Entablature VI
Entablature VI
Signed Print
Roy Lichtenstein
£6,000-£9,000Value
Indicator
$11,500-$17,000 Value Indicator
$10,500-$16,000 Value Indicator
¥60,000-¥80,000 Value Indicator
€7,000-€10,500 Value Indicator
$60,000-$90,000 Value Indicator
¥1,140,000-¥1,710,000 Value Indicator
$7,500-$11,500 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: Planographic print
Edition size: 30
Year: 1976
Size: H 59cm x W 97cm
Signed: Yes
Format: Signed Print
MyPortfolio
Your collection tracked in real time.
Build your portfolio, manage valuations, view return against your collection and watch works you're looking for.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| March 2023 | Sotheby's New York - United States | Entablature VI - Signed Print | |||
| June 2014 | Doyle New York - United States | Entablature VI - Signed Print | |||
| May 2008 | Bonhams San Francisco - United States | Entablature VI - 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 first began examining the architectural facades of New York City in 1971. He took special interest in the horizontal structures that were placed atop columns, commonly referred to as entablatures. Over the course of 5 years, the artist produced two series of paintings centered around this ornamental feature. His series of Entablature prints were completed in 1976 and consist of eleven works on off-white Rives wove paper.
The series represents distinctly industrialised architectural imitations, built in abundance all over America in the early 20th century. Each print isolates particular architectural motifs encountered around Lower Manhattan. The artist considers the features as coded symbols of imperial power, imprinted on the facades of the very buildings people call their homes and workplaces.
Typically associated with comic book style portrayals of commercial culture, the Entablature series illustrates Lichtenstein’s skilful appropriation of more monumental elements of design.
Once again, the artist traces the effects of mass production and replication, only on a larger cultural scale this time. Additionally, Lichtenstein’s Entablatures spotlight historical conventions governing architectural and art historical creation, like the eminence of the Classical order and the doctrine of Minimalism.
