Apple first subverted traditional fine art display techniques and materials as a Pop art strategy in the early 1960s. In Love For Sale, 1961 he incorporated gallery furniture into the art work by painting the plinth with blue and white stripes in reference to a butcher’s apron and the heart is pierced by a real price tag from a butcher’s shop. Love For Sale in many ways sums up the emerging freewheeling youth culture.

In the forward for a 1963 exhibition catalogue titled Pop Art, Mark Glazebrook wrote ‘Pop Art has succeeded in doing what a few years ago seemed impossible in England — it has put the human being and the human object back into Art. Culture, in the hands of the culture manufacturers has been so refined that we find ourselves being fed with Whiter than White, devitalized, homogenized gravy in hermetically sealed galleries. Pop Art marks a return to the good red beef of life.’