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Imperfect (C. 224) - Signed Print by Roy Lichtenstein 1988 - MyArtBroker

Imperfect (C. 224)
Signed Print

Roy Lichtenstein

£40,000-£60,000Value Indicator

$80,000-$120,000 Value Indicator

$70,000-$110,000 Value Indicator

¥360,000-¥540,000 Value Indicator

50,000-70,000 Value Indicator

$390,000-$580,000 Value Indicator

¥7,720,000-¥11,580,000 Value Indicator

$50,000-$70,000 Value Indicator

17% AAGR

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: Planographic print

Edition size: 45

Year: 1988

Size: H 161cm x W 226cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Roy Lichtenstein’s Imperfect (C. 224) is estimated to be worth between £40,000 and £60,000. This signed planographic print was created in 1988 and has shown consistent value growth, with an average annual growth rate of 16%. This work has an impressive auction history, having been sold 4 times at auction since its initial sale in October 2008. The hammer price over the last 12 months has ranged from £35,000 in September 2023 to £77,770 in October 2022. 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 2023Christie's London United Kingdom
October 2022Sotheby's New York United States
October 2014Phillips New York United States
October 2008Sotheby's New York United States

Meaning & Analysis

The Perfect/Imperfect series were executed between the years of 1978 and 1995. These prints are sensational examples of the varied technical and formal strategies Lichtenstein employed throughout his career. What further sets the Perfect/Imperfect series apart is that the subject matter is entirely self-generated. Rather than deriving his shapes from mass-produced images, Lichtenstein bases both series on an original design. Nevertheless, the two sequences represent the subject matter of pure abstraction quite differently. As opposed to his Perfect prints, where the geometrically precise forms enforce boundaries, the Imperfect prints humorously undermine pictorial limitations.

Imperfect (C. 224), finalised in 1988, is primarily composed of controlled and continuous lines. In this work, Lichtenstein presents an interconnected web of flat geometrical areas in light fuchsia and scarlet. The middle of the composition is adorned by stripes and dots, bordered by strict black contours. Certain lines go out beyond the rectangular base of the print, as if they missed the edge somehow, subtly piercing the alabaster backdrop.

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