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View From The Window - Signed Print by Roy Lichtenstein 1985 - MyArtBroker

View From The Window
Signed Print

Roy Lichtenstein

£60,000-£100,000Value Indicator

$120,000-$200,000 Value Indicator

$110,000-$180,000 Value Indicator

¥550,000-¥920,000 Value Indicator

70,000-120,000 Value Indicator

$590,000-$980,000 Value Indicator

¥11,340,000-¥18,900,000 Value Indicator

$80,000-$130,000 Value Indicator

3% AAGR

AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.

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Medium: Planographic print

Edition size: 60

Year: 1985

Size: H 194cm x W 78cm

Signed: Yes

Format: Signed Print

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Track auction value trend

The value of Roy Lichtenstein’s View From The Window (signed) is estimated to be worth between £60,000 and £100,000. This planographic print, created in 1985, has shown consistent value growth, with an average annual growth rate of 3%. This artwork has an auction history of 13 total sales since its entry to the market on 19th September 2007. In the past 12 months, the hammer price has ranged from £60,000 in September 2022 to £92,467 in November 2022. The edition size of this artwork is limited to 60.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
Sotheby's London United Kingdom
October 2024Sotheby's New York United States
November 2022Waddington's Canada
September 2022Phillips London United Kingdom
April 2019Christie's New York United States
March 2019Christie's London United Kingdom
September 2018Christie's London United Kingdom

Meaning & Analysis

View from the Windowshows a balcony featuring cursive iron railings and potted plants. The work reveals poignant details composed of intersecting pastel-toned and primary coloured brushstrokes. The view we see through the frame is overlooking a riverside, with figures wandering along the embankment. The vivid hand-painted sweeps within this portrait interact energetically with the mechanical aspects of the artist’s own style. Consequently, the layout of the print becomes similarly abstracted as Lichtenstein’s Brushstroke Faces and Seven Apple Woodcuts.

The stylised brushstroke variations capture the essence of an everyday scene. Translated into the conventional language of the landscape genre, the imitations appear instinctive and integrated. While Lichtenstein’s simulated painterly gestures symbolise shifting light and nature in motion, the detached cartoon elements produce spatial ambiguities. These strokes seem to have been cut out and pasted on, drawing attention to the surface texture of the work.

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