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Cathedral 4 - Signed Print by Roy Lichtenstein 1969 - MyArtBroker

Cathedral 4
Signed Print

Roy Lichtenstein

£11,000-£16,000Value Indicator

$22,000-$30,000 Value Indicator

$20,000-$29,000 Value Indicator

¥100,000-¥150,000 Value Indicator

13,000-19,000 Value Indicator

$110,000-$160,000 Value Indicator

¥2,110,000-¥3,070,000 Value Indicator

$14,000-$20,000 Value Indicator

10% AAGR

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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Track auction value trend

The value of Roy Lichtenstein’s Cathedral 4 (signed) is estimated to be worth between £11,000 and £16,000. This lithograph print, created in 1969, has shown consistent value growth, with an average annual growth rate of 10%. This work has an auction history of seven total sales since its entry to the market in October 2008. In the past 12 months, the average selling price was £11,538, with a total of one artwork sold. Over the past five years, the average annual growth rate of this work is 10%. The edition size of this artwork is limited to 75.

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Auction Results

Auction DateAuction HouseLocation
Hammer Price
Return to Seller
Buyer Paid
October 2024Rago United States
April 2017Bonhams Los Angeles United States
October 2016Sotheby's New York United States
April 2016Sotheby's New York United States
April 2013Bonhams San Francisco United States
October 2011Sotheby's New York United States
October 2008Sotheby's New York United States

Meaning & Analysis

Monet repeatedly responded to a single theme in his series of paintings and captured actual light being reflected on the surface of the facade of Rouen Cathedral. He painted the cathedral at various points of the day, in order to illustrate the transience of time.

The lineup of the prints in Lichtenstein’s Cathedral series is like sheets rolling off an assembly line or proofs from a printing press. Lichtenstein first and foremost reflects on the realities of mass reproduction in his versions of the historic monument. That being said, a varying colour scheme alludes to daytime and nighttime in Lichtenstein’s Cathedral series. Additionally, his trademark use of Ben Day dots feels like a close successor to Monet’s impressionist brushwork.

Cathedral 4 is composed of dark magenta coloured interlocking Ben Day dots, presenting a crisp and clear image of the church if regarded by the observer from afar. Similar to Cathedral 3, however, the work demands close scrutiny of the painterly gesture when considered up close.