Roy Lichtenstein 1968 ‘Marilyn Monroe” handsigned small ink study
15.000,00€
Roy Lichtenstein 1968 ‘Marilyn Monroe” handsigned small ink study
Exceptional Estate Owned Art
!! Private collection of authentic originals !!
ROY LICHTENSTEIN Original black ink study
Prepared for the 1968 color screenprint ‘Marilyn Monroe’
Hand signed on medium weight structured paper !
Measuring approx 7.4″ x 6.1″ (18,8 cm x 15,6 cm)
This item was bought in 1999 at an official Auction in the US
Comes with details on provenance
A copy of the original invoice issued by the Rockefeller Plaza Auction Center will be delivered to the new buyer
Provenance : Edward Totah Gallery London 1992
This study is only 1 of 4 Lichtenstein studies that were bought at the same gallery at the same time
Description
Roy Lichtenstein 1968 ‘Marilyn Monroe” handsigned small ink study
Exceptional Estate Owned Art
!! Private collection of authentic originals !!
ROY LICHTENSTEIN Original black ink study
Prepared for the 1968 color screenprint ‘Marilyn Monroe’
Hand signed on medium weight structured paper !
Measuring approx 7.4″ x 6.1″ (18,8 cm x 15,6 cm)
This item was bought in 1999 at an official Auction in the US
Comes with details on provenance
A copy of the original invoice issued by the Rockefeller Plaza Auction Center will be delivered to the new buyer
Provenance : Edward Totah Gallery London 1992
This study is only 1 of 4 Lichtenstein studies that were bought at the same gallery at the same time
Information on Roy Lichtenstein
Roy Lichtenstein (October 27, 1923 – September 29, 1997) was a prominent American pop artist. During the 1960s, his paintings were exhibited at the Leo Castelli Gallery in New York City and, along with Andy Warhol, Jasper Johns, James Rosenquist, and others. He became a leading figure in the new art movement. His work defined the basic premise of pop art better than any other through parody. Favoring the old-fashioned comic strip as subject matter, Lichtenstein produced hard-edged, precise compositions that documented while it parodied often in a tongue-in-cheek humorous manner. His work was heavily influenced by both popular advertising and the comic book style. He described Pop Art as, “not ‘American’ painting but actually industrial painting”.
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