Sam Francis

Untitled, 1984

106.7 X 73 inch

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Entablature IV (141)

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Entablature II (139)

Roy Lichtenstein’s Entablature III (140), mixed media, 1976. Dominated by a golden metallic central band with decorative black and white motifs and embossed elements.
Roy Lichtenstein’s Entablature III (140), mixed media, 1976. Dominated by a golden metallic central band with decorative black and white motifs and embossed elements.
Roy Lichtenstein’s Entablature III (140), mixed media, 1976. Dominated by a golden metallic central band with decorative black and white motifs and embossed elements.

Screenprint, lithograph, and collage with embossing on Rives BFK paper - Hand-signed by artist - Blind stamp, lower right: (Tyler Graphics Ltd). Workshop number on verso - Published by Tyler Graphics Ltd., Bedford Village, New York // Roy Lichtenstein’s Entablature III (140) (1976) is part of his Entablature series, in which he reinterprets classical architectural motifs using modern pop-art techniques. This piece is a striking combination of screen print, lithography, collage, and embossing, featuring horizontal bands that are reminiscent of architectural friezes. The central portion of the artwork is dominated by a golden, metallic texture, embossed with clean lines and geometric details that evoke classical architectural reliefs. Above and below, decorative black and white motifs, including a Greek key design, frame the central element. A striped pattern with a yellow dashed line adds further structure and visual balance to the piece. Lichtenstein’s use of embossing creates a sense of depth, while the polished gold surface adds a luxurious and reflective quality. The work juxtaposes historical and contemporary aesthetics, blending high art references with the sleek and polished look of modern design, characteristic of Lichtenstein’s innovative approach to pop art.

Artwork Copyright © Roy Lichtenstein

Entablature III (140), 1976

form

Medium

Edition

Screenprint, lithograph, and collage with embossing on Rives BFK paper - Hand-signed by artist - Blind stamp, lower right: (Tyler Graphics Ltd). Workshop number on verso - Published by Tyler Graphics Ltd., Bedford Village, New York // Roy Lichtenstein’s Entablature III (140) (1976) is part of his Entablature series, in which he reinterprets classical architectural motifs using modern pop-art techniques. This piece is a striking combination of screen print, lithography, collage, and embossing, featuring horizontal bands that are reminiscent of architectural friezes. The central portion of the artwork is dominated by a golden, metallic texture, embossed with clean lines and geometric details that evoke classical architectural reliefs. Above and below, decorative black and white motifs, including a Greek key design, frame the central element. A striped pattern with a yellow dashed line adds further structure and visual balance to the piece. Lichtenstein’s use of embossing creates a sense of depth, while the polished gold surface adds a luxurious and reflective quality. The work juxtaposes historical and contemporary aesthetics, blending high art references with the sleek and polished look of modern design, characteristic of Lichtenstein’s innovative approach to pop art.

Artwork Copyright © Roy Lichtenstein

Roy Lichtenstein

Before The Mirror (from Mirrors Of The Mind Portfolio), 1975

Limited Edition Print

Lithograph

USD 19,500

Roy Lichtenstein

Crying Girl, 1963

Limited Edition Print

Offset Print

USD 50,000 - 70,000

Roy Lichtenstein

Interior With Chair From The Leo Castelli 90th Birthday Portfolio, 1997

Limited Edition Print

Screen-print

USD 30,000 - 40,000

Roy Lichtenstein

Inaugural Print From The Inaugural Impressions Portfolio, 1977

Limited Edition Print

Screen-print

USD 25,000 - 35,000

Roy Lichtenstein

Still Life With Red Jar, 1994

Limited Edition Print

Serigraph

USD 30,900

Roy Lichtenstein

Private Listing

Limited Edition Print

Mixed Media

Request Info

Roy Lichtenstein

Private Listing

Limited Edition Print

Screen-print

Request Info

Roy Lichtenstein

Untitled I, 1980

Limited Edition Print

Etching And Aquatint

Inquire For Price

Roy Lichtenstein

Private Listing

Sculpture / Object

Mixed Media

Request Info

Roy Lichtenstein

Private Listing

Limited Edition Print

Screen-print

Request Info

Roy Lichtenstein

Pyramids, 1969

Limited Edition Print

Screen-print

USD 17,500

Roy Lichtenstein

Two Apples, 1983

Limited Edition Print

Woodcut

USD 14,850

Roy Lichtenstein

Reflections On Minerva, 1990

Limited Edition Print

Mixed Media

USD 80,000 - 100,000

Roy Lichtenstein

Foot And Hand, 1964

Limited Edition Print

Offset Print

USD 31,000

Roy Lichtenstein

Composition III, 1996

Limited Edition Print

Screen-print

Inquire For Price

Roy Lichtenstein

Seascape (I), 1964

Limited Edition Print

Screen-print

USD 11,000

Roy Lichtenstein

Pistol (from Banner, Multiples Calendar, 1968

Limited Edition Print

Screen-print

USD 4,600

Roy Lichtenstein

Bull VI, 1973

Limited Edition Print

Mixed Media

Inquire For Price

Roy Lichtenstein

Mirror #9, 1972

Limited Edition Print

Mixed Media

Inquire For Price

Roy Lichtenstein

Apple And Lemon (from Seven Apple Woodcuts), 1983

Limited Edition Print

Woodcut

USD 14,850

Roy Lichtenstein

Red And Yellow Apple From Seven Apple Woodcuts, 1983

Limited Edition Print

Woodcut

USD 20,000 - 30,000

Roy Lichtenstein

Haystack #6, 1969

Limited Edition Print

Lithograph

USD 19,500

Roy Lichtenstein

Two Paintings: Dagwood From The Paintings Series, 1984

Limited Edition Print

Mixed Media

USD 80,000 - 100,000

Roy Lichtenstein

Fish And Sky, 1967

Limited Edition Print

Mixed Media

USD 19,950

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What is site specific art?

Site-Specific Art is a form of artwork created to exist in a particular location, with the artist considering the site as an integral part of the creative process. Robert Irwin was a key figure in promoting this art form in California. Site-Specific Art emerged as a reaction against modernist objects, which were often portable, commodified, and confined to museum spaces. In contrast, Site-Specific Art is inherently tied to its location, challenging the traditional notions of art as a transportable and marketable commodity.

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