Two Paintings: Sleeping Muse
Two Paintings: Sleeping Muse
Signed Print
Roy Lichtenstein
£23,000-£35,000
$50,000-$70,000 Value Indicator
$40,000-$60,000 Value Indicator
¥220,000-¥340,000 Value Indicator
€27,000-€40,000 Value Indicator
$240,000-$360,000 Value Indicator
¥4,350,000-¥6,620,000 Value Indicator
$30,000-$45,000 Value Indicator
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: 60
Year: 1984
Size: H 88cm x W 117cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| April 2025 | Christie's New York | United States | |||
| September 2023 | Christie's London | United Kingdom | |||
| December 2017 | Bonhams New York | United States | |||
| April 2017 | Sotheby's New York | United States | |||
| October 2014 | Sotheby's New York | United States | |||
| November 2007 | Sotheby's New York | United States | |||
| January 2006 | Sotheby's London | United Kingdom |
Meaning & Analysis
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 to Two Paintings: Green Lampof the same series, Two Paintings: Sleeping Muse juxtaposes two imaginary portraits mounted on a striped wall. A cubist illustration of a green plant with a sculptural head is depicted on the left. Its disposition recalls Lichtenstein’s Six Still Lifesof the early 1970s. Meanwhile, the frame on the right exhibits expressive grey brushstrokes, intersected by yellow, green and white cartoon sweeps. Lichtenstein explores similar abstract expressionist arrangements in his Seven Apple Woodcuts and subsequent Brushstroke Faces.
The irony of this print is mainly established through the thematic comparison of the painterly gestures and the schematic imagery. It is further enforced by the cropping of forms, which asserts the object quality of the work. Lichtenstein aligns the artistic tradition of autographic mark making with the detached qualities of comic books. He frames both depictions as masterpieces, achieving an added connotation of self-parody. Ultimately, the artist undermines the notion of artistic originality by presenting an image that is also a representation of other images.
