The Expressionist Woodcut Series marked an important experiment in medium for Lichtenstein. By working in woodcut—a technique historically associated with rough-hewn, emotional imagery—he created a deliberate contrast with his own meticulous, controlled style. The clash between the traditionally handmade, textural quality of woodcuts and Lichtenstein’s clean, industrial aesthetic underscores his playful interrogation of artistic authenticity.

 

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Introduction

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Roy Lichtenstein first gained inspiration for the Expressionist Woodcut series from a 1978 visit to the Robert Gore Rifkind Collection of German Expressionist Art in Los Angeles, where he discussed printmaking with the collector at length. Inspired by Rifkind’s collection of portraits, Lichtenstein went on to create seven woodcuts of his own at the Gemini G.E.L. artists workshop, picturing men, women, and couples in the bold, blocky style made famous by Die Brücke artists like Ernst Ludwig Kirchner and Max Pechstein.

(Left) Ernst Ludwig Kirchner, Mädchenakt mit Selbstbildnis. – Nacktes Mädchen mit Kette, 1903. Städel Museum, Frankfurt. Image: Städel Museum, Frankfurt am Main, Acquired in 1948 as a donation from the heirs of the Carl Hagemann estate, 65578 D 
(Right): Ernst Ludwig Kirchner, Seated Nude Fixing Her Hair, 1908. Städel Museum, Frankfurt. Image: Städel Museum, Frankfurt am Main, Acquired in 1948 as a donation from the heirs of the Carl Hagemann estate, 65578 D 

Printed from tough Baltic Birch wood, Lichtenstein chose to carve across the grain to minimize the appearance of wood texture in the final print. Lichtenstein’s trademark Ben-Day dots are notably absent from this series, their effect far too Impressionistic to adapt to woodcut. Instead, Lichtenstein employs straight lines to create the effect of shadow, referencing a mechanized version of the German Expressionists’ shading. Lichtenstein also employs embossment, both from the key block and a felt blanket, to reassert depth into a conspicuously flattened composition.

Lichtenstein, with his considerable talent for appropriation, constantly pulled inspiration from art historical movements; in various series from this period, Lichtenstein riffed on Cubism, Surrealism, Impressionism, and Indigenous patterning. In whatever tradition he was commenting on, Lichtenstein was always sure to preserve and adapt his iconic graphic sensibility to each composition. “Artists have often converted the work of other artists into their own style,” he pointed out in a 1995 lecture. In Lichtenstein’s capable hands, the work of the Modern masters “is converted to my pseudo-cartoon style and takes on a character of its own.” (Roy Lichtenstein, “A Review of My Work Since 1961 – A Slide Presentation,” in Roy Lichtenstein, ed. Graham Baker, 2009, p. 61.)

During the 1960s, when Abstract Expressionism had achieved wide public acceptance in America, Roy Lichtenstein elected to challenge the existing movement. By depicting trivial subject matter derived from the commercial media without a trace of painterly brushwork, Lichtenstein negated the aesthetic theories of the preceding generation and declared his artistic independence. His early attachment to the comic strip frame — composed of simplified lines, form, and color — was perfectly suited to these new investigations. The enlargement of details within bold outlines, a dramatic crop- ping of images, a limited range of color, and especially the distinctive use of benday dots (the screen pattern used in commercial repro- duction) — all became trademarks of Lichtenstein’s idiosyncratic style. This transformation of a popular American idiom into fine art helped to define a new stylistic classification called Pop Art.
In his early work as a printmaker, Lichtenstein had used woodcut, etching, and lithography in a traditional manner. When he introduced commercial graphic effects into his paintings, he temporarily stopped making prints. Confronted with the problem of how to combine anew-found “graphic” style with conventional printmaking techniques without becoming merely a comic strip illustrator, Lichtenstein settled eventually upon offset lithography and silkscreen as appropriate techniques: both could achieve the hard mechanical surfaces, the clean outlines, and intense hues that he found aesthetically pleasing. In addition, both media involved collaboration with professional printers, who could neatly execute a print under his direction but with the notable absence of the artist’s “hand.”

Lichtenstein’s interest in Expressionist subject matter first appeared in his 1950s pre-Pop American Indian woodcuts, a theme he readdressed during 1979 and 1980. Ultimately, however, it is the paintings and woodcuts of the German Expressionist artists who worked between 1906 and 1920 that served as the source for his explorations. In 1980, Lichtenstein created a group of seven “German Expressionist’’ woodcuts printed and published by the Gemini workshop. As a group, the images reflect subjects common to German Expressionism — portrait heads and nudes — although Lichtenstein conveys the emotional content in a contemporary manner, giving it a sleek, impersonal character. The exaggeratedly sharp angles, jagged fragments, and overdramatized gestures and expressions add an ironic twist to the splintered images of earlier German examples. Only an occasional glimpse of the close-grained surface with its embossed patches suggests the medium that is the oldest printmaking technique.

 

 

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Expressionist Woodcut Series, 1980

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Expressionist Woodcut Series

The complete set of seven woodcuts with embossing
Medium: Woodcuts with embossing in colors, on Arches paper
Year: 1980
Varying dimensions
Largest Image: 35 x 27 1/2 inches (88.9 x 69.9 cm)
Largest Sheet: 41 1/2 x 34 inches (105.4 x 86.4 cm)
Edition: 50
Artist’s Proofs: 13
Publisher: Gemini, G.E.L., Los Angeles
Literature: Corlett 172-178, Gemini 880-886

Each signed, dated, and numbered in pencil with the publisher’s blindstamp

1. Reclining Nude (Corlett 172)

2. Dr. Waldmann (Corlett 173)

3. Nude in The Woods (Corlett 174)

4. The Couple (Corlett 175)

5. The Student (Corlett 176)

6. Head (Corlett 177)

7. Morton A. Mort (Corlett 178)

 

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Black State

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The black state was printed after the series print and was signed in April 1981. They all come in an edition of 8.

1. Reclining Nude (Black State) (Corlett 184)

2. Dr. Waldmann (Black State) (Corlett 185)

3. Nude in The Woods (Black State) (Corlett 186)

4. The Couple (Black State) (Corlett 187)

5. The Student (Black State) (Corlett 188)

6. Head (Black State) (Corlett 189)

Morton A. Mort (Black State) (Corlett 190)

 

 

 

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2026 Auction Results

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The Student, 1980

Sotheby’s London: 25 March 2026
Estimated: GBP 15,000 – 20,000
GBP 23,040 / USD 30,780

ROY LICHTENSTEIN (1923 – 1997)
The Student, from Expressionist Woodcuts (C. 176), 1980
Woodcut printed in colours with embossing on Arches Cover paper
Signed in pencil, dated and numbered 38/50
This impression is number 38 from the edition of 50 plus 13 artist’s proofs
With the blindstamp of the publisher, Gemini G.E.L.

The Couple, 1980

SBI Art Auction: 15 March 2026
Estimated: JPY 2,000,000 – 3,000,000
JPY 6,095,000 / USD 39,345

ROY LICHTENSTEIN
The Couple (Corlett 175), 1980
Woodcut
Signed, dated and numbered on the lower right
From the edition of 50
Printed and published by Gemini G.E.L., Los Angeles

 

 

 

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2025 Auction Results

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#1. The Couple, 1980

Works from the Collection of Dorothy and Roy Lichtenstein
Sotheby’s New-York: 26 September 2025
Estimated: USD 20,000 – 30,000
USD 71,120

ROY LICHTENSTEIN (1923 – 1997)
The Couple, from the Expressionist Woodcut series (Corlett 175), 1980
Woodcut printed in colors with embossing on Arches Cover paper
Signed, dated ’80 and inscribed AP 6/13 (lower right)
One of 13 artist’s proofs aside from the numbered edition of 50

#2. Reclining Nude, 1980

Works from the Collection of Dorothy and Roy Lichtenstein
Sotheby’s New-York: 26 September 2025
Estimated: USD 25,000 – 35,000
USD 63,500

ROY LICHTENSTEIN (1923 – 1997)
Reclining Nude, from the Expressionist Woodcut series (Corlett 172), 1980
Woodcut printed in colors with embossing on Arches Cover paper
Signed, dated ’80 and inscribed AP 4/13 (lower right)
One of 13 artist’s proofs aside from the numbered edition of 50

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USD 50,000

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#4. Reclining Nude (Black State), 1981

Pop Impressions: Prints from the Collection of Dorothy and Roy Lichtenstein
Sotheby’s New-York: 23 October 2025
Estimated: USD 15,000 – 25,000
USD 31,750

ROY LICHTENSTEIN (1923 – 1997)
Reclining Nude (Black State) (Corlett 184; RLCR 3041), 1981
Woodcut printed in colors on Arches Cover paper
Signed in pencil and numbered 1/8
This impression is number 1 from the edition of 8
With the blindstamp of the publisher, Gemini G.E.L., and with their inkstamp on the verso

#5. Dr. Waldmann, 1980

Works from the Collection of Dorothy and Roy Lichtenstein
Sotheby’s New-York: 26 September 2025
Estimated: USD 15,000 – 25,000
USD 31,750
AUCTION RECORD FOR DR. WALDMANN

ROY LICHTENSTEIN (1923 – 1997)
Dr. Waldmann, from the Expressionist Woodcut series (Corlett 173), 1980
Woodcut printed in colors with embossing on Arches Cover paper
Signed, dated ’80 and inscribed AP 6/13 (lower right)
One of 13 artist’s proofs aside from the numbered edition of 50

ROY LICHTENSTEIN
The Student (Corlett 176), 1980
From the series “The Expressionist Woodcut Series”
Color woodcut and embossing on Arches wove paper
With the blindstamps “copyright” and “Gemini G.E.L.”
Lower right numbered, signed and dated by the artist in pencil “19/50 Rf Lichtenstein ’80”
On the reverse with the number “RL 80-942”

#8. Morton A. Mort, 1980

Christie’s New-York: 16 April 2025
Estimated: USD 10,000 – 15,000
USD 12,600

ROY LICHTENSTEIN (1923-1997)
Morton A. Mort, from Expressionist Woodcut Series (Corlett 178), 1980
Woodcut in colors with embossing on Arches paper
Signed and dated in pencil, numbered 50⁄50
(there were also thirteen artist’s proofs)

 

 

 

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2024 Auction Results

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#1. Reclining Nude, 1980

Phillips New-York: 22 October 2024
Estimated: USD 20,000 – 30,000
USD 40,640

#3. Dr. Waldmann, 1980

LA Modern: 4 September 2024
Estimated: USD 18,000 – 24,000
USD 27,720

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2023 Auction Results

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#1. Nude in the Woods, 1980

Christie’s New-York: 19 July 2023
Estimated: USD 20,000 – 30,000
USD 27,720

ROY LICHTENSTEIN (1923-1997)
Nude in the Woods, from Expressionist Woodcut Series, 1980
Woodcut in colors with embossing on Arches paper
Signed and dated in pencil, numbered 16/50

#2. Morton A. Mort, 1980

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2022 Auction Results

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Morton A. Mort, 1980

Rago Auctions: 16 June 2022
Estimated: USD 15,000 – 20,000
USD 20,000

ROY LICHTENSTEIN
Morton A. Mort (from the Expressionist Woodcuts series), 1980
Woodcut in colors with embossing on Arches Cover
Signed, dated and numbered to lower right ‘29/50 Roy Lichtenstein ’80’
This work is number 29 from the edition of 50

Morton A. Mort, 1980

Mainichi Auction Tokyo: 9 December 2022
Estimated: JPY 1,500,000 – 2,500,000
JPY 1,750,000 (Hammer)
JPY 2,038,750 / USD 14,950

ROY LICHTENSTEIN
Morton A. Mort from EXPRESSIONIST WOODCUT SERIES, 1980
Woodcut
Signed
From the edition of 50

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2021 Auction Results

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#1. Nude in the Woods, 1980

Phillips New-York: 22 April 2021
Estimated: USD 10,000 – 15,000
USD 47,880
AUCTION RECORD FOR NUDE IN THE WOODS

#2. The Couple, 1980

Christie’s New-York: 14 September 2021
Estimated: USD 20,000 – 30,000
USD 43,750

ROY LICHTENSTEIN (1923-1997)
The Couple, from the Expressionist Woodcut Series, 1980
Woodcut in colors with embossing on Arches Cover paper
Signed and dated in pencil, numbered 27/50

#3. Reclining Nude, 1980

Sotheby’s New-York: 22 April 2021
Estimated: USD 30,000 – 40,000
USD 40,320

ROY LICHTENSTEIN (1923 – 1997)
Reclining Nude (Corlett 172), 1980
Woodcut printed in colors with embossing
Signed in pencil, dated and numbered 48/50

#4. Reclining Nude, 1980

Christie’s New-York: 15 September 2021
Estimated: USD 20,000 – 30,000
USD 40,000

ROY LICHTENSTEIN (1923-1997)
Reclining Nude, from Expressionist Woodcut Series, 1980
Woodcut in colors with embossing on Arches Cover paper
Signed and dated in pencil, numbered 10/50

#5. Nude in the Woods, 1980

Bonhams Los Angeles: 28 September 2021
Estimated: USD 10,000 – 15,000
USD 37,812

#6. Nude in the Woods, 1980

Bukowskis Stockholm: 2 November 2021
Estimated: SEK 120,000 – 130,000
SEK 220,000 (Hammer)
SEK 275,000 / USD 32,080

ROY LICHTENSTEIN (1923-1997)
”Nude in the woods”, from: “Expressionist Woodcut Series”, 1980
Woodcut in colors with embossing
Signed in pencil, dated and numbered 4/50

#7. Dr. Waldmann, 1980

Christie’s New-York: 15 September 2021
Estimated: USD 12,000 – 18,000
USD 23,750

ROY LICHTENSTEIN (1923-1997)
Dr. Waldman, from the Expressionist Woodcut Series, 1980
Woodcut in colors with embossing, on Arches Cover paper
Signed and dated in pencil, numbered 11/50

 

 

 

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Reclining Nude

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Reclining Nude reflects the artist’s ongoing dialogue with the history of modern art while reaffirming his Pop sensibility. In this striking composition, Lichtenstein reimagines the traditional reclining nude motif through the lens of Expressionism and the mechanical precision of his own graphic style. The figure is reduced to bold, angular planes of color, with sharp black outlines carving out the form. Her face, framed by vibrant yellow hair, is fragmented into geometric shapes, conveying both vulnerability and intensity. Unlike his earlier depictions of women influenced by comic-strip aesthetics, here Lichtenstein embraces a more raw, sculptural quality—paying homage to German Expressionist woodcuts while simultaneously parodying their emotional earnestness.

The nude’s posture, with one arm bent across her chest and head tilted against her hand, is reminiscent of classic artistic tropes of repose, yet Lichtenstein strips away naturalism in favor of abstraction. Her body becomes a construction of flat ivory fields, black contours, and striped hatching, oscillating between representation and stylization. This tension exemplifies Lichtenstein’s ability to both honor and critique the conventions of art history. In Reclining Nude, the balance of severity and sensuality captures the spirit of both Expressionism and Pop. The work illustrates Lichtenstein’s broader project of reframing art-historical genres—from the nude to landscape to still life—through his iconic visual language of hard edges, flat color, and irony.

Auction Results

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Christie’s New-York: 15 September 2021
Estimated: USD 20,000 – 30,000
USD 40,000

ROY LICHTENSTEIN (1923-1997)
Reclining Nude, from Expressionist Woodcut Series, 1980
Woodcut in colors with embossing on Arches Cover paper
Signed and dated in pencil, numbered 10/50

Sotheby’s New-York: 22 April 2021
Estimated: USD 30,000 – 40,000
USD 40,320

ROY LICHTENSTEIN (1923 – 1997)
Reclining Nude (Corlett 172), 1980
Woodcut printed in colors with embossing
Signed in pencil, dated and numbered 48/50

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Dr. Waldmann

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Dr. Waldmann
from Expressionist Woodcut Series

Medium: Woodcut in colors with embossing on Arches Cover paper
Year: 1980
Image: 41 1/2 x 34 1/4 inches (105.4 x 87 cm)
Sheet: 35 x 27 1/2 inches (88.9 x 69.9 cm)
Edition: 50
Artist’s Proofs: 13 AP
Publisher: Gemini, G.E.L., Los Angeles
Literature: Corlett (173), Gemini (881)

Roy Lichtenstein Catalogue Raisonne: RLCR 2900

Dr. Waldmann, 1980 (RLCR 2900) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Signed, dated, and numbered in pencil with the publisher’s blindstamp and inkstamps on the reverse

 

Dr. Waldmann is a powerful male portrait that draws comparisons to the unflinching and psychologically intense portraits by artists such as Otto Dix. The figure’s face and body are characterized by heavy contouring, simplified but aggressive geometric shapes, and a severe flatness. Lichtenstein captures the mood of mid-century Expressionist portraiture, one of alienation and existential weight, but renders it with the controlled execution of a graphic designer. The print’s aesthetic purity and smooth surface finish directly counteract the raw, carved texture that would normally characterize an Expressionist woodcut of this subject.

In addition to reviving German Expressionism, a movement that sought to challenge society, and instead privilege the individual’s feelings and psychological interiority, Lichtenstein pays homage with Dr. Waldmann to a significant touchstone of modern European culture: Mary Shelley’s Frankenstein. Although an English author, Mary Shelley sets a large part of her story in Germany, an environment that serves as the fountainhead for the titular character’s creativity. While studying in Germany, Dr. Frankenstein spends time with and becomes inspired by his professor Dr. Waldman, a name carefully chosen for its etymology; ‘Wald’ means forest or wood, and juxtaposed with man, evokes an individual tethered to nature. Themes of nature and creation permeate the story, just as they permeate the movement of German Expressionism, and are nodded to here in the subject matter and title, Dr. Waldmann.

Articulated in a minimal palette of yellow, blue, black, and red, Lichtenstein brings together his iconic Benday dots and Pop sensibility with the technique and geometric angularity of the German Expressionist woodblocks. The head of Dr. Waldmann dominates the composition, unfurling in a collision of facets that reveals Lichtenstein’s foray into Cubism by suggesting multiple flattened points of view. Lichtenstein articulates his subject’s face with his signature use of graphic black lines, here employed to delineate between the various planes that crash together to build up his subject. Diagonal lines of an Yves Klein-esque blue and rich red angle downward in sharply rendered striations, recalling the grain of wood inherent to the original German Expressionist prints. The passages of unmodulated color and slants of woodblock-like orthogonals bring to life the doctor’s craggy countenance of strong jaw, furrowed brow, and deep-set eyes; however, Lichtenstein denies any true perspective or depth by bringing his subject right to the fore. Aside from a hint of a window overlooking a calm seascape, the hermetic doctor’s surroundings are entirely illegible. Fundamental to portraiture of past centuries are the accoutrements and symbols that bring to life the sitter’s status or position; here, Lichtenstein adorns Dr. Waldmann with the head mirror so prototypical of an early twentieth-century audience’s understanding of the medical profession. The white band affixed to the mirror slants across Dr. Waldmann’s head, creating a sharp line that contrasts with the rounded form of the mirror itself, which recalls Lichtenstein’s earlier series of Mirror paintings. The abstracted mirror, which is the only passage featuring Lichtentein’s iconic Benday dots, refers to the canonical use of mirrors throughout art history as well as the artist’s own frequent inclusion of mirrors as compositional elements in his earlier paintings. Offering an updated articulation of the roles of vision and perception within art, here, Lichtenstein’s mirror serves as a signifier of the sitter’s profession, while simultaneously emphasizing the artist’s own backward glance at artistic precedent.

 

Auction Results

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Works from the Collection of Dorothy and Roy Lichtenstein
Sotheby’s New-York: 26 September 2025
Estimated: USD 15,000 – 25,000
USD 31,750
AUCTION RECORD FOR DR. WALDMANN

ROY LICHTENSTEIN (1923 – 1997)
Dr. Waldmann, from the Expressionist Woodcut series (Corlett 173), 1980
Woodcut printed in colors with embossing on Arches Cover paper
Signed, dated ’80 and inscribed AP 6/13 (lower right)
One of 13 artist’s proofs aside from the numbered edition of 50

LA Modern: 4 September 2024
Estimated: USD 18,000 – 24,000
USD 27,720

Christie’s New-York: 15 September 2021
Estimated: USD 12,000 – 18,000
USD 23,750

ROY LICHTENSTEIN (1923-1997)
Dr. Waldman, from the Expressionist Woodcut Series, 1980
Woodcut in colors with embossing, on Arches Cover paper
Signed and dated in pencil, numbered 11/50

Van Ham Cologne: 29 May 2019
Estimated: EUR 10,000
EUR 18,060 / USD 20,110

ROY LICHTENSTEIN (New York, 1923 – 1997)
Dr. Waldmann, 1980
Color woodcut on Arches
Signed, dated and numbered 41/50

Doyle New-York: 1 May 2018
Estimated: USD 8,000 – 12,000
USD 15,000

ROY LICHTENSTEIN
DR. WALDMANN (C. 173), 1980
Color woodcut and embossing on Arches Cover paper
Signed, dated and numbered 15/50 in pencil

LA Modern: 5 March 2017
Estimated: USD 9,000 – 12,000
USD 17,500

ROY LICHTENSTEIN
Dr. Waldmann (from Expressionist Woodcuts Series), 1980
8-color woodcut and embossing on Arches Cover paper
Edition: #19 of 50
Signed and dated with edition in graphite lower right margin of sheet

Christie’s New-York: 1 March 2016
Estimated: USD 8,000 – 12,000
USD 21,250

ROY LICHTENSTEIN (1923-1997)
Dr. Waldmann, from Expressionist Woodcuts, 1980
Woodcut with embossing in colors, on Arches Cover paper
Signed and dated in pencil, numbered 14/50

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Nude in The Woods

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Christie’s New-York: 19 July 2023
Estimated: USD 20,000 – 30,000
USD 27,720

ROY LICHTENSTEIN (1923-1997)
Nude in the Woods, from Expressionist Woodcut Series, 1980
Woodcut in colors with embossing on Arches paper
Signed and dated in pencil, numbered 16/50

Bukowskis Stockholm: 2 November 2021
Estimated: SEK 120,000 – 130,000
SEK 220,000 (Hammer)
SEK 275,000 / USD 32,080

ROY LICHTENSTEIN (1923-1997)
”Nude in the woods”, from: “Expressionist Woodcut Series”, 1980
Woodcut in colors with embossing
Signed in pencil, dated and numbered 4/50

Bonhams Los Angeles: 28 September 2021
Estimated: USD 10,000 – 15,000
USD 37,812

Phillips New-York: 22 April 2021
Estimated: USD 10,000 – 15,000
USD 47,880
AUCTION RECORD FOR NUDE IN THE WOODS

Sotheby’s New-York: 28 July 2020
Estimated: USD 10,000 – 15,000
USD 22,500

ROY LICHTENSTEIN (1923 – 1997)
NUDE IN THE WOODS (CORLETT 174), 1980
Woodcut printed in colors with embossing, 1980
Signed in pencil, dated and numbered 44/50

Bonhams New-York: 5 June 2020
Estimated: USD 8,000 – 12,000
USD 21,325

ROY LICHTENSTEIN (1923-1997)
Nude in the Woods, from Expressionist Woodcut Series (C. 174), 1980
Woodcut in colors on Arches paper
Signed in pencil, dated and numbered 15/50

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The Couple

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The Couple
from Expressionist Woodcut Series

Medium: Woodcut in colors with embossing on Arches Cover paper
Year: 1980
Image: 33 3/4 x 29 1/2 inches (85.7 x 75 cm)
Sheet: 40 1/8 x 36 inches (101.9 x 91.4 cm)
Edition: 50
Artist’s Proofs: 13 AP
Publisher: Gemini, G.E.L., Los Angeles
Literature: Corlett (175), Gemini (883)

Roy Lichtenstein Catalogue Raisonne: RLCR 2965

The Couple, 1980 (RLCR 2965) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Signed, dated, and numbered in pencil with the publisher’s blindstamp

 

Auction Results

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SBI Art Auction: 15 March 2026
Estimated: JPY 2,000,000 – 3,000,000
JPY 6,095,000 / USD 39,345

ROY LICHTENSTEIN
The Couple (Corlett 175), 1980
Woodcut
Signed, dated and numbered on the lower right
From the edition of 50
Printed and published by Gemini G.E.L., Los Angeles

Works from the Collection of Dorothy and Roy Lichtenstein
Sotheby’s New-York: 26 September 2025
Estimated: USD 20,000 – 30,000
USD 71,120

ROY LICHTENSTEIN (1923 – 1997)
The Couple, from the Expressionist Woodcut series (Corlett 175), 1980
Woodcut printed in colors with embossing on Arches Cover paper
Signed, dated ’80 and inscribed AP 6/13 (lower right)
One of 13 artist’s proofs aside from the numbered edition of 50

Christie’s New-York: 14 September 2021
Estimated: USD 20,000 – 30,000
USD 43,750

ROY LICHTENSTEIN (1923-1997)
The Couple, from the Expressionist Woodcut Series, 1980
Woodcut in colors with embossing on Arches Cover paper
Signed and dated in pencil, numbered 27/50

Phillips New-York: 17 October 2018
Estimated: USD 20,000 – 30,000
USD 35,000

 

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The Student

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ROY LICHTENSTEIN
The Student (Corlett 176), 1980
From the series “The Expressionist Woodcut Series”
Color woodcut and embossing on Arches wove paper
With the blindstamps “copyright” and “Gemini G.E.L.”
Lower right numbered, signed and dated by the artist in pencil “19/50 Rf Lichtenstein ’80”
On the reverse with the number “RL 80-942”

Phillips New-York: 26 October 2016
Estimated: USD 15,000 – 25,000
USD 32,500

ROY LICHTENSTEIN
The Student, from The Expressionist Woodcut Series, 1980
Woodcut in colors with embossing, on wove paper
Signed, dated `80′ and numbered 25/50 in pencil

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Head

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Head
from Expressionist Woodcut Series

Medium: Woodcut in colors with embossing on Arches Cover paper
Year: 1980
Image: 33 1/2 x 27 1/8 inches
Sheet: 39 7/8 x 33 5/8 inches
Edition: 50
Artist’s Proofs: 13 AP
Publisher: Gemini, G.E.L., Los Angeles
Literature: Corlett (177), Gemini (885)

Roy Lichtenstein Catalogue Raisonne: RLCR 2922

Head, 1980 (RLCR 2922) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Signed, dated, and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

 

Head is arguably the most recognizable and visually complex print in the series. It features a sharply angular and contorted portrait face, heavily indebted to the psychological intensity found in the works of Expressionists like Alexei Jawlensky or Erich Heckel. Lichtenstein uses multiple color blocks (up to seven colors) in this piece, creating jarring juxtapositions of hues and patterns, smooth areas clash with jagged lines and meticulously applied diagonal striping (his substitute for traditional shading). The final result is a head that appears strained and emotionally charged, yet the mechanical, flat execution robs it of any true Expressionist spontaneity, turning the psychological drama into a graphic diagram of feeling.

 

Auction Results

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Christie’s New-York: 17 July 2018
Estimated: USD 15,000 – 20,000
USD 35,000

ROY LICHTENSTEIN (1923-1997)
Head, from the Expressionist Woodcut Series, 1980
Woodcut with embossing in colors on Arches Cover paper
Signed and dated in pencil, numbered 17/50

Heritage Auctions: 10 April 2017
Estimated: USD 15,000 – 20,000
USD 28,750

ROY LICHTENSTEIN
Head, from Expressionist Woodcuts, 1980
Woodcut in colors with embossing on Arches Cover paper
Signed, dated and numbered AP 7/9 in pencil in lower margin
An Artist Proof aside from the edition of 50

Christie’s New-York: 23 October 2014
Estimated: USD 12,000 – 18,000
USD 32,500

ROY LICHTENSTEIN (1923-1997)
Head, from Expressionist Woodcut, 1980
Woodcut with embossing in colors on Arches Cover paper
Signed and dated in pencil, numbered 30/50

Sotheby’s London: 25 September 2024
Estimated: GBP 10,000 – 15,000
GBP 12,000 / USD 16,010

ROY LICHTENSTEIN (1923-1997)
Morton A. Mort, from Expressionist Woodcut Series, 1980
Woodcut printed in colours on Arches wove paper
Signed in pencil, dated and numbered 33/50