Entablature V
Entablature V
Signed Print
Roy Lichtenstein
£9,500-£14,000 VALUE (EST.)
$17,000-$26,000 VALUE (EST.)
$16,000-$23,000 VALUE (EST.)
¥80,000-¥120,000 VALUE (EST.)
€11,000-€16,000 VALUE (EST.)
$90,000-$130,000 VALUE (EST.)
¥1,530,000-¥2,260,000 VALUE (EST.)
$11,500-$17,000 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Planographic print, 1976
Signed Print Edition of 30
H 55cm x W 96cm
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| May 2022 | Bonhams New York - United States | Entablature V - Signed Print | |||
| April 2022 | Sotheby's New York - United States | Entablature V - Signed Print | |||
| July 2020 | Phillips New York - United States | Entablature V - Signed Print | |||
| May 2015 | Sotheby's New York - United States | Entablature V - Signed Print | |||
| October 2013 | Phillips New York - United States | Entablature V - Signed Print |
Meaning & Analysis
Roy Lichtenstein’s highly innovative Entablature series of the 1970s combines complex screen printed and lithographed areas, embossed with glossy and matte metal foils. This limited and signed edition of 30 prints presents a richly textured illusionistic play on 20th century American architecture.
Roy Lichtenstein’s Entablature series of 1976 employs an intricate array of printing methods. The works in this series were manufactured with the help of handcrafted stencils based on photographs, combined with machine made foil elements. The resulting prints offer unusual colour schemes and lavish finishes.
In his Entablatures, Lichtenstein draws from images depicting the facades of 20th century buildings around New York City. The monumental architectural elements applied in the Entablature series provide the artist with ready-made designs. Lichtenstein’s presentation of the chosen ornamental features is reductive and repetitive, remarking on historical conventions dictating architectural uniformity. It is also a sly criticism directed at Minimalism’s push for the repetition of impassive forms above all else.
Entablature V combines dark matte blue screen printed and lithographed areas, debossed with glossy silver and black architectural motifs. The work is increasingly graphic and gives the impression of the surface of the off-white Rives wove paper being adorned by actual raised reliefs. The horizontal arrangement of the ornamentation suggests that the abstracted patterns continue beyond the printed sheet. In this sense, the disposition resembles the continuous flow of the ornamentations found on real life facades.
