5 Year Print Market Review 2023
Entablature VII - Signed Print by Roy Lichtenstein 1976 - MyArtBroker

Entablature VII
Signed Print

Roy Lichtenstein

£7,500-£11,500 VALUE (EST.)

$14,500-$22,000 VALUE (EST.)

$12,500-$19,000 VALUE (EST.)

¥70,000-¥100,000 VALUE (EST.)

8,500-13,500 VALUE (EST.)

$70,000-$110,000 VALUE (EST.)

¥1,370,000-¥2,110,000 VALUE (EST.)

$9,500-$14,000 VALUE (EST.)

7% AAGR (5YR)

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.

Planographic print, 1976
Signed Print Edition of 30
H 50cm x W 96cm

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Auction Results

Auction DateAuction HouseArtwork
Hammer Price
Return to Seller
Buyer Paid
March 2023Sotheby's New York - United StatesEntablature VII - Signed Print
December 2021Quittenbaum - GermanyEntablature VII - Signed Print
May 2015Sotheby's New York - United StatesEntablature VII - Signed Print
April 2013Doyle New York - United StatesEntablature VII - Signed Print
January 2011Christie's Paris - FranceEntablature VII - Signed Print

Meaning & Analysis

In his Entablature prints of 1976, Roy Lichtenstein expanded upon his previous exploration of issues concerning mechanical reproduction, representation and abstraction. These topics were prominent themes in a number of other series by the artist, including his Haystack series and his Bulls series.

The term entablature originated in classical Greek architecture, and refers to the horizontal structures found atop columns. In the 1970s, Lichtenstein spent hours on end wandering around New York City, capturing reliefs on building facades around Lower Manhattan. As opposed to his usual comic strip and advertisement sources, the photographs were the genesis of Lichtenstein's Entablatures.

Taking architectural ornamentation as the starting point for his Entablatures, Lichtenstein addresses the implied and culturally coded symbolism at play. The physical characteristics of the architectural reliefs appealed to the artist on account of their machine-made components. Moreover, his artistic take on these elements in the Entablature series reflects how his chosen designs are distinctly industrialised American imitations of classical architecture.

Similar to Entablature V, Entablature VII combines dark matte blue screen printed and lithographed areas with embossed glossy silver and black motifs. The richly textured print presents flat abstract patterns in an increasingly graphic manner, giving the impression of the paper being adorned by actual raised reliefs.

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