Cathedral 3
Cathedral 3
Signed Print
Roy Lichtenstein
£9,500-£14,000
$18,000-$27,000 Value Indicator
$17,000-$25,000 Value Indicator
¥90,000-¥130,000 Value Indicator
€11,500-€17,000 Value Indicator
$90,000-$140,000 Value Indicator
¥1,860,000-¥2,740,000 Value Indicator
$12,000-$18,000 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: Lithograph
Edition size: 75
Year: 1969
Size: H 123cm x W 82cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| October 2017 | Bonhams Los Angeles - United States | Cathedral 3 - Signed Print | |||
| April 2017 | Bonhams Los Angeles - United States | Cathedral 3 - Signed Print | |||
| October 2012 | Bonhams San Francisco - United States | Cathedral 3 - Signed Print | |||
| October 2010 | Bonhams San Francisco - United States | Cathedral 3 - Signed Print | |||
| October 2009 | Christie's New York - United States | Cathedral 3 - Signed Print |
Meaning & Analysis
Roy Lichtenstein’s Cathedral series was created in 1969, about a decade after Pop Art was established in the United States. The artist saw photographs of impressionist Claude Monet’s Rouen Cathedrals, which inspired him to manufacture his own versions of the subject matter.
In this series, Lichtenstein is increasingly thoughtful about his place in art history, and the implications his appropriations will have on future generations of artists. He has chosen to rework a series based on a series, producing a sequence of prints that virtually resemble magnifications of a reproduction.
Dark blue Ben Day dots make up the composition of Cathedral 3. Similar toCathedral 1, Lichtenstein is here leaving room for the white background to peek through between the dots, allowing for the contours of the cathedral to assemble.
Although the two series resemble each other in wanting to highlight the act of seeing over the subject matter, there is one essential difference. Lichtenstein’s primary emphasis rests on revising mass reproduction techniques in his prints. Therefore, Monet’s cathedral paintings function as art historical footnotes for him. Lichtenstein demonstrates how images of art become common property and are codified for public consumption through various media like advertising and printing.
