Haystack #2
Haystack #2
Signed Print
Roy Lichtenstein
£8,000-£12,000
$16,000-$24,000 Value Indicator
$14,500-$21,000 Value Indicator
¥70,000-¥110,000 Value Indicator
€9,500-€14,500 Value Indicator
$80,000-$120,000 Value Indicator
¥1,560,000-¥2,340,000 Value Indicator
$10,000-$15,000 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: Planographic print
Edition size: 100
Year: 1969
Size: H 52cm x W 77cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2024 | John Moran Auctioneers | United States | |||
| October 2022 | Sotheby's New York | United States | |||
| May 2019 | Bonhams Los Angeles | United States | |||
| June 2018 | Bonhams New Bond Street | United Kingdom | |||
| October 2014 | Sotheby's London | United Kingdom | |||
| June 2012 | Germann Auctions | Switzerland | |||
| November 2009 | Bonhams San Francisco | United States |
Meaning & Analysis
In his Haystack series of 1969, Roy Lichtenstein integrates colourful painterly gestures with the readymade quality of screen prints. The series is based on paintings executed by French impressionist Claude Monet in the early 1900s, depicting stacks of harvest at different hours of the day.
The idea of capturing the relationship of light and colour appealed to Lichtenstein, encouraging him to pursue further variations on a single theme. See his masterful Cathedral series as another example, which draws on Monet’s Rouen Cathedral paintings.
Lichtenstein’s Haystack #2 presents a canvas populated by strategically placed dark red and black Ben Day dots. As opposed to Haystack #1, this colour combination is effectively undecipherable when the composition is monitored from a short distance.
Lichtenstein conveys a distinctly modernist perspective in his Haystacks, emphasising unmodulated picture planes and rich surface effects above all else. The static quality of Lichtenstein’s Ben Day dots stand in stark contrast to Impressionism’s aim to evoke a feeling of movement. The schematic forms and bright colours characterising this series seek to redefine the authenticity attributed to their source material. The Haystacks highlight the role seriality has had in past creations, while also proving its significance for contemporary artistic exploration.
