Finger Pointing
Finger Pointing
Unsigned Print
Roy Lichtenstein
£10,000-£15,000
$21,000-$30,000 Value Indicator
$18,000-$28,000 Value Indicator
¥100,000-¥150,000 Value Indicator
€11,500-€17,000 Value Indicator
$100,000-$160,000 Value Indicator
¥1,880,000-¥2,830,000 Value Indicator
$13,500-$20,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 300
Year: 1973
Size: H 30cm x W 23cm
Signed: No
Format: Unsigned Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Forum Auctions London | United Kingdom | |||
| July 2023 | Sotheby's New York | United States | |||
| June 2023 | Rago | United States | |||
| October 2022 | Wright | United States | |||
| June 2022 | Phillips London | United Kingdom | |||
| March 2022 | Tate Ward Auctions | United Kingdom | |||
| December 2019 | Karl & Faber | Germany |
Meaning & Analysis
Roy Lichtenstein’s Finger Pointing from 1973 was commissioned for the Experiments in Art and Technology group’s The New York Collection for Stockholm portfolio. The work appropriates as its main composition an iconic symbol of American nationalism and militarism. This coloured screen print on wove paper belongs to a limited edition of 300.
Mirroring the reduced pictorial qualities of Spray Can and Pistol, Finger Pointing is one of Lichtenstein's early ventures into capturing essential shapes. The work borrows an iconic symbol of American nationalism and militarism: Uncle Sam, who appeared on recruitment posters during the war. Only Uncle Sam’s hand, wrist, and pointed finger survive Lichtenstein’s appropriation. The artist utilises a zoomed-in perspective and partial cropping, previously also implemented in Foot And Hand from the early 1960s amongst other works. In doing so, Lichtenstein invokes a repressed sense of underlying tension.
The riveting composition is rendered in bold outlines and a vibrant red, black, and white colour palette. Rendered through the idealised nature of print advertisements, the image makes an already assertive gesture seem even more aggressive. Lichtenstein generalises the familiar visual, thereby expanding its range of meaning.