Catalogue Terms & Conditions
These Terms and Conditions (“Terms”) set forth the terms and conditions of your use of the digital publication “Roy Lichtenstein: A Catalogue Raisonné” (the “Catalogue Raisonné”) available at www.lichtensteincatalogue.org (the “Site”), a project of the Roy Lichtenstein Foundation (referred to as “RLF,” “us,” “we,” or “our”).
Please read these Terms carefully. By accessing and using the Site, you agree to be bound by and comply with the Terms. If you do not agree to these Terms, you may not access the Site or use any of the information or Content (as defined below) therein.
Reliance on Information Posted
The Content (as defined below) presented on or through the Site is made available solely for general information purposes. We do not make any representation or warranty as to the accuracy, completeness or usefulness of this Content. Any reliance you place on such Content is strictly at your own risk. WE DISCLAIM ALL LIABILITY AND RESPONSIBILITY ARISING FROM ANY RELIANCE PLACED ON THE CONTENT BY YOU OR ANY OTHER VISITOR TO THE SITE, OR BY ANYONE WHO MAY BE INFORMED OF ANY OF ITS CONTENTS.
The Catalogue Raisonné is subject to change. RLF endeavored to make the Catalogue Raisonné as complete as possible as of the time of online publication. As new information and images emerge regarding the works of Roy Lichtenstein, RLF will work to make updates to the Catalogue Raisonné.
Inclusions in Catalogue Raisonné (or Lack Thereof)
Neither RLF nor the Estate of Roy Lichtenstein authenticates artworks, and the inclusion of an artwork in the Catalogue Raisonné does not serve as a warranty or guarantee of that artwork’s authenticity or provenance. In addition, the fact that an artwork has not been included in the Catalogue Raisonné does not necessarily mean that such artwork is not by Roy Lichtenstein.
Copyright & Trademark
“ROY LICHTENSTEIN” is a federally registered trademark of the Estate of Roy Lichtenstein. All other trademarks and trade dress displayed in this website are trademarks and trade dress of the Estate of Roy Lichtenstein, RLF, or of their respective owners. “ROY LICHTENSTEIN” and other trademarks and trade dress used in the website may not be used as trademarks without the prior written authorization of the Estate of Roy Lichtenstein or the respective owners of the trademarks.
All of the content featured or displayed on the Site and in the Catalogue Raisonné, including, but not limited to, images of works of art by Roy Lichtenstein, text, photographs and other materials, as well as the selection and arrangement of materials in the Site (collectively, “Content”), is protected by copyright law and owned by the Estate of Roy Lichtenstein, RLF, or of their respective licensors.
Except as expressly set forth in these Terms, nothing contained on the Site shall be construed as conferring any license or right to any copyright or trademark used on this Site.
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Changes to the Terms
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Termination
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Governing Law
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Other
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Questions
Please email [email protected] with any questions you may have about these Terms.
The portfolio is housed in an off-white cloth-covered box, measuring 25 5/8 x 21 1/4 x 1 1/4 in. (65.1 x 54 x 3.2 cm), with the title screenprinted on the front in blue and white. Each print is protected by a paper folder, with the artist's name typeset on the front. The portfolio is numbered on the inside of the title/colophon folio. Contributing artists were Stuart Davis, Robert Indiana, Ellsworth Kelly, Roy Lichtenstein, Robert Motherwell, George Ortman, Larry Poons, Ad Reinhardt, Frank Stella, and Andy Warhol.
The artists were selected by Samuel J. Wagstaff, Jr. On the back of the title/colophon folio Wagstaff states: "This portfolio was commissioned and printed in an attempt to extend as much of the visual impact as possible of ten artists to paper and to make these prints available to collectors who might not otherwise have such a vivid slice of the artist.
"The dry surface of screening seemed to be most apt to translate the effect of their painting, both the flatness which is the unifying bond between the ten, and the insistence of paint on the surface of canvas so like the visible heft of ink on paper here."
One auction record (Sotheby's, New York, April 29–30, 1988, lot 3034) documents a portfolio numbered "A–16," indicating that there may have been additional proofs aside from the numbered edition. However, the publisher's documentation is limited, and proofs could not be verified.
This image was reproduced in the first edition of The Prints of Roy Lichtenstein, A Catalogue Raisonné 1948–1993 (Corlett 1994) with the glass at the left, following a discussion with the artist in which he stated that the inked surface of the plastic should be on the top. Since the publication of the 1994 raisonné, however, the question of which side is "up" has been revisited, in part because the drawing for this print is oriented with the glass at the right (see Bianchini 1970, cat. no. 64–3). Lichtenstein rarely reversed his images from the drawing to the final print. In addition, a proof on paper, showing the glass on the right, is now known (collection of Alex Meyerovich, San Francisco).
Mrs. Lichtenstein has confirmed that it is her belief that the printed surface of the image was intended to be underneath, so that the glass would be on the right. George Townsend, the printer for the project, also believes that the printed surface should be underneath. According to Townsend (telephone conversation with Corlett, February 8, 1999), Lichtenstein wanted the glossiest possible surface. The inks were chosen for that quality, and by printing the image to be viewed through the plastic, the shimmering qualities of the plastic itself would be used to the best effect.
Mrs. Lichtenstein believes that had Lichtenstein been looking at the actual drawing and the finished print at the time of our discussions, he would have come to this same conclusion about the orientation of the piece.
In that same discussion with Townsend, the printer stated that he believed that about 20 of these prints were, in fact, signed. This also conflicts with Lichtenstein's statement at the time of the first edition of the catalogue raisonné (Corlett 1994) that none was ever signed. The Lichtenstein Estate believes that it is possible that some were signed by the artist.