Apple With Gray Background
Apple With Gray Background
Signed Print
Roy Lichtenstein
£7,500-£11,500
$16,000-$24,000 Value Indicator
$14,000-$21,000 Value Indicator
¥70,000-¥110,000 Value Indicator
€9,000-€13,500 Value Indicator
$80,000-$120,000 Value Indicator
¥1,450,000-¥2,220,000 Value Indicator
$10,000-$15,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
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Medium: Woodcut
Edition size: 60
Year: 1983
Size: H 64cm x W 68cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| September 2022 | Wright | United States | |||
| May 2022 | Bonhams New York | United States | |||
| October 2013 | Bonhams San Francisco | United States | |||
| June 2003 | Ketterer Kunst Hamburg | Germany |
Meaning & Analysis
In his 1983 Seven Apple Woodcuts, Lichtenstein reconsiders the artistic gesture of brushstrokes, as well as the conventions of still life painting. In many respects, this series is an abstracted version of Lichtenstein’s previous Six Still Lifesof 1974. Additionally, it also constitutes the predecessor of a later series entitled Brushstrokes from 1989.
Apple With Gray Background actively exploits the unrefined and abstract qualities of Lichtenstein’s own visual language.In line with Vertical AppleandApple And Lemonof the same series, the print exhibits an unconventional depiction of a piece of fruit. The artist spans the canvas with intersecting streaks of grey, blue, yellow, dark red, orange and blush. While these colours flow in all directions, the black contours of the apple are kept intact.
These expressive sweeps are the vehicles, with which Lichtenstein reconsiders the formal qualities of still lifes and the authority given to painterly gestures of the past. Apple With Gray Backgroundproves that it isn’t necessary to realistically capture the apple, in order for audience’s to recognise the subject matter. The artist keenly embraces a sense of technical finesse with which he engages in a simulated process of painting. As a result, the beholder forgets that the print was in fact executed as a woodcut.
