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  • Provenance

    Tyler Graphics Ltd., New York; Private Collection, Los Angeles

  • Literature

    Frederic Tuten, Roy Lichtenstein: Brushstrokes, Six Painted Reliefs, New York, 1986, illustrated in color, n.p.

  • Catalogue Essay

    "With his characteristic sense of irony, Lichtenstein addressed issues of three-dimensional actuality, creating sculptural interpretations of two-dimensional images. He translated motifs as varied as a mirror, steam rising from a coffee cup, light streaming from a lamp, a whiplash brushstroke, and an expressionist head. By maintaining the flatness, altering the scale, and using Benday dots or reflective surfaces, he subverted the three-dimensional nature of sculpture and redefined its meaning." (D. Waldman, Roy Lichenstein: Reflections, Rome, 1999, p. 52-53)By the 1980s Lichtenstein worked more with sculpture than previously in his career. The present lot is an example of this convergence of media, which reflects his distinctive painting techniques in a different form: three-dimensionality. Lichtenstein's early paintings of large brushstrokes were satirical works that commercialized the abstract expressionist style. Moving toward sculpture Lichtenstein places this sardonic tone in a new ironic context by creating sculptures of brushstrokes revealing Lichtenstein as "the master of the stereotype, and the most sophisticated of the major Pop artists in terms of his analysis of visual convention and his ironic exploitation of past styles." (Taken from

  • Artist Biography

    Roy Lichtenstein

    One of the most influential and innovative American artists of the post-war period, Roy Lichtenstein ushered in the prominence of Pop Art through his high-impact representations of consumer imagery, common entertainment, and the accoutrements of contemporary life rendered in the Ben-Day dots of contemporary comic strips. Central to Lichtenstein’s practice was parody, which enabled the artist to engage with often-disparaged commercial source imagery from an ironic distance as he considered the nature of the banal and probed the boundaries of what fine art could be.


    While Lichtenstein’s early Pop work cemented his status as one of the main figures of one of the most iconic and original movements of postmodernism, he continued to develop his practice over the course of the following decades until his death in 1997. Retaining his characteristic comic style and ironic distance, Lichtenstein engaged new and disparate influences from Abstract Expressionism to Chinese landscape painting to evolve the subject of his own work and consider the contradictions of representation, style, and substance. Lichtenstein is a central figure in the 20th century art historical canon and accordingly his work is represented in the collections of major museums worldwide, including The Museum of Modern Art, New York; Tate, London; and Centre Pompidou, Paris.

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Brushstroke III

Acrylic paint on cherry wood.
162.6 x 68.6 x 29.9 cm. (64 x 27 x 11 5 6/8 in).
Signed 'R. Lichtenstein' on the reverse. This work is from an edition of ten.

£100,000 - 150,000 

Sold for £97,250

Contemporary Art Day Sale

30 June 2008, 10am & 2pm