£5,000-£8,000 VALUE (EST.)
$9,500-$15,000 VALUE (EST.)
$8,000-$13,000 VALUE (EST.)
¥45,000-¥70,000 VALUE (EST.)
€6,000-€9,000 VALUE (EST.)
$50,000-$80,000 VALUE (EST.)
¥910,000-¥1,450,000 VALUE (EST.)
$6,000-$9,500 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
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Signed Print Edition of 100
H 30cm x W 91cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|Sotheby's London - United Kingdom||Repeated Design - Signed Print|
|October 2019||Freeman's - United States||Repeated Design - Signed Print|
|May 2018||Wright - United States||Repeated Design - Signed Print|
|October 2017||Christie's New York - United States||Repeated Design - Signed Print|
|June 2017||Bonhams New York - United States||Repeated Design - Signed Print|
|March 2016||Christie's New York - United States||Repeated Design - Signed Print|
|October 2010||Sotheby's New York - United States||Repeated Design - Signed Print|
Roy Lichtenstein’s Repeated Design from 1969presents a flattened picture plane with a bright geometrical design. The work manifests a middle ground between figuration and abstraction.Repeated Design precedes Modern Printof 1971 and acts as a successor to the artist’s Banner IVof 1968.
The print’s colour palette is in line with Lichtenstein’s favoritism of unmodulated pigments, as he situates slick black and white forms on a brilliant yellow backdrop. Seeking to actively obliterate painterly gestures, the perfected shapes are connected through a smooth superimposition of colours and patterns. Lichtenstein’s use of Ben Day dots adds shadowing and texture to the sharp angles and curved edges portrayed. Dotted grey triangles and rectangles are merged across the surface of this print, assembled into a repetitive and intense composition.
Repeated Design’s busy picture plane balances firm lines against scattered dots. As a result, the work ultimately captures an interplay between dynamic versus static elements. The print draws first and foremost on the fundamentals of Cubism and Constructivism. Blazing a trail for Lichtenstein’s later Modern Head series, the work is also a fusion of visuals abstracted from commercial design. More specifically, the composition blends forms borrowed from the streamlined art deco style of the 1930s.