Apple And Lemon
Apple And Lemon
Signed Print
Roy Lichtenstein
£6,500-£9,500
$12,500-$18,000 Value Indicator
$11,500-$17,000 Value Indicator
¥60,000-¥90,000 Value Indicator
€7,500-€11,500 Value Indicator
$70,000-$100,000 Value Indicator
¥1,330,000-¥1,950,000 Value Indicator
$8,500-$12,500 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: Woodcut
Edition size: 60
Year: 1983
Size: H 58cm x W 91cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| June 2024 | Rago Arts and Auction Center - United States | Apple And Lemon - Signed Print | |||
| May 2017 | Doyle New York - United States | Apple And Lemon - Signed Print | |||
| April 2017 | Christie's New York - United States | Apple And Lemon - Signed Print | |||
| March 2016 | Christie's New York - United States | Apple And Lemon - Signed Print | |||
| March 2007 | Sotheby's London - United Kingdom | Apple And Lemon - Signed Print |
Meaning & Analysis
Roy Lichtenstein’s Seven Apple Woodcuts of 1983 contemplate the symbolic power of brushstrokes and the enduring art historical influence of still lifes. The sequence is an abstracted version of his previous Six Still Lifes of 1974 and the predecessor of his Brushstroke Faceof 1989.
Similar to Verticale Apple,another print from the same series, Apple and Lemon is depicted in a surreal and distorted manner. The apple’s inflated contours are blue, adorned by black, red and yellow streaks of colour. The familiar outlines of a lemon sit by its side, confirming that the main shape of the composition is in fact the apple the title alludes to. The expressive potential of the brushstroke becomes the tool, with which Lichtenstein explores the formal concerns of Apple and Lemon.
There is a rhythm to the artist’s dynamic sweeps, as he actively exploits the unrefined and abstract qualities of his own visual language. Apple and Lemonproves that it isn’t necessary to realistically capture both shapes, in order for audience’s to recognise the subject matter. Lichtenstein keenly embraces a sense of technical finesse with which he engages in a simulated process of still life painting. As a result, the beholder forgets that the print was in fact executed as a woodcut.
