£20,000-£30,000 VALUE (EST.)
$40,000-$60,000 VALUE (EST.)
$35,000-$50,000 VALUE (EST.)
¥180,000-¥270,000 VALUE (EST.)
€23,000-€35,000 VALUE (EST.)
$190,000-$290,000 VALUE (EST.)
¥3,630,000-¥5,450,000 VALUE (EST.)
$24,000-$35,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
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Planographic print, 1984
Signed Print Edition of 60
H 112cm x W 72cm
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|Auction Date||Auction House||Artwork|
Return to Seller
|March 2023||Christie's London - United Kingdom||Painting On A Blue And Yellow Wall - Signed Print|
|September 2022||DuMouchelle's - United States||Painting On A Blue And Yellow Wall - Signed Print|
|November 2019||Bonhams New York - United States||Painting On A Blue And Yellow Wall - Signed Print|
|April 2019||Christie's New York - United States||Painting On A Blue And Yellow Wall - Signed Print|
|April 2010||Christie's New York - United States||Painting On A Blue And Yellow Wall - Signed Print|
|April 2008||Christie's New York - United States||Painting On A Blue And Yellow Wall - Signed Print|
|September 2007||Christie's London - United Kingdom||Painting On A Blue And Yellow Wall - Signed Print|
Roy Lichtenstein completed his eight-part multimedia sequence entitled Paintings in 1984. The elaborate prints in this series not only prove his outstanding talent as a print maker, but also demonstrate his innovative conceptual range. Lichtenstein’s Paintings exhibit fictitious picture frames as their central motif.
Similar toPainting In A Gold Frame from the same series, Painting On A Blue And Yellow Wall showcases a small section of an imaginary painting. Its modern silver frame is mounted on a blue and yellow faux-wood wall. Combining hand-painted and machine-made patterns, the portrait reveals expressive pastel sweeps intersected by schematic cartoon strokes. Lichtenstein’s concurrent Seven Apple Woodcuts and subsequent Brushstroke Faces pursue a similar exploration of the painterly gestures of Abstract Expressionism.
Formal contrasts are elaborated seamlessly in Painting On A Blue And Yellow Wall, mainly through the ironic juxtaposition of high and low culture. Furthermore, Lichtenstein’s characteristically graphic and detached forms evoke an additional layer of self-parody. His use of cropping and the vague surface dimensions assert the object quality of his artwork. Ultimately, he presents a print that is an image in itself, as well being the representation of another image. In doing so, Lichtenstein’s artwork undermines ideas of artistic originality.