Grandpa
Grandpa
Signed Mixed Media
Roy Lichtenstein
£20,000-£30,000
$40,000-$60,000 Value Indicator
$35,000-$50,000 Value Indicator
¥180,000-¥270,000 Value Indicator
€24,000-€35,000 Value Indicator
$190,000-$290,000 Value Indicator
¥3,930,000-¥5,900,000 Value Indicator
$25,000-$40,000 Value Indicator
AAGR (5 years) 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: Mixed Media
Edition size: 60
Year: 1989
Size: H 133cm x W 94cm
Signed: Yes
Format: Signed Mixed Media
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Sotheby's London | United Kingdom | ||||
| September 2024 | Leslie Hindman Auctioneers, Chicago | United States | |||
| January 2018 | Phillips London | United Kingdom | |||
| September 2016 | Christie's London | United Kingdom | |||
| April 2016 | Sotheby's New York | United States | |||
| October 2013 | Christie's New York | United States | |||
| October 2009 | Christie's New York | United States |
Meaning & Analysis
The works in Roy Lichtenstein’s late 1980s Brushstroke Faces series ponder the symbolic power of brushstrokes. In Grandpa, Lichtenstein transforms this fundamental painterly gesture into the main protagonist of his composition.
Grandpa is constructed out of pale blue, purple and boldly outlined grey sweeps. Similar to another work in the series titled Blue Face, the print imitates the mannerism of the abstract expressionists. Reinforced by its blunt title, the simplified composition is imbued with irony.
In this work, the artist satirises Abstract Expressionism’s claim that brushstrokes are meant to relay subconscious messages. Lichtenstein's Grandpa proves that every stroke is consciously performed and predetermined. Exploiting the abstract qualities of Lichtenstein’s own pictorial language, the expressive potential of the brushstroke here helps explore the formal concerns of painting itself.
The production of this print combined a number of different printing processes, including lithography, screen print and woodcut. Beeswax was employed for the lithographs in this series, as an alternative to printer’s ink. This in turn induced a polished surface texture once printed on the exquisite watercolour paper utilised by the Brushwork Faces series.
