# From Pop to Now: the Movements and Techniques a Collector Should Know

> Source: LLB Auction (https://www.llb-auction.com/insights/ways-of-seeing/movements-and-techniques)
> Author: LLB Auction
> Updated: July 3, 2026

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Collectors who want to place a work before they price it begin with one question: what is the pop art movement definition and characteristics, and how does it sit beside the other movements that built the contemporary market. **Pop art** is an art movement that emerged in the mid 1950s in Britain and the late 1950s in the United States, drawing its imagery from advertising, packaging, comic strips and celebrity, and reaching its peak in the 1960s, according to Tate. It rejected the inward emotion of abstract expressionism for the bright surfaces of mass culture. Pop art also set the template the saleroom still runs on today: the edition, the screenprint, the brand-name artist. This guide reads pop art alongside conceptual art, street art, neo-expressionism, gestural painting and photography, and shows why method, not name alone, drives a contemporary work's meaning and its price.

> **Key takeaways:**
> - Pop art emerged in the mid 1950s in Britain and the late 1950s in the United States and peaked in the 1960s, the first movement to make the mass-produced image its real subject, as Tate records.
> - Contemporary art held steady at roughly 14% of public auction value in 2025, the fourth largest fine-art sector behind Postwar at 31%, Modern at 24% and Impressionist and Post-Impressionist at 19%, on Art Basel and UBS figures.
> - Technique sets the questions a buyer must ask: edition size for a screenprint, the certificate for a conceptual work, authentication for a street piece.
> - In the European Union the artist's resale right, or droit de suite, adds 4% down to 0.25% of the hammer to most resales, capped at 12,500 EUR per sale under Directive 2001/84/EC.
> - Reading what is the pop art movement definition and characteristics is the entry point to the whole contemporary field, because every later movement answers or refuses it.

## What Is the Pop Art Movement Definition and Characteristics in the Saleroom

Any working answer to what is the pop art movement definition and characteristics starts with a date and a target. Tate defines pop art as "an art movement that emerged in the 1950s and flourished in the 1960s in America and Britain, drawing inspiration from sources in popular and commercial culture." In 1957 the British artist Richard Hamilton listed its qualities for the architects Peter and Alison Smithson: popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous and big business. That list still reads as a brief for the contemporary market.

British pop, led by Hamilton and Eduardo Paolozzi inside the Independent Group, was the more analytical wing, studying American consumer imagery from a distance. American pop, in Andy Warhol, Roy Lichtenstein, James Rosenquist and Claes Oldenburg, was a return to representation after abstraction, blunt and frontal. For the saleroom the decisive move was Warhol's adoption of photographic silkscreen in 1962, which turned the single hand-made picture into a repeatable, signed and numbered object. You can read more in [Pop Art's Market: Why It Still Sets the Pace](/ways-of-seeing/movements-and-techniques/pop-art-s-market-why-it-still-sets-the-pace).

| Pop art at a glance | What a collector reads |
| :- | :- |
| Origin | Mid 1950s Britain, late 1950s United States, peak 1960s |
| Core subject | Advertising, packaging, comics, celebrity, the brand |
| Signature technique | Photographic screenprint, hard-edge painting |
| Market tell | Edition size, publisher, authentication board history |
| Lead names | Warhol, Lichtenstein, Hamilton, Paolozzi, Hockney |

The full survey of [what is the pop art movement definition and characteristics](https://www.tate.org.uk/art/art-terms/p/pop-art) at Tate is the primary reference here, and it anchors the rest of this hub. Pop art matters to value because it normalised three things the market now takes for granted: the celebrity artist as a brand, the print as a serious collecting category, and the image lifted from commerce as legitimate fine-art subject. Every movement that follows defines itself for or against that settlement.

That settlement is also why Warhol governs the upper market more than 35 years after his death. His Shot Sage Blue Marilyn sold at Christie's New York in 2022 for 195 million USD, the highest price for any 20th century work at auction, while his Brillo boxes and Campbell's Soup screenprints anchor the entry levels of the same market. The structure is unusually transparent for a collector: the painting sets the ceiling, the portfolio print sets the floor, and the Andy Warhol Art Authentication Board record, though the board closed in 2012, still shapes how earlier works are vetted. No other movement gives a buyer so legible a price ladder built from a single name.

## Conceptual Art and the Idea as Object

**Conceptual art** is art in which the idea or concept takes priority over the finished visual object. It emerged in the late 1960s, and the artist Sol LeWitt named it in his 1967 essay "Paragraphs on Conceptual Art," where he wrote that "the idea becomes a machine that makes the art" and that "the idea itself, even if not made visual, is as much a work of art as any finished product." Where pop art kept the bright surface, conceptual art was willing to discard the object entirely.

For a collector this changes what is being bought. A LeWitt wall drawing is acquired as a **certificate of authenticity** and a set of instructions; the physical drawing is executed by others and can be remade when the work is reinstalled. The certificate is the work, and a wall drawing without its certificate is close to worthless. This is the sharpest contrast with what is the pop art movement definition and characteristics, where the printed sheet itself carries the value. Conceptual practice also gave the market the documentation habit now standard across contemporary art: photographs, instructions, signed declarations and condition records as the spine of **provenance**, the documented ownership history of a work.

The lesson travels well beyond LeWitt. Joseph Kosuth's One and Three Chairs presents an object, a photograph of it and a dictionary definition together, and Lawrence Weiner's wall texts exist as language that any owner may install or leave unrealised. In each case the collector buys a right and a document rather than a fixed thing, which is why conceptual works can be among the most discreet holdings in a collection and among the hardest to value without expert advice. The contrast with what is the pop art movement definition and characteristics is exact: pop multiplied a fixed image, conceptual art dissolved the image into instruction. Collectors weighing instruction-based, performance or installation work should treat the paperwork as the asset and store it accordingly. The deeper reading of how the idea displaced the object sits in [Conceptual Art: When the Idea Is the Work](/ways-of-seeing/movements-and-techniques/conceptual-art-when-the-idea-is-the-work).

![Saleroom wall of bright pop-art prints beside a stencil-style street artwork](https://renderings.laboetie.io/media/W9jh1G9s7qUNSP8A6QPAe/w1920)

## Street Art's Route Into the Auction Room

**Street art**, the spray, stencil and paste-up practice that grew out of graffiti, took two decades to walk from the wall to the evening sale, and it carries pop art's DNA: mass-reproducible imagery, a recognisable signature style and a public, commercial surface. Banksy is the clearest case. His stencil method, fast and repeatable, mirrors the screenprint logic that pop established, and his market has set records that few living artists touch.

The numbers are blunt. Love is in the Bin, the canvas that partially shredded itself at Sotheby's London in 2018 as Girl with Balloon, returned in 2021 and sold for 18.6 million GBP. Game Changer reached 16.8 million GBP at Christie's in March 2021. Banksquiat: Boy and Dog in Stop and Search openly reworks Jean-Michel Basquiat's 1982 painting Boy and Dog in a Johnnypump, a direct line from one movement to the next. The street origin also creates the market's hardest problem, authentication: works are validated through the artist's own body, Pest Control, and a piece without that paperwork struggles regardless of quality. To restate what is the pop art movement definition and characteristics in this context, street art inherited the reproducible image but added a verification burden pop never carried.

Street art also shows how pop's edition logic scales a market. KAWS, who moved from public interventions to a global studio practice, sells editioned vinyl figures and screenprints at four figures while his large paintings reach seven, and Keith Haring's Pop Shop prints did the same democratic work a generation earlier. The breadth is the opportunity and the trap, because the same artist's name covers authorised editions, authenticated unique paintings and dubious wall fragments. A collector reading a street-art lot should separate three categories: authorised studio editions, authenticated unique works, and removed-from-the-wall pieces whose legality and condition are fraught. The full account is in [Street Art's Long Walk Into the Auction Room](/ways-of-seeing/movements-and-techniques/street-art-s-long-walk-into-the-auction-room).

## Neo-Expressionism and the New Figuration

**Neo-expressionism** exploded in the late 1970s and early 1980s as a deliberate return to figuration, raw emotion and gestural brushwork, set against the cool detachment of minimalism and conceptual art, as The Art Story records. After a decade in which the idea had displaced the hand, paint and the body came back. Jean-Michel Basquiat and Julian Schnabel became the movement's public faces in New York, alongside Georg Baselitz, Anselm Kiefer and Francesco Clemente in Europe.

For the market neo-expressionism reasserted the singular, large, physically present canvas at the exact moment pop had taught buyers to value the multiple. That tension still structures contemporary taste, and it sharpens what is the pop art movement definition and characteristics by contrast: where pop flattened and repeated, neo-expressionism thickened and individualised. Basquiat's market has since become one of the deepest in postwar and contemporary art, with major canvases trading in eight figures, and his fusion of text, anatomy and street imagery keeps him central to new-figuration collecting.

The market has ratified that intensity. Basquiat's Untitled skull painting of 1982 sold at Sotheby's New York in 2017 for 110.5 million USD, the highest auction price for an American artist at the time, and his early 1980s canvases consistently lead the new-figuration field. The figure matters less than the pattern it confirms: when value concentrates in a singular, period-specific, physically charged object, the saleroom rewards exactly the qualities pop suppressed. Set against what is the pop art movement definition and characteristics, neo-expressionism is the market's recurring correction toward the hand. The reading questions here are period and surface. Early 1980s works carry the movement's charge; later production is judged differently. Condition matters acutely because heavy impasto, mixed media and unconventional supports age unevenly, which is why a three-page condition report earns its keep on this material.

## Screenprinting, Editions and the Print Boom

The **screenprint**, also called silkscreen, is a stencil process in which thick ink is pulled with a rubber blade, the squeegee, through a fine mesh that has been blocked in the non-printing areas, building the image in flat layers of colour. The Victoria and Albert Museum notes it was a commercial technique widely adopted for fine-art prints in the 1960s and 1970s, the exact window pop art was peaking. Warhol industrialised it from 1962, and his own description was plain: "you get the same image, slightly different each time."

This is where what is the pop art movement definition and characteristics meets the practical mechanics of collecting, because pop turned the print from a reproduction into a primary market. An **edition** is a fixed run of identical impressions, each numbered, for example 25/100, and often accompanied by **artist's proofs** marked AP. Value within an edition turns on the run size, the publisher, the condition of the sheet and the presence of a signature. A **lithograph**, by contrast, is a planographic process drawn with greasy ink on stone or a metal plate, while etching and engraving are **intaglio**, printed from incised lines; telling them apart is a core saleroom skill.

Warhol's portfolios are the reference points: the Marilyn Monroe suite of 1967, the Campbell's Soup I set of 1968 and the Flowers prints established that a screenprint could be a primary work with its own scholarship and price record. Within a single portfolio, condition decides everything, because these are works on paper that fade, cockle and discolour. A collector compares the same image impression by impression, weighing the freshness of the colour, the margins, any restoration and the strength of the signature, then reads the publisher and printer to confirm the sheet belongs to the authorised run rather than a later unauthorised one. The print boom democratised access, putting major names within reach at four and five figures rather than seven, and it remains the most liquid entry point to blue-chip contemporary art. The full mechanics, including numbering, proofs and signatures, are set out in [The Print Boom: Editions, Screenprints and the Democratic Multiple](/ways-of-seeing/movements-and-techniques/the-print-boom-editions-screenprints-and-the-democratic-multiple). The reference guide on technique is the V&A's [What Is Print](https://www.vam.ac.uk/articles/what-is-print) survey.

![Screenprinting studio with a mesh screen and squeegee pulling ink across paper](https://renderings.laboetie.io/media/CCE1aDbKaBb5g9PaemWbx/w1920)

## Gestural and Material Painting

**Gestural painting** records the movement of the artist's hand and body in the mark itself, so the brushstroke, the drip and the scrape are read as evidence of the act of making. It descends from abstract expressionism and runs through neo-expressionism into much current figurative painting. The collecting questions are different from those a print raises. Here uniqueness, surface and the legibility of the hand carry the value, and there is no edition to compare against.

**Mixed media**, a label meaning more than one material in a single work, often oil with acrylic, oilstick, collage, spray or found objects, became standard in the 1980s and after. It rewards close looking and demands careful condition analysis, because dissimilar materials expand, yellow and crack at different rates. This is the part of what is the pop art movement definition and characteristics that pop itself pushed against, since pop chased the smooth, anonymous, machine-made surface, while material painting insists on the irregular and the handmade. Both poles now coexist in a single saleroom.

Cy Twombly's scribbled, written surfaces and Gerhard Richter's squeegee-dragged abstractions show the range, from the apparently spontaneous mark to the mechanically smeared field, and both command deep markets precisely because the surface cannot be reproduced as an edition. That irreducibility is the value, and it is also the risk, since a damaged gestural surface cannot be reprinted the way a lost print impression can be replaced. For value, three checks recur on gestural and material work: the integrity of the support, the stability of the medium, and the clarity of the artist's mark against studio assistants. A close reading of how to read the mark and the hand is in [Gestural Painting: Reading the Mark and the Hand](/ways-of-seeing/movements-and-techniques/gestural-painting-reading-the-mark-and-the-hand).

## Photography and Editions as a Medium

Photography entered contemporary collecting on pop art's terms, as an editioned, signed and numbered medium rather than a one-off. A collectible photograph is typically issued in a small edition, often 3 to 10 prints, sometimes with two or three artist's proofs, and value depends on the print date, the process, the size and the position in the edition. A vintage print made close to the negative's date usually outranks a later print of the same image.

This is the quiet extension of what is the pop art movement definition and characteristics into another medium: the logic of the numbered multiple, established by pop, now governs how the market prices photographs, prints and many sculptures cast in series. The technical vocabulary matters, because a gelatin silver print, a chromogenic print and a pigment print age and price differently, and the label on the back is part of the value. Process, edition and signature together, not the image alone, set the price.

The top of the market proves the point. Andreas Gursky's Rhein II, a chromogenic print in an edition of six, sold at Christie's in 2011 for 4.3 million USD, then a record for a photograph, while Cindy Sherman's Untitled film stills, made as editioned prints, turned staged self-portraiture into a blue-chip medium. Both demonstrate that buyers price the print object, its edition and its date, not the captured scene in isolation. Collectors moving into photography should read the edition statement before the picture, confirm the print date, and treat unsigned or unnumbered prints with caution. The detailed framework sits in [Photography as a Collecting Medium: Editions, Prints and Process](/ways-of-seeing/movements-and-techniques/photography-as-a-collecting-medium-editions-prints-and-process).

## In Practice, What Is the Pop Art Movement Definition and Characteristics Worth?

Technique is not a footnote to value; it is the mechanism. To answer what is the pop art movement definition and characteristics worth in the market, a collector reads the method first and the name second, because the method dictates which questions decide the price. The table below maps the movements in this hub to the technique that defines them and the single market signal each one forces a buyer to check.

| Movement | Defining technique | Market signal to verify |
| :- | :- | :- |
| Pop art | Photographic screenprint, hard-edge painting | Edition size, publisher, authentication board record |
| Conceptual art | Instruction, documentation, certificate | The certificate and the right to fabricate |
| Street art | Stencil, spray, screenprint | Authentication body, studio edition versus wall removal |
| Neo-expressionism | Gestural oil, mixed media, large canvas | Period (early 1980s), exhibition history, condition |
| Photography | Editioned print process | Print date, process, position in the edition |

The table also clarifies where a work sits in the market's two halves. The primary market is the first sale, through a gallery or directly from the studio, where the artist and dealer set the price; the secondary market is every resale after that, where auction is the public benchmark. Pop art accelerated the secondary market for living artists, because an editioned, brand-name object resells more readily than a unique commission, and that liquidity is part of why the movement still sets the pace. A collector who knows whether a comparable sold at primary or secondary level reads an estimate with far more confidence, and treats a fresh-to-market work differently from one that has changed hands repeatedly.

Across all of them, one legal cost recurs in Europe. The artist's resale right, the [droit de suite](https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=LEGISSUM:l26049), entitles a living artist or their estate to a royalty on most resales through a professional, tiered from 4% on the portion up to 50,000 EUR down to 0.25% above 500,000 EUR, capped at 12,500 EUR per work under Directive 2001/84/EC. It is one reason the headline hammer is never the whole story.

Five checks turn movement knowledge into a defensible bid:

1. **Identify the technique, then the questions it forces.** A screenprint raises edition and publisher; a unique canvas raises hand and condition.
2. **Confirm authentication for the relevant body.** Pest Control for Banksy, artist foundations and catalogues raisonnés for estates, the certificate for conceptual and instruction-based work.
3. **Read the edition statement in full.** Run size, proofs, print date and signature each move the price within the same image.
4. **Demand a condition report on material and gestural work.** Mixed media and impasto age unevenly; a three-page report is the seller's burden, not the buyer's guess.
5. **Net the fees before bidding.** Add the buyer's premium and, in Europe, the resale royalty to the hammer to reach the real cost.

A worked example shows why the fee math belongs in the answer. Take a Warhol screenprint that hammers at 40,000 EUR. A buyer paying a 20% buyer's premium owes 48,000 EUR before shipping. A seller paying a 10% commission and, because Warhol's estate is within the scheme, the resale royalty, nets the 40,000 EUR less 4,000 EUR commission and a tiered royalty of roughly 1,600 EUR on the first portion, before any catalogue or photography charges. The same hammer means 48,000 EUR out for the buyer and closer to 34,000 EUR in for the seller, a spread of 14,000 EUR that movement and technique knowledge cannot remove but can at least let you anticipate. This is the unglamorous half of what is the pop art movement definition and characteristics in practice: the method tells you what to verify, and the fee schedule tells you what it costs.

One factor cuts across every movement in the table: provenance. The documented ownership history is the multiplier that technique alone cannot supply, because two impressions of the same screenprint, or two canvases from the same year, separate on the strength of their paper trail. A work exhibited in a museum survey, recorded in a catalogue raisonne and traceable through named collections carries a premium over an otherwise identical piece with gaps in its history. Gaps are not always fatal, but they must be priced, and for postwar and contemporary material the verso of the work, with its labels, stamps and inscriptions, is the first place that history is read. This is why a serious house treats due diligence on certificates, ownership and condition as the precondition for a sale rather than a courtesy after it.

The broad market frames the stakes. Global art sales rose 4% to an estimated 59.6 billion in 2025, with public auction sales up 9% in value and the high end leading, on the Art Basel and UBS Global Art Market Report. Public auction turnover above 10 million USD rose 9% year on year, a sign that confidence returned first at the top. Contemporary art alone accounted for roughly 14% of public fine-art auction value, the fourth largest sector behind Postwar at 31%, Modern at 24% and Impressionist and Post-Impressionist at 19%. In that field, technique literacy is the cheapest edge a collector can buy, and it compounds with the patience to read provenance before bidding.

## How LLB Auction Helps Collectors Place a Work Before They Price It

LLB Auction is a specialist contemporary art auction house that runs timed online sales and positions itself as a buyer's advocate, which means the curation is the product. The house has handled works by Andy Warhol, Keith Haring, Yayoi Kusama, Takashi Murakami, Julian Opie, Ed Ruscha and Banksy, the same names that run through every movement above.

**Curated intake.** The house rejects roughly 40% of submissions at intake, so the object, not just the source, clears a threshold before it reaches a collector. The discipline is the point: anything offered has already survived a real refusal.

**Provenance and condition due diligence.** Every lot carries per-lot research into certificates, ownership history and conservation records, with published three-page condition reports, the exact documentation that movement-by-movement collecting demands, from a conceptual certificate to a neo-expressionist surface.

**Transparent fees and post-sale support.** Fees are disclosed upfront, a 20% buyer's premium and a 10% seller's commission with no hidden costs, across timed online sales of 7 to 14 days. The Contemporary Art Spring 2026 sale on 26 May 2026 offered 25 lots and sold 23, with roughly 39,480 EUR in gross hammer, evidence of a working, asynchronous platform rather than a promise. The house runs four sales across 2026 and coordinates worldwide shipping and full post-sale support, so a buyer's premium buys process, not just access.

If you collect across these movements and want first sight of curated contemporary lots, register for the LLB Auction newsletter to receive sale previews, catalogue notes and condition reports before each timed sale opens.

## FAQ: Pop Art, Technique and the Contemporary Market

### What is the pop art movement definition and characteristics?

Pop art is an art movement that emerged in the mid 1950s in Britain and the late 1950s in the United States and peaked in the 1960s, taking its imagery from advertising, packaging, comics and celebrity. Its characteristics are bright flat colour, mechanical reproduction through screenprinting, irony toward consumer culture, and the elevation of mass-produced images to fine-art status, as Tate sets out.

### Who were the founders of pop art?

In Britain, Richard Hamilton and Eduardo Paolozzi developed pop within the Independent Group from the mid 1950s, with Hamilton drafting the movement's first characteristics list in 1957. In the United States, Andy Warhol, Roy Lichtenstein, James Rosenquist and Claes Oldenburg defined American pop from the late 1950s and through the 1960s, turning commercial imagery into a frontal, representational style.

### Why does technique change the value of a contemporary work?

Technique decides which questions set the price. A screenprint is valued on edition size, publisher, condition and signature, a conceptual work on its certificate and the right to fabricate, and a gestural painting on the legibility of the hand and the stability of its materials. Reading the method first tells a collector what evidence to demand before bidding.

### What is the artist's resale right and who pays it?

The artist's resale right, or droit de suite, is a royalty owed to a living artist or their estate when a work is resold through a professional in the European Union. Under Directive 2001/84/EC it is tiered from 4% down to 0.25% of the hammer and capped at 12,500 EUR per work. The seller is liable by default, so it should be netted against the expected hammer.

### How is a limited edition print numbered and valued?

A limited edition print is issued in a fixed run, written as a fraction such as 25/100, sometimes with artist's proofs marked AP. Value within one image turns on the run size, the publisher, the print date, the condition of the sheet and the signature. Smaller runs, earlier impressions and clean condition command more, while open or unsigned editions sit lower.

### Is contemporary art a reliable financial investment?

No responsible house frames art as a guaranteed investment, and LLB Auction does not. Auction prices reflect taste, condition, provenance and demand, all of which move, and fees plus the resale royalty reduce net returns. Collectors should buy for the work and treat any future value as uncertain, relying on documented condition and provenance rather than promises of appreciation.

## Conclusion

The movements that built the contemporary market are not a timeline to memorise but a set of questions to ask, and technique is what makes the questions specific. Pop art set the terms with the edition, the screenprint and the brand-name artist; conceptual art moved value into the certificate; street art added the authentication burden; neo-expressionism and gestural painting returned weight to the singular hand; photography extended the numbered multiple into a new medium. Read together, they let a collector place a work before pricing it, then price it on evidence. That is the practical payoff of understanding what is the pop art movement definition and characteristics: it turns a name on a label into a checklist of method, document and condition that a confident bid can stand on.

**À lire également :**

- [Pop Art's Market: Why It Still Sets the Pace](/ways-of-seeing/movements-and-techniques/pop-art-s-market-why-it-still-sets-the-pace)
- [Conceptual Art: When the Idea Is the Work](/ways-of-seeing/movements-and-techniques/conceptual-art-when-the-idea-is-the-work)
- [Street Art's Long Walk Into the Auction Room](/ways-of-seeing/movements-and-techniques/street-art-s-long-walk-into-the-auction-room)
- [The Print Boom: Editions, Screenprints and the Democratic Multiple](/ways-of-seeing/movements-and-techniques/the-print-boom-editions-screenprints-and-the-democratic-multiple)
- [Gestural Painting: Reading the Mark and the Hand](/ways-of-seeing/movements-and-techniques/gestural-painting-reading-the-mark-and-the-hand)
- [Photography as a Collecting Medium: Editions, Prints and Process](/ways-of-seeing/movements-and-techniques/photography-as-a-collecting-medium-editions-prints-and-process)

**Sources :**

- [Pop art](https://www.tate.org.uk/art/art-terms/p/pop-art) : Tate, art term glossary
- [Conceptual art](https://www.moma.org/collection/terms/conceptual-art) : MoMA, citing Sol LeWitt, Paragraphs on Conceptual Art, 1967
- [Sol LeWitt](https://www.theartstory.org/artist/lewitt-sol/) : The Art Story, artist overview
- [Neo-Expressionism Movement Overview](https://www.theartstory.org/movement/neo-expressionism/) : The Art Story, movement survey
- [What Is Print](https://www.vam.ac.uk/articles/what-is-print) : Victoria and Albert Museum, printmaking techniques
- [How to Print Like Warhol](https://www.tate.org.uk/art/artworks/warhol-no-title-p77080/print-like-warhol) : Tate, screenprinting process
- [The Art Basel and UBS Global Art Market Report 2026](https://www.artbasel.com/stories/the-art-basel-and-ubs-global-art-market-report-2026) : Art Basel and UBS, Arts Economics, 2026
- [Banksy Sells for Record at Sotheby's](https://www.artsy.net/article/artsy-editorial-banksy-sells-record-121-million-sothebys-frieze-week-sale) : Artsy, auction reporting
- [Resale right for the author of an original work of art](https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=LEGISSUM:l26049) : EUR-Lex, Directive 2001/84/EC
- [Pop art](https://www.britannica.com/art/Pop-art) : Encyclopaedia Britannica, movement entry