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Entablature IX - Signed Print by Roy Lichtenstein 1976 - MyArtBroker

Entablature IX
Signed Print

Roy Lichtenstein

£3,500-£5,000Value Indicator

$7,000-$10,500 Value Indicator

$6,500-$9,000 Value Indicator

¥35,000-¥50,000 Value Indicator

€4,050-€6,000 Value Indicator

$35,000-$50,000 Value Indicator

¥700,000-¥1,000,000 Value Indicator

$4,700-$6,500 Value Indicator

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54 x 97cm, Edition of 30, Planographic print

Medium: Planographic print

Edition size: 30

Year: 1976

Size: H 54cm x W 97cm

Signed: Yes

Format: Signed Print

Last Auction: October 2024

Value Trend:

-3% 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
October 2024
Rachel Davis Fine Arts
United States
$3,850
$4,500
$6,000
March 2023
Sotheby's New York
United States
December 2021
Quittenbaum
Germany
April 2015
Bonhams San Francisco
United States
November 2013
Doyle Auctioneers & Appraisers
United States
May 2008
Bonhams San Francisco
United States
MyPortfolio
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The value of Roy Lichtenstein’s Entablature IX (signed) is estimated to be worth between £3,500 and £5,000. This planographic print from 1976 has shown consistent value growth, with an average annual growth rate of 3%. This work has an auction history of six total sales since its entry to the market in May 2008. Over the past 12 months, the average selling price was £3,448, across one total sale. In the past five years, the hammer price has varied from £2,654 in December 2021 to £5,297 in March 2023. The edition size of this artwork is limited to 30.

Created with Highcharts 11.4.8May 2008Feb 2011Nov 2013Jul 2016Apr 2019Jan 2022Oct 2024$3,500$4,000$4,500$5,000$5,500$6,000$6,500© MyArtBroker

Meaning & Analysis

Roy Lichtenstein’s Entablature series of 1976 is an investigation into pattern and repetition. Named for the horizontal structures that rest atop Classical Greek columns, Lichtenstein’s Entablatures convey a distinctly industrialised and American appropriation of architecture. The architectural elements in the Entablature series provide the artist with ready-made designs, similar to the comic strip and advertisement sources he applied in other artistic endeavours.

The pop artist’s preceding interest in the replication of cultural institutions can be detected in his Cathedral series, created only a few years prior. The artist draws on his own photographs capturing the midday facades of various Lower Manhattan institutions. Isolating the culturally coded symbols found on these early 20th century buildings, Lichtenstein’s Entablatures are complete portraits depicting partial subjects.

He presents his chosen motifs in a reductive and repetitive manner, commenting on architecture’s historical preference of uniformity. Additionally, Lichtenstein also directs criticism at Minimalism’s push for impassive artistic expression.

The silver, blue, black and ash grey motifs displayed in Entablature IX are elongated and thin, drawing a physical analogy to the original architecture they were predicated on. The horizontal flow of the ornamentation is also suggestive of such a parallel, alluding to an uninterrupted continuation of the pattern beyond the printed sheet.

  • Roy Lichtenstein, born in New York, 1923, is a seminal figure in the Pop Art movement, renowned for his comic book and advertisement-inspired artworks. His transformative journey from classical painter to Pop Art pioneer began with his iconic piece, Look Mickey, marking the fusion of painting with pop culture. Lichtenstein’s works, including Whaam!, Drowning Girl, and Crying Girl, blend parody and satire, challenging the boundaries between popular culture and ‘high art’. With over 5,000 pieces to his name, Lichtenstein’s enduring influence resonates in contemporary art, his works celebrated in prestigious institutions worldwide.

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