Two Apples
Two Apples
Signed Print
Roy Lichtenstein
£12,000-£18,000 VALUE (EST.)
$23,000-$35,000 VALUE (EST.)
$20,000-$30,000 VALUE (EST.)
¥110,000-¥160,000 VALUE (EST.)
€14,000-€21,000 VALUE (EST.)
$120,000-$180,000 VALUE (EST.)
¥2,090,000-¥3,140,000 VALUE (EST.)
$15,000-$22,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Woodcut, 1983
Signed Print Edition of 60
H 55cm x W 81cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| August 2020 | Bonhams Online - United Kingdom | Two Apples - Signed Print | |||
| March 2019 | Christie's London - United Kingdom | Two Apples - Signed Print | |||
| October 2017 | Sotheby's New York - United States | Two Apples - Signed Print | |||
| September 2013 | Christie's London - United Kingdom | Two Apples - Signed Print | |||
| September 2010 | Christie's London - United Kingdom | Two Apples - Signed Print |
Meaning & Analysis
The prints in Roy Lichtenstein’s 1983 Seven Apple Woodcuts ponder the symbolic power of brushstrokes and the enduring influence of the still life genre. Exhibiting abstracted versions of his previous Six Still Lifesof 1974, the layout of the series is also the predecessor of Lichtenstein’s Brushstroke Facesof 1989.
In Two Apples Lichtenstein transforms fundamental painterly gestures into the main protagonists of his artwork. Energetic marks occupy most of the canvas, as Lichtenstein reflects on how simple changes to the alignment of his brushstrokes can have a major influence on his composition. The print is constructed out of olive green, dark blue, black, brownish red and bright yellow streaks of colour. Imitating the mannerism of the abstract expressionists, the artist applies the pigments in bold sweeps, as if done subconsciously.
Two Applesis imbued with irony, ridiculing the inimitability granted to brushwork throughout art history. The simplified forms in this print also showcase a revision of traditional modes of portraiture, as the expressive brushstrokes underline the formal concerns of 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.
