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Introduction

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Fresh from the success of his groundbreaking paintings inspired by comic books, in 1969 the artist turned his attention to the celebrated paintings of Claude Monet, one of the most visionary artists of the late nineteenth and early twentieth centuries. Captivated by the French artist’s investigations into painting light, Lichtenstein took as his inspiration Monet’s famous painting Rouen Cathedral, Façade (1894; Museum of Fine Art Boston).

He had seen the painting in a monograph about the artist and began transforming Monet’s ethereal brushstrokes into his signature Ben-Day dots. The result was a group of about half a dozen triptychs (two of which are now in major international museum collections) that demonstrates Lichtenstein’s uniquely academic approach to Pop Art, and series of iconic prints. The French master’s version was a triumphal essay on the Impressionists’ treatment of light, as—over approximately thirty canvases—he painted the same building at different times of day and at different times of the year, replicating the deep shadows cast by the building’s Gothic façade as it changed in the different light conditions. In Cathedral, Lichtenstein swaps Monet’s loaded brushstrokes for the utilitarian nature of his Ben-Day dots, imitating the printing process that has reproduced Monet’s original painting countless times. The result is a Pop painting that dissolves into abstraction before our very eyes.

“It’s an industrialized way of Impressionism, by a machine-like technique, but it probably takes me ten times as long to do one of the Cathedrals or Haystacks as it took Monet to do his”

Rather than applying color in a field of luscious brushstrokes as the Impressionists did, Lichtenstein’s canvases were painted using a metal stencil, producing the hard-edged optical dots of color. Although mimicking the mechanical process of industrial CMYK printing, Lichtenstein’s process is much more laborious and complex than rapid printing:

“I thought using three slightly different images in three different colors as a play on different times of day would be more interesting.” 

The use of repeating images also plays into the idea of seriality, something which interested both Monet and Pop artists such as Lichtenstein and his contemporary, Andy Warhol. Lichtenstein reminds us that Monet painted in series—a very modern idea at the time—by painting essentially the same view of Rouen Cathedral at different times of day, and at different times of the year. Lichtenstein replicated this idea but with a slight, yet significant, difference.

Lichtenstein’s Haystacks and Cathedrals were his first collaboration with Gemini G.E.L. in Los Angeles, from January to July 1969 for the Haystacks, and until August for the Cathedrals. In the Cathedral series there are eight prints, including two state editions (RLCR 1645 and 1646) produced from the plates used for Cathedral #6. Cathedral #1 has a screenprinted border. Lichtenstein’s Rouen cathedral paintings were begun, like the Haystack paintings, in 1968, and he continued working on them while the print series was in progress.

For both series, Lichtenstein created a full-scale black-ink drawing, which was used to create the image on the plates. A negative of the drawing was laid over Lichtenstein’s Benday dot stencil on the sensitized plates, recreating the pattern in the positive plate when it was exposed to light. For prints such as RLCR 1640, Cathedral #2, separate plates were made using a positive and a negative of the drawing so that a second dot pattern—and another color—could be introduced. (Process information is derived from the April 4, 1983 conversation between Fine and Gemini G.E.L. printers Charles Ritt and Stuart Henderson, in preparation for Fine 1984. According to Young, J. 1971, p. 73, Lichtenstein’s actual painting stencils (dots) were used photographically to make the plates for the prints.)

Asked by Frederic Tuten if he viewed the Cathedral prints differently from the paintings, Lichtenstein responded: “Yes, I do see them differently; I don’t quite know how. Maybe it’s because here they are cathedrals in the style of cheap printings brought back again to printings—elegant printings. Also there is the relating of Monet’s different daylight effects to the expediency of printing the same image in different colors. My Cathedral paintings use different views of the cathedral as well as different colors; and they are paintings about printing, not printing about printing.” (Tuten 1969 reprinted in Coplans 1972a, p. 98–99.)

 

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Cathedral Series, 1969

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Cathedral Series

The complete series of six lithographs printed in colors
Medium: Lithograph printed in colors on Special Arjomari paper
Year: 1969
Each Image: 41 3/4 x 26 7/8 inches (106 x 68.3 cm)
Each Sheet: 48 1/8 x 32 1/4 inches (122.3 x 81.8 cm)
Edition: 75
Artist’s Proofs: 10 AP
Publisher: Gemini G.E.L., Los Angeles
Printer: Gemini G.E.L., Los Angeles
Literature: Corlett 75-80, RLCR 1639-1646

Each signed, dated and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

1. Cathedral #1

2. Cathedral #2

3. Cathedral #3

4. Cathedral #4

5. Cathedral #5

6. Cathedral #6

6.1. Cathedral #6, State I

6.2. Cathedral #6, State II

 

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2025 Auction Results

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Cathedral #6, 1969

Forum Auctions: 19 March 2025
Estimated: GBP 8,000 – 10,000
GBP 10,000 (Hammer)
GBP 13,120 / USD 17,000

ROY LICHTENSTEIN (1923-1997)
Cathedral #6 (Corlett 80), 1969
Lithograph printed in colors on Special Arjomari wove paper
Signed and dated in pencil|
Numbered from the edition of 100

 

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2024 Auction Results

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Cathedral #2, 1969

Cathedral #4, 1969

Rago: 16 October 2024
Estimated: USD 8,000 – 12,000
USD 18,900

Cathedral #6, 1969

Heritage Auctions: 10 December 2024
Estimated: USD 6,000 – 8,000
USD 15,000

ROY LICHTENSTEIN (1923-1997)
Cathedral VI, from the Cathedral Series, 1969
Lithograph in colors on wove paper
Sight: 47 1/2 x 31 1/2 inches (120.7 x 80 cm)
Editioned 63/75 (aside from 10 artist’s proofs)
Signed, editioned, and dated in pencil along lower edge; publisher’s chop mark lower right

Cathedral #6, 1969

Grogan & Co Boston: 28 October 2023
Estimated: USD 5,000 – 8,000
USD 11,250

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #6, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

 

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2023 Auction Results

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Cathedral #1, 1969

Grogan & Co Boston: 28 October 2023
Estimated: USD 5,000 – 8,000
USD 16,250

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #1, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

Cathedral #2, 1969

Grogan & Co Boston: 28 October 2023
Estimated: USD 7,000 – 10,000
USD 18,200

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #2, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

Cathedral #5, 1969

Swann Auction Galleries: 8 June 2023
Estimated: USD 10,000 – 15,000
USD 20,000

ROY LICHTENSTEIN
Cathedral #5, 1969
Color lithograph on Special Arjomari paper
Signed, dated and numbered 41/75 in pencil, lower margin

Cathedral #6, 1969

Grogan & Co Boston: 28 October 2023
Estimated: USD 5,000 – 8,000
USD 11,250

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #6, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

 

 

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2022 Auction Results

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NO SALE IN 2022

 

 

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2021 Auction Results

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Cathedral #6, 1969

Bonhams Los Angeles: 24 March 2021
Estimated: USD 8,000 – 12,000
USD 12,112.50

 

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 Cathedral #1

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Cathedral #1

Medium: Lithograph and screenprint on Special Arjomari paper
Year: 1969
Sheet: 48 1/2 x 32 1/2 inches (123.2 x 82.5 cm)
Image: 41 13/16 x 27 inches (106.2 x 68.6 cm)
Edition: 75
Artist’s Proofs: 10 AP
Publisher: Gemini G.E.L., Los Angeles
Printer: Gemini G.E.L., Los Angeles
Literature: Corlett 75

Roy Lichtenstein Catalogue Raisonne: RCLR 1639

Cathedral #1, 1969 (RLCR 1639) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Each signed, dated and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

Auction Results

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Grogan & Co Boston: 28 October 2023
Estimated: USD 5,000 – 8,000
USD 16,250

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #1, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

Artcurial Paris: 1 July 2020
Estimated: EUR 6,000 – 8,000
EUR 12,610 / USD 14,200

ROY LICHTENSTEIN
Cathedral #1, 1969
Screenprint and Lithograph in colors
Signed, dated and numbered 38/75

 

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Cathedral #2

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Grogan & Co Boston: 28 October 2023
Estimated: USD 7,000 – 10,000
USD 18,200

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #2, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

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Cathedral #3

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Cathedral #3

Medium: Lithograph on Special Arjomari paper
Year: 1969
Sheet: 48 1/2 x 32 1/2 inches (123.2 x 82.5 cm)
Image: 41 13/16 x 27 inches (106.2 x 68.6 cm)
Edition: 75
Artist’s Proofs: 10 AP
Publisher: Gemini G.E.L., Los Angeles
Printer: Gemini G.E.L., Los Angeles
Literature: Corlett 77

Roy Lichtenstein Catalogue Raisonne: RCLR 1641

Cathedral #3, 1969 (RLCR 1641) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Each signed, dated and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

 

 

 

 

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Cathedral #4

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Cathedral #4

Medium: Lithograph on Special Arjomari paper
Year: 1969
Sheet: 48 3/8 x 32 3/8 inches (122.9 x 82.2 cm)
Image: 41 13/16 x 27 inches (106.2 x 68.6 cm)
Edition: 75
Artist’s Proofs: 10 AP
Publisher: Gemini G.E.L., Los Angeles
Printer: Gemini G.E.L., Los Angeles
Literature: Corlett 78

Roy Lichtenstein Catalogue Raisonne: RCLR 1642

Cathedral #4, 1969 (RLCR 1642) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Each signed, dated and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

Auction Results

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Rago: 16 October 2024
Estimated: USD 8,000 – 12,000
USD 18,900

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Cathedral #5

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Cathedral #5

Medium: Lithograph on Special Arjomari paper
Year: 1969
Sheet: 48 5/8 x 32 1/2 inches (123.5 x 82.5 cm)
Image: 41 7/8 x 27 inches (106.3 x 68.6 cm)
Edition: 75
Artist’s Proofs: 10 AP
Publisher: Gemini G.E.L., Los Angeles
Printer: Gemini G.E.L., Los Angeles
Literature: Corlett 79

Roy Lichtenstein Catalogue Raisonne: RCLR 1643

Cathedral #5, 1969 (RLCR 1643) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Each signed, dated and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

Auction Results

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Swann Auction Galleries: 8 June 2023
Estimated: USD 10,000 – 15,000
USD 20,000

ROY LICHTENSTEIN
Cathedral #5, 1969
Color lithograph on Special Arjomari paper
Signed, dated and numbered 41/75 in pencil, lower margin

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Cathedral #6

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Cathedral #6

Medium: Lithograph on Special Arjomari paper
Year: 1969
Sheet: 48 5/16 x 32 5/16 inches (122.6 x 82.1 cm)
Image: 41 13/16 x 27 1/16 inches (106.2 x 68.7 cm)
Edition: 75
Artist’s Proofs: 10 AP
Publisher: Gemini G.E.L., Los Angeles
Printer: Gemini G.E.L., Los Angeles
Literature: Corlett 80

Roy Lichtenstein Catalogue Raisonne: RCLR 1644

Cathedral #6, 1969 (RLCR 1644) | Catalogue entry | Roy Lichtenstein: A Catalogue Raisonné

Each signed, dated and numbered in pencil with the publisher’s blindstamp and inkstamp on the reverse

Auction Results

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Forum Auctions: 19 March 2025
Estimated: GBP 8,000 – 10,000
GBP 10,000 (Hammer)
GBP 13,120 / USD 17,000

ROY LICHTENSTEIN (1923-1997)
Cathedral #6 (Corlett 80), 1969
Lithograph printed in colors on Special Arjomari wove paper
Signed and dated in pencil|
Numbered from the edition of 100

Heritage Auctions: 10 December 2024
Estimated: USD 6,000 – 8,000
USD 15,000

ROY LICHTENSTEIN (1923-1997)
Cathedral VI, from the Cathedral Series, 1969
Lithograph in colors on wove paper
Sight: 47 1/2 x 31 1/2 inches (120.7 x 80 cm)
Editioned 63/75 (aside from 10 artist’s proofs)
Signed, editioned, and dated in pencil along lower edge; publisher’s chop mark lower right

Grogan & Co Boston: 28 October 2023
Estimated: USD 5,000 – 8,000
USD 11,250

ROY LICHTENSTEIN (American, 1923-1997)
Cathedral #6, 1969
Lithograph in colors
Signed and dated lower right
Numbered 59/75 lower left in pencil

Bonhams Los Angeles: 24 March 2021
Estimated: USD 8,000 – 12,000
USD 12,112.50