Illustration For Bayone En Entrant Dans NYC
Illustration For Bayone En Entrant Dans NYC
Signed Print
Roy Lichtenstein
£5,500-£8,500Value
Indicator
$10,500-$16,000 Value Indicator
$9,500-$14,500 Value Indicator
¥50,000-¥80,000 Value Indicator
€6,500-€10,000 Value Indicator
$50,000-$80,000 Value Indicator
¥1,020,000-¥1,580,000 Value Indicator
$7,000-$11,000 Value Indicator
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: Intaglio
Format: Signed Print
Year: 1992
Size: H 28cm x W 35cm
Edition size: 80
Signed: Yes
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Roy Lichtenstein's 'Illustration For Bayone En Entrant Dans NYC', created in 1992, is a signed intaglio piece that is currently valued between £5,500 and £8,500. This artwork has been sold once in the United States on 22nd May 2018. The artwork has not been sold in the last five years or in the last 12 months, thus there is no data on the hammer price range or average return to the seller in these periods. This unique piece is part of a limited edition of 80.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2018 | Bonhams New York - United States | Illustration For Bayone En Entrant Dans NYC - Signed Print |
Meaning & Analysis
In 1991, Allen Ginsberg, the seminal poet of the Beats generation, asked Roy Lichtenstein to create illustrations for La Nouvelle Chute de l'Amérique, a French edition of his book of poetry. For this project, Lichtenstein used cut-outs of printed and hand-painted paper to design ten collages that were then transformed into etchings and acquaints.
Bayonne En Entrant Dans NYC depicts, what Ginsberg called in the poem of the same title, a ‘megapolis with burning factories’. The print is composed predominantly from overlapping paper strips that run disjointedly across the print, evoking the hustle of urban life. Triangles and squares are shapes that dominate the image against the background constituted by Lichtenstein’s trademark stripes. The abundant use of geometric figures and disorienting perspective created by the overlapping paper strips bring to mind the artist’s earlier series, such as Imperfect (1986), and points to the likes of Donald Judd and Kenneth Noland as a source of artistic inspiration.
With tall factory towers and clouds of smoke looming in the background, Bayonne En Entrant Dans NYC offers a playful yet gritty take on Ginsberg’s poetic vision of a bustling city. Considering the attachment of Lichtenstein’s name to pop art, the work also attests to the versatility of the creative practice that follows his most famous paintings of the early 1960s.
