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Two Paintings: Beach Ball - Signed Print by Roy Lichtenstein 1984 - MyArtBroker

Two Paintings: Beach Ball
Signed Print

Roy Lichtenstein

£40,000-£60,000Value
Indicator

$80,000-$120,000 Value Indicator

$70,000-$100,000 Value Indicator

¥360,000-¥540,000 Value Indicator

45,000-70,000 Value Indicator

$400,000-$590,000 Value Indicator

¥7,480,000-¥11,220,000 Value Indicator

$50,000-$80,000 Value Indicator

6% AAGR (5YR)

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, 1984
Signed Print Edition of 60
H 92cm x W 94cm

Rebecca Marsham
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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
October 2021Phillips New York - United StatesTwo Paintings: Beach Ball - Signed Print
October 2014Christie's New York - United StatesTwo Paintings: Beach Ball - Signed Print
December 2013Phillips London - United KingdomTwo Paintings: Beach Ball - Signed Print
October 2011Sotheby's New York - United StatesTwo Paintings: Beach Ball - Signed Print

Meaning & Analysis

Mounted on a striped wall, Two Paintings: Beach Ball contrasts the composition of two disparate imaginary portraits. On the left hangs a regency style frame, depicting a reclining figure by the sea. Similar to the shapes of Lichtenstein’s Surrealist series, the captured forms are fluid and composed entirely of red dots. At the bottom left of the canvas sits a minimalist frame, exhibiting silver brushstrokes on a black and white faux-burlap background. Lichtenstein’s concurrent Seven Apple Woodcuts and later Brushstroke Faces achieve similar imitations of the emotive manner of Abstract Expressionism.

The irony of this print is mainly established through the thematic comparison of the spontaneous painterly sweeps and the detached cartoon aesthetic. The contrast is further enforced by the cropping of forms, which asserts the object quality of the work. Lichtenstein presents the idealised tradition of autographic mark making as equal to commercial types of imagery. By framing and exhibiting them both as masterpieces, the artist achieves an added connotation of self-parody.

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