Cathedral 2
Cathedral 2
Signed Print
Roy Lichtenstein
£9,000-£13,500Value
Indicator
$17,000-$26,000 Value Indicator
$15,000-$23,000 Value Indicator
¥80,000-¥120,000 Value Indicator
€10,500-€16,000 Value Indicator
$90,000-$130,000 Value Indicator
¥1,680,000-¥2,510,000 Value Indicator
$11,500-$17,000 Value Indicator
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
Format: Signed Print
Year: 1969
Size: H 122cm x W 83cm
Edition size: 75
Signed: Yes
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Track auction value trend
The value of Roy Lichtenstein’s Cathedral 2 is estimated to be worth between £9,000 to £13,500. This rare lithograph has seen only 2 sales at auction to date, both in the United States. The hammer price reached £10,461 in February 2020. The average return to the seller is an impressive £8,892, and the artwork has demonstrated a strong increase in value with an average annual growth rate of 19%. The first sale at auction was on 29th October 2008. Signed by Lichtenstein himself and created in 1969, the edition size of this artwork is limited to just 75.
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| February 2020 | Wright - United States | Cathedral 2 - Signed Print | |||
| October 2008 | Christie's New York - United States | Cathedral 2 - Signed Print |
Meaning & Analysis
The Cathedral series by Roy Lichtenstein was created in 1969 and inspired by a photograph depicting an exhibition of serial artworks. Featured amongst those exhibited were impressionist Claude Monet’s famous oil paintings of the Rouen Cathedral in France.
Monet painted at the site of the cathedral, capturing transient stages of light moving across the building’s surface over the course of two years. His quintessentially painterly approach stands in sharp contrast to Lichtenstein’s commercially influenced style. Yet, Lichtenstein’s primary colours and Ben Day dots can be interpreted as obvious descendants of Monet’s impressionist brushwork.
Similar to how Monet’s paintings dissolve into individual brushstrokes upon close scrutiny, so do Lichtenstein’s handmade dots. Evidently, Cathedral series has the same visual quality in its eligibility as its source material, but is a distinctively mechanised structure; an expression of the 20th century.
This modern approach is manifested through Lichtenstein’s bold colour scheme. Cathedral 2 makes use of blue and red Ben Day dots, a colour combination that is effectively undecipherable when monitored from a short distance. Cathedral 2 stands in stark contrast to Cathedral 1, wherein the white bits between the dots allow for the contours of the cathedral to assemble, regardless of the distance from which the observer regards it.
