Exclusive | Pop Roy Lichtenstein’s NYC Townhouse Brimming with details of the nineteenth century sells the buyer unknown for $ 6.5 million

The latest remaining property of New York City owned by the wealth of renowned pop Roy Lichtenstein artist has found a buyer, The Post has learned.

Located at 739 Washington Street in Manhattan’s West Village, Greek Redbrick Renaissance Townhouse sold this week for $ 6,525 million, marking the last step in the methodical disintegration of the artist’s once expansive real estate trail.

He retreated in a quiet step steps from the Hudson River, the construction of the three-story house in 1845 includes about 3,700 square meters and holds many of its 19th-century details, including pumpkin floors, six fireplaces and complicated formation.

Despite being used as an office for the Roy Lichtenstein Foundation in recent years, the appearance of the house and the charm of the period offered strong attraction to buyers drawn for historical authenticity in an increasingly modern neighborhood.

Initially it was ranked for $ 6.9 million in November before only a few shorts later went into the contract in early 2025.

Clayton Orrigo, also of Compass, represented the unidentified buyer.

The building sits directly adjacent to the house and long studio of Lichtenstein, a former Metal Processing Washer in 741/745 Washington Street, donated in 2022 by his widow, Dorothy Lichtenstein, at the American art Museum.

According to Lee Ann Jafffee of Compass, who co-directed property with colleague Steven Sumser, “was a guest house.

Only a few meters in the south lies 747 Washington Street, a garage that once housed the artist’s personal art and the summer collection.

The post previously reported that the property sold earlier this year for $ 5.5 million for an anonymous buyer operating under the LLC “Whatam -Nomad” -a not so delicate for the iconic painting of Lichtenstein 1963 “Whats!”

The sale of 739 Washington ends a physical chapter in Lichtenstein Estate’s many years of effort to reduce and distribute the artist’s properties after the death of last July Dorothy. She had passed decades while preserving and directing her husband’s heritage through his OEUVRE’s meticulous donations, donations, and meticulous catalogs through the Roy Lichtenstein Foundation.

This work has reached its peak in a wider dump.

The Foundation has announced that it will terminate operations by 2026 after fulfilling its mission to publish the Lichtenstein’s Raisonné catalog and the distribution of thousands of archival works and materials in institutions around the world.

Among the most prominent recipients, Whitney now is the former Manhattan studios of Lichtenstein as the permanent home of his independent study program.

The building – originally built in 1912 – was where Lichtenstein lives, painted and entertained visitors during his later years.

“He worked downstairs, eating lunch at the same dinner every day and lived up in a bedroom with Dorothy,” according to Curbed. The space is currently being renovated by Johnston Marklee, the architecture firm after the Museum’s main projects in Houston and Chicago.

On the door only, the garage in 747 Washington has a more utilitarian design, but it proved just as valuable.

In addition to the room for four cars, it includes a steel and wood staircase leading to a private office, a roof landscape deck and horizon views.

Beyond Manhattan, the artist’s coastal sanctuary is also in the market.

In September, the couple’s long house, once a carriage house in the prestigious Lane IT of Southampton, ranked $ 19.99 million, the post reported.

2nd property, where Roy works in a special studio across the lawn and Dorothy eventually died last summer, never before was on sale in the 54 years that when Lichtensteins were purchased.

“It will make a really nice home for someone because it is unique,” the post Harald Grant of Sotheby’s International Realty, one of the co-lists agents, told the post.

While real estate assets are being distributed, the main part of the last chapter of the assets is unfolding this evening and Friday evening in Sotheby’s New York.

More than 40 works from Roy’s private collection and Dorothy Lichtenstein are directed to the auction block as part of the contemporary sale of the home and the day of the house.

Is estimated to exceed $ 35 million in total, the four-decade artist’s work graph-

“From drawings to paintings to sculpture, this phenomenal group of works provides a first -line place for Lichtenstein’s incomparable genius,” said David Galperin, Sotheby’s vice president, and the head of contemporary art in New York, in a state.

“Together, the group is a study of the reflections of the artist’s art history during the four decades of practice.”

Among the highlights is the reflections: Art (1988), fame to get between $ 4 million and $ 6 million. The acrylic part-in-car belongs to the celebrated series “Reflections” of Lichtenstein, where he darkened iconic images with simulated glass glitter-like an illusion and a metaphor for art relationships with perception.

“For my father, art was about the composition,” said Mitchell Lichtenstein, the artist’s son, in a state. “When asked about comment on his topic, he often said,” Just only signs on one page. “”

Other Marquee offers include Woman: Sunlight, Moonlight (1996), a two-sided sculpture in Wood-A Study for a bronze publication later by institutions such as Broad Angeles-and Cros III (1968), one of the backs exploring the backs. a painting.

“The amusing aspect of painting of the attractive frame is that of both sides of a canvas, he describes the side we want to see less,” Mitchell said.

Sculptures such as Mirror I (1976) echo the artist’s eternal fascination with the idea of ​​reflection and illusion, while collage studies as an interior with African masks (1990) reveal his painting process in the construction of his “interior” series. Shelter magazines.

“One fun thing to consider about the interior series is that the advertising of the aesthetic generic furniture of the rooms described in them is likely to be antithetic to the taste of the collector and in the room on which they depend on the work,” noted Mitchell.

Other works presented include Haystacks (1968), the language node on the site of Lichtenstein in the impressionist series of Monet, interpreted with bold Ben-day points; ENTABATUREE (1975), including sand from Southampton’s beaches near his studio; And Cover Image (Gun in America) for Time Magazine (study) (around 1968), a letter-in-letter interpretation initially commissioned in response to Martin Luther King Jr. and Robert F. Kennedy.

“Lichtenstein was very aware of his country on the line of art history,” Lucius Elliott, head of contemporary contemporary auctions at Sotheby in New York, said. “Essential of his practice is this interrogation of the nature of art and image making.”

Born in New York City in 1923, Roy’s early artistic ambitions took shape at Ohio State University after World War II.

He rose famous in the 1960s for his stylized paintings of comic books and continued to produce over 5,000 works of media, genres and decades. Despite the early critical controversy, its parts are now held by museums including Moma, Whitney, Pompidou Center and the Agoikago Art Institute.

His widow, Dorothy, was useful in cementing that legacy. A native and former director of the Brooklyn Gallery, she co-founded the Roy Lichtenstein Foundation and was its long president, overseeing the great donations of more than 1,000 works in institutions around the world.