$60,000-$90,000 Value Indicator
$50,000-$80,000 Value Indicator
¥260,000-¥400,000 Value Indicator
€35,000-€50,000 Value Indicator
$280,000-$440,000 Value Indicator
¥5,450,000-¥8,450,000 Value Indicator
$35,000-$60,000 Value Indicator
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.
Planographic print, 1988
Signed Print Edition of 45
H 117cm x W 232cm
|Auction Date||Auction House||Artwork|
Return to Seller
|October 2020||Phillips New York - United States||Imperfect Diptych (C. 219) - Signed Print|
|July 2020||Phillips New York - United States||Imperfect Diptych (C. 219) - Signed Print|
|September 2019||Christie's London - United Kingdom||Imperfect Diptych (C. 219) - Signed Print|
|April 2019||Phillips New York - United States||Imperfect Diptych (C. 219) - Signed Print|
|July 2018||Christie's New York - United States||Imperfect Diptych (C. 219) - Signed Print|
|April 2011||Christie's New York - United States||Imperfect Diptych (C. 219) - Signed Print|
Roy Lichtenstein’s pioneering effort to breathe new life into long-established art historical genres distinguished him as a key figure of American Pop Art. His infamous artistic oeuvre, although seemingly mass-produced at first glance, was executed manually and with laborious precision.
Created between 1978 and 1995, his Perfect/Imperfect series is a sensational example of the varied technical and formal strategies implemented by Lichtenstein. Although they were created concurrently and are thematically identical, the two series manifest the same composition differently. Whereas the shapes in the Perfect prints adapt to the framework, the Imperfect prints pointedly undermine pictorial boundaries.
Imperfect Diptych 46, completed in 1988, is a stunning unison of the two sequences. The print is based on the historical tradition of altarpieces, and therefore depicts the illusion of a paired print on a single panel. Instead of a continuous but divided composition, Lichtenstein composes separate but closely related images. The two sides are joined in a similar fashion through their colour scheme and geometrical shapes. The left image is contained within the limits of its base, while the right side is a distinct Imperfect creation, breaking out of its frame with one sharp stab.