View From The Window
View From The Window
Signed Print
Roy Lichtenstein
£60,000-£100,000
$120,000-$200,000 Value Indicator
$110,000-$180,000 Value Indicator
¥560,000-¥930,000 Value Indicator
€70,000-€120,000 Value Indicator
$610,000-$1,010,000 Value Indicator
¥11,980,000-¥19,960,000 Value Indicator
$80,000-$130,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Planographic print
Edition size: 60
Year: 1985
Size: H 194cm x W 78cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| Sotheby's London | United Kingdom | ||||
| October 2024 | Sotheby's New York | United States | |||
| November 2022 | Waddington's | Canada | |||
| September 2022 | Phillips London | United Kingdom | |||
| April 2019 | Christie's New York | United States | |||
| March 2019 | Christie's London | United Kingdom | |||
| September 2018 | Christie's London | United Kingdom |
Meaning & Analysis
Roy Lichtenstein revisited the landscape motif numerous times throughout his career. His vast Landscapes, Moonscapes and Seascapes comprise several individual series of prints. View from the Window from 1985 belongs to the painterly Landscapes suites. The print mainly appropriates the formal attributes of landscape painting. However, it also imitates brushstrokes, thereby critiquing the idealised brushwork of the abstract expressionists.
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.
