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The River - Signed Print by Roy Lichtenstein 1985 - MyArtBroker

The River
Signed Print

Roy Lichtenstein

£60,000-£90,000Value Indicator

$120,000-$190,000 Value Indicator

$110,000-$170,000 Value Indicator

¥580,000-¥880,000 Value Indicator

€70,000-€100,000 Value Indicator

$640,000-$960,000 Value Indicator

¥11,920,000-¥17,890,000 Value Indicator

$80,000-$120,000 Value Indicator

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95 x 134cm, Edition of 60, Planographic print

Medium: Planographic print

Edition size: 60

Year: 1985

Size: H 95cm x W 134cm

Signed: Yes

Format: Signed Print

Last Auction: April 2025

Value Trend:

2% AAGR

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

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Auction Results

Auction Date
Auction House
Location
Return to Seller
Hammer Price
Buyer Paid
April 2025
Christie's New York
United States
$80,000
$90,000
$110,000
October 2019
Phillips New York
United States
October 2018
Christie's New York
United States
October 2018
Phillips New York
United States
October 2017
Christie's New York
United States
April 2013
Phillips New York
United States
November 2012
Sotheby's New York
United States
MyPortfolio
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Track auction value trend

The River, a signed Planographic Print by Roy Lichtenstein from 1985, is estimated to be valued between £60,000 to £90,000. This artwork has been sold 8 times at auction since its initial sale on 2nd November 2007. Over the past 12 months, the average selling price was £67,948, with a total sales volume of 1. The average annual growth rate of this work is 2%. The edition size of this artwork is limited to 60.

Created with Highcharts 11.4.8Nov 2012Dec 2014Jan 2017Jan 2019Feb 2021Mar 2023Apr 2025$60,000$70,000$80,000$90,000$100,000$110,000$120,000© MyArtBroker

Meaning & Analysis

The River shows a highly traditional landscape portrait with sailboats drifting down a narrow river. Abstracted figures observe the voyage from the shore. A row of houses with smoking chimneys are set in the background of the work. The whole scene is composed of intersecting pastel-toned and primary coloured brushstrokes. The explosive hand-painted sweeps interact energetically with the mechanical aspects of the artist’s own style. Consequently, the layout of the print becomes similarly abstracted as Lichtenstein’s concurrent Brushstroke Faces and Seven Apple Woodcuts.

Lichtenstein cleverly translates his stylised brushstroke variations into the conventional language of the landscape genre. As such, his simulated sweeps appear more instinctive and integrated. While Lichtenstein’s imitated 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, steering attention toward the object quality of the work.

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