Cathedral 4
Cathedral 4
Signed Print
Roy Lichtenstein
£10,500-£16,000
$20,000-$30,000 Value Indicator
$19,000-$28,000 Value Indicator
¥100,000-¥150,000 Value Indicator
€12,500-€19,000 Value Indicator
$100,000-$160,000 Value Indicator
¥2,020,000-¥3,080,000 Value Indicator
$13,500-$20,000 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: Lithograph
Edition size: 75
Year: 1969
Size: H 123cm x W 82cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2024 | Rago | United States | |||
| April 2017 | Bonhams Los Angeles | United States | |||
| October 2016 | Sotheby's New York | United States | |||
| April 2016 | Sotheby's New York | United States | |||
| April 2013 | Bonhams San Francisco | United States | |||
| October 2011 | Sotheby's New York | United States | |||
| October 2008 | Sotheby's New York | United States |
Meaning & Analysis
Roy Lichtenstein, an eminent figure of the Pop Art movement, created his Cathedral series in 1969. The artist was prompted by a photograph of Claude Monet’s 1894 series of oil paintings of a historic monument in Rouen, France.
Monet repeatedly responded to a single theme in his series of paintings and captured actual light being reflected on the surface of the facade of Rouen Cathedral. He painted the cathedral at various points of the day, in order to illustrate the transience of time.
The lineup of the prints in Lichtenstein’s Cathedral series is like sheets rolling off an assembly line or proofs from a printing press. Lichtenstein first and foremost reflects on the realities of mass reproduction in his versions of the historic monument. That being said, a varying colour scheme alludes to daytime and nighttime in Lichtenstein’s Cathedral series. Additionally, his trademark use of Ben Day dots feels like a close successor to Monet’s impressionist brushwork.
Cathedral 4 is composed of dark magenta coloured interlocking Ben Day dots, presenting a crisp and clear image of the church if regarded by the observer from afar. Similar to Cathedral 3, however, the work demands close scrutiny of the painterly gesture when considered up close.
