter Jazz

Original 1967
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Lot number: 24
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Roy Lichtenstein (1923-1997) Aspen Winter Jazz, 1967, Silkscreen. Dimensions: h: 39 1/8 x w: 25 1/4 in. Signed and numbered 77/300 in pen lower right. Chiron Press New York embossed lower left. Provenance: Nina Sundell. Purchased by Ann and Norman Roulet from the above. Other Notes: Proceeds to benefit the Cleveland Institute of Art's Ann and Norman Roulet Student and Alumni Gallery.
Roy Lichtenstein - Art

Roy Lichtenstein - Art

Original 1988
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Lot number: 3121
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Roy Lichtenstein (American, 1923-1997) Reflections: Art , 1988 Color screenprint on wove paper, signed in pencil with the artist's copyright credit stamp, from the edition of 150 with text, published for The American Federation of Arts 80th Anniversary, with margins, in very good condition aside from faint mat staining, surface scuffs and soiling, a few soft creases, framed.
Roy Lichtenstein - Modern Head #5, From Modern Head Series

Roy Lichtenstein - Modern Head #5, From Modern Head Series

Original 1970
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Lot number: 180
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Roy Lichtenstein Modern Head #5, from Modern Head series , 1970 Embossed graphite with Strathmore die-cut paper overlay, with wood stretcher support (as issued), 72 x 50.1 x 3.6 cm (28 3/8 x 19 3/4 x 1 3/8 in.) signed, dated '70' and inscribed 'A/P VII' (an artist's proofs, the edition was 100 in Arabic numerals), published by Gemini G.E.L., Los Angeles (with their blindstamp), mounted in the original white lacquered aluminium frame specified by the artist. Literature Mary Lee Corlett 95 Gemini G.E.L. 246
Roy Lichtenstein - Collage For Painting In Gold Frame

Roy Lichtenstein - Collage For Painting In Gold Frame

Original 1984
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Lot number: 53
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Roy Lichtenstein 1923 - 1997 COLLAGE FOR PAINTING IN GOLD FRAME signed on the reverse Executed circa 1984. acrylic, painted and printed paper on board 121.9 x 94 cm., 48 x 37 in. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Leo Castelli Gallery Inc., New York James Goodman Gallery, New York Waddington Galleries, Ltd., London Christie's New York, 5 May 1993, Lot 288 Private Collection, California Hamilton-Selway Fine Arts, Los Angeles Private Collection, Switzerland Christie's London, 21 October 2008, Lot 225 Acquired from the above sale by the present owner “The capacity of Lichtenstein’’s art to engage such dualities – whimsy and complexity, drollery and sophistication, parody and reverence – enlivens his work and is a continual source of pleasure.” R. Fitzpatrick (Roy Lichtenstein: Interiors, New York, 2001, p.14) Revered as the master of graphic clarity and a genius of image appropriation, Roy Lichtenstein crafted Pop Art masterpieces that redefined the boundary between High and Low art through an ironic interplay of popular culture, everyday objects and art history. In the case of the Collage for Painting in Gold Frame from 1984, the artist takes direct aim at the notion of the brushstroke as the manifestation of the artist’’s genius. By putting a painting within a painting – a mise-en-abyme technique, Lichtenstein uses his unique Pop language to explore and subvert the heroic gestures of the brushstroke championed by the Abstract Expressionists, presenting a highly complex, playful, meta-painterly tour de force. Using the simplified style of the comic book, a detached manner of representation, the present work depicts a section of a framed Abstract Expressionist painting: a gold frame with its corresponding shadow, a white mat board with wide black contours suggesting thickness, cut out variations of the artist’’s famed schematic image of abstract brushstroke, and artist’’s own real brushstrokes intertwined with the cut-outs. The emotive immediacy of the Abstract-Expressionism and the carefully flattened coolness of Pop are pitted against each other in a balanced composition. Meanwhile, the artist pokes fun at different ways of representing reality: what is represented is an abstract painting framed as a three-dimensional object, and one would never see an Absract-Expressionist painting in such an elaborate gold frame. The early 1980s, when the present work was created, saw Lichtenstein translating the brushstroke motif from paintings to sculptures in various public art projects, such as Brushstrokes in Flight for the entrance to the International Airport of Columbus, Ohio. The core ironies and the insistence on the conflation of two- and three-dimensionality, however, remained significant. The present lot is a celebrated example of Lichtenstein’’s use of collage to order and balance his surface. Not only is there an exercise of arranging real and cut-out brushstrokes as pure abstract forms, but also the tendency to conflate the abstract with the figural, where the references to a female portrait can be detected: the pink daub in the centre suggests lips, while the vertical yellow brushstroke acts as blonde hair, which is so emblematic of many of Lichtenstein’’s depiction of women. To some extent, the artist’’s collage works are more complete than his paintings, as they offer insight into his meticulous working method. The artist explains, “I do a lot of [collaging] in the paintings. I start something and keep adding it – putting pieces of paper down temporarily and looking at the image… it’’s just much easier to try it out first in collage to get everything I want.” (Roy Lichtenstein, Beginning to End, exh. cat., Fundacion Juan March, Madrid, 2007, p.126) Aside from a 1983 drawing of the same subject, the present lot became the ultimate maquette for a set of prints titled, Painting in Gold Frame, which further attests to the definitiveness of Lichtenstein’’s collage works as complete artworks. This bold and graphic work challenges the methods and notions of visual perception and subvert the illusion of representation all the while maintaining the artist’’s playful but important conflation of the boundaries between high and low culture. Fig. 1 Roy Lichtenstein, Girl with Tear III, 1977. Beyeler Foundation, Riehen. © Estate of Roy Lichtenstein Fig. 2 Roy Lichtenstein, Yellow Brushstroke II, 1965 © Estate of Roy Lichtenstein Fig. 3 The artist in his studio. Photo: Foto Mayer, Vienna © Estate of Roy Lichtenstein The work is in good condition. The catalogue illustration is inaccurate: the colours of the work are bright and fresh, with the "gold frame" collage element in glossy gold colour. There are scattered soft creases to the "gold frame" element, due to the material and the artist's collage process. There is a horizontal crease on the extreme bottom edge, measuring 4.5cm in length, located 6cm from the left edge; along the bottom edge, there are scattered short creases, not visible when framed. The work is framed under Plexiglas. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
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