5 Year Print Market Review 2023
American Indian Theme II - Signed Print by Roy Lichtenstein 1980 - MyArtBroker

American Indian Theme II
Signed Print

Roy Lichtenstein

£12,000-£18,000 VALUE (EST.)

$23,000-$35,000 VALUE (EST.)

$20,000-$30,000 VALUE (EST.)

¥110,000-¥160,000 VALUE (EST.)

14,000-21,000 VALUE (EST.)

$110,000-$170,000 VALUE (EST.)

¥2,180,000-¥3,270,000 VALUE (EST.)

$14,500-$22,000 VALUE (EST.)

47% AAGR (5YR)

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.

Woodcut, 1980
Signed Print Edition of 50
H 82cm x W 95cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
October 2020Bonhams New York - United StatesAmerican Indian Theme II - Signed Print
September 2019Cottone Auctions - United StatesAmerican Indian Theme II - Signed Print
October 2014Christie's New York - United StatesAmerican Indian Theme II - Signed Print
April 2014Christie's New York - United StatesAmerican Indian Theme II - Signed Print
November 2012Sotheby's New York - United StatesAmerican Indian Theme II - Signed Print
October 2011Sotheby's New York - United StatesAmerican Indian Theme II - Signed Print
November 2008Phillips New York - United StatesAmerican Indian Theme II - Signed Print

Meaning & Analysis

Lichtenstein’s characteristic collage sensibility is reflected in his American Indian Theme II, on account of the work’s complex layout. The composition unites simplified shapes resembling desert vegetation, weaponry and quillwork. The disposition is centralised and elevated through a playful colour scheme. American Indian Theme II evidently employs the strong graphic nature of Native American imagery to its fullest and makes a good fit for Lichtenstein’s own bold style.

Painting cliché infused subjects from American history allowed Lichtenstein to engage with topics of origin and belonging. Thus, it comes as no surprise that the artist sought to primarily ridicule these widely distributed images depicting Native American heritage. However, living next to the Shinnecock Indian reservation near Southampton for many years enabled the artist to acquaint himself with not only its governing traditions, but many of its residents. As a result, his ironic and unapologetic visuals also stand as a testament to his fondness and appreciation of his neighbours from the reservation.

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