Oil, graphite pencil on canvas
68 1/16 x 80 1/16 in. (172.9 x 203.4 cm)
Signed and dated verso lining, upper left: rf Lichtenstein / ''62 [sic; not by artist]
Classification: painting

Painting

In this catalogue, works classified as painting are as follows:

Painting is a work with acrylic and/or oil on canvas or on another two-dimensional support (canvas board, wood panel, etc.)

Painting (mural) is a large-scale painting, historically called "mural"

Painting (on paper) describes a work in acrylic, oil or watercolor on paper or board

Painting (on plastic) describes paintings on plexiglas or on plexiglas and plastic box frames

Dates

Lichtenstein usually signed and dated a painting on the verso around the time it was finished, inventoried or shipped to a gallery or storage. Some pre-Pop paintings were dated in code (e.g., RLCR 502). 

See also: 8. DATES

Media Lines

Described are all media visible on a painting's recto. Paint is listed first, followed by graphite pencil where present, followed by the support. An inscription's medium is given beneath the media line if different from the painting media.

The painting media lines in this catalogue are rarely based on technical analysis by a museum or a conservator. They are mostly informed by conversations with the artist's studio assistants, by examination of paint jars and tubes that were kept after the artist's death and by RLF records or Leo Castelli Gallery files. 

Acrylic and Oil Paints

In this catalogue, all types of acrylic paint are listed as "acrylic" and all types of oil paint as "oil."

Historically, the brand name "Magna" (acrylic dispersion paint by Bocour Artist Colors, Inc.) has been used to describe all of Lichtenstein's acrylic. RLF records and technical analysis by art museums confirm that the artist did not only use Magna, but at times Liquitex acrylic emulsion paint and, later, Golden Artist Colors acrylic dispersion paint. When Magna production stopped around 1990, Lichtenstein bought up large amounts of Magna. He also reached out to Golden who worked with him to devise custom MSA colors in Lichtenstein's hallmark hues.      

Pop paintings and later works were usually painted with both acrylic and oil. It is assumed that around 1962 Lichtenstein experimented with Liquitex and Magna before adopting Magna as the main medium. For paintings from 1962–63, media lines are informed by notes on RL Studio Cards and/or in the Leo Castelli Gallery inventory. In rare instances, media lines were written by the artist on the verso of a work (e.g., RLCR 691). For paintings from 1964 and beyond, solid colors are assumed to be acrylic and dots and diagonals are assumed to be oil. Lichtenstein preferred oil for stenciled patterns because it was slow drying (fast-drying Magna stuck to stencils and resulted in stray paint strands) and because, if corrections were needed, oil could be removed with solvent without disrupting the acrylic underneath. However, it is possible that Lichtenstein continued his experimentation with paints through and after 1964.

Graphite Pencil Underdrawing

Pencil has not usually been listed in media lines for Lichtenstein’s paintings. However, a closer look reveals that graphite pencil underdrawing and erased lines are visible in most of them, starting with his 1960s works. The artist left those lines due to his well-known intention that his work not appear “too finished,” therefore, graphite pencil is included in the painting media lines in this catalogue. If in question from examination report results or other documentation, the presence of graphite pencil is assumed. When a researcher's examination report confirms that pencil is not visible, it is not included.

Painting: Other Mediums and Techniques

Canvas
Different types of canvas are not described. Lichtenstein favored #10 cotton duck canvas from New York Central Art Supply; he also purchased duck canvas from U.S. Art Canvas and possibly others. Circular and oval canvases were ordered from David A. Paul and New York Central Art Supply. Earlier paintings' canvases are typically finer and sometimes described as "linen" in studio records.

Sand
In the Imperfect/Perfect and Entablature paintings, grainy areas are visible. Lichtenstein created this texture by adding beach sand, usually to a thick white underlayer over which he applied the final color. 

Sgraffito
This reductive technique of line-making is found in about 25 pre-Pop paintings. 

Stretchers
Stretchers are not included in media lines. Anco and H. Cole stretchers, among others, are used in Lichtenstein’s pre-Pop paintings; Sgroi Canvas Chassis stretchers are used in paintings from the late 1960s through early 1970s. Lebron stretchers were standard beginning around 1972.

Strip frames
Strip frames are not included in media lines. Slightly raised above the edges, strip frames served as practical protection during shipment and storage movements and were routinely added to paintings in Lichtenstein’s studio by the 1970s, but are documented in exhibition installation images as early as the early 1960s.

Painting on Paper: Other Mediums and Techniques

Masking out
Masking techniques are indicated, but the material used (e.g., frisket, small objects) is not identified (e.g., RLCR 219).

Watercolor application
When it is applied in multiple ways, watercolor application method is described, otherwise brush is implied. For example, see RLCR 365: “Watercolor, brushed, smudged by hand and sprayed, with masking out, graphite pencil on paper." 

Dimensions

Painting dimensions are given from canvas edge to canvas edge, excluding original wood strip frames nailed to the edges. 

For multi-panel paintings, if panels are joined, overall dimensions and dimensions of each canvas are given. If panels are separate, only panel dimensions are provided since overall dimensions vary by installation. Lichtenstein usually suggested a distance of approximately 7 inches between canvases for installation. This fact informed spacing of related images in the catalogue entries (e.g., RLCR 1635). 

See also: 10. DIMENSIONS

Signature, Inscriptions, Marks

The artist usually signed and dated his paintings on the canvas verso in charcoal and applied a spray fixative before sending it to a gallery or storage.  

Pre-Pop paintings are often signed or initialed on the recto in oil, or inscribed with the artist's name and other tombstone information on the stretcher or tacking margin. 

See also: 11. INSCRIPTIONS

Read more: Guide to the Catalogue
Print this page

Catalogue entry

Artwork: Blam, 1962 (RLCR 676)
RLCR 676 (LC 21; RL 0070)
Blam
1962
Title Source
Castelli; RL Register; RL Studio Card
Media
Oil, graphite pencil on canvas
Dimensions
68 1/16 x 80 1/16 in. (172.9 x 203.4 cm)
Inscriptions
Signed and dated verso lining, upper left: rf Lichtenstein / ''62 [sic; not by artist]
Remarks

This painting was relined at an unknown date, then signed in an unknown hand, possibly to replace a signature covered by the lining. 

Keyword
Cartoons
Provenance
Richard Brown Baker, New York City, January 1962 (via Leo Castelli Gallery, New York City)
Yale University Art Gallery, New Haven, Connecticut. Gift of Richard Brown Baker, B.A. 1935. 1995.32.9
Exhibitions
1962a New York Castelli
Leo Castelli Gallery (4 East 77th Street), New York, Roy Lichtenstein, February 10–March 3, 1962.
1962 New York Janis
Sidney Janis Gallery, New York, New Realists, October 31–December 1, 1962 (Janis 1962, no. 37 b/w ill.).
1963 Wellesley Jewett
Jewett Arts Center, Wellesley College, Wellesley, Massachusetts, The Richard Brown Baker Collection of Contemporary Art, May 5–26, 1963 (Phelps 1963, b/w ill.).
1963 Minneapolis Institute of Arts
Minneapolis Institute of Arts, Minneapolis, Four Centuries of American Art, November 27, 1963–January 19, 1964 (Selvig 1963, ill.).
1964 Providence RISD
Museum of Art, Rhode Island School of Design, Providence, Rhode Island, Paintings and Constructions of the 1960's Selected from the Richard Brown Baker Collection, October 2–25, 1964 (RISD 1964, p. 29 b/w ill.).
1965 Ridgefield, Conn., Aldrich
Larry Aldrich Museum, Ridgefield, Connecticut, Art of the 50's and 60's: Selections from the Richard Brown Baker Collection, April 25–July 5, 1965 (Aldrich Museum 1965, no. 60 b/w ill.).
1966 Memphis Brooks
Brooks Memorial Art Gallery, Memphis, Tennessee, Brooks Memorial Art Gallery Golden Anniversary: Fifty Years of American Painting Since the Armory Show, April 13–28, 1966 (Brooks Memorial Art Gallery 1966, p. 39 b/w ill.).
1966 Cleveland Museum of Art
Cleveland Museum of Art, Cleveland, Works by Roy Lichtenstein, November 29, 1966–January 3, 1967 (Henning 1966).
1968 Mexico City Museo de Arte Moderno
Museo de Arte Moderno, Mexico City, Exhibition of Selected Works of World Art in the Olympic Games Art Festival, October 7–November 30, 1968 (XIX Olympiade 1969, p. 205 color ill.).
1969 Bucharest Sala Dalles
Sala Dalles, Bucharest, Romania, Dispariția și reapariția imaginii: pictura americană de după 1945 / The Disappearance and Reappearance of the Image: American Painting Since 1945, January 17–February 2, 1969 (National Collection of Fine Arts 1969a). Traveled to: Muzeul Banatului, Timisoara, Romania, February 14–March 1, 1969; Galeria de Artă, Cluj, Romania, March 14–April 2, 1969; Slovenská Národná Galéria, Bratislava, Czechoslovakia, April 14–June 15, 1969 (National Collection of Fine Arts 1969b); Veletržní palác, Národní galerie v Praze, Prague, July 3–August 18, 1969 (National Collection of Fine Arts 1969b); Palais des Beaux-Arts, Brussels, October 21–November 16, 1969 (Palais des Beaux-Arts 1969).
1972a New York Janis
Sidney Janis Gallery, New York, Abstract Expressionism and Pop Art, February 9–March 4, 1972 (Janis 1972a, b/w ill.).
1973 San Francisco Museum of Art
San Francisco Museum of Art, San Francisco, A Selection of American and European Paintings from the Richard Brown Baker Collection, September 14–November 11, 1973 (San Francisco Museum 1973, no. 36 b/w ill.). Traveled to: Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pa., December 7, 1973–January 27, 1974.
1974 New York Whitney
Whitney Museum of American Art, New York, American Pop Art, April 6–June 16, 1974 (Alloway 1974, no. 8 n.p. color ill.).
1975 New Haven Yale
Yale University Art Gallery, New Haven, Connecticut, Richard Brown Baker Collects! A Selection of Contemporary Art from the Richard Brown Baker Collection, April 24–June 22, 1975 (Yale 1975, no. 21 p. 67 b/w ill, front cover color ill.).
1976 Washington, D.C., National Collection
National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., America As Art, April 30–October 3, 1976 (Taylor, Joshua 1976, p. 298 b/w ill.).
1979 Princeton Squibb
Squibb Gallery, Princeton, New Jersey, Selections from the Collection of Richard Brown Baker, October 4–November 11, 1979 (Baker, R. 1979).
1981 Akron Art Museum
Akron Art Museum, Akron, Ohio, The Image in American Painting and Sculpture, 1950–1980, September 12–November 8, 1981 (Danoff and Carr 1981, no. 8 p. 31 color ill.).
1984 New York Whitney
Whitney Museum of American Art, New York, Blam! The Explosion of Pop, Minimalism, and Performance, 1958–1964, September 20–December 2, 1984 (Haskell 1984, no. 117 p. 85 b/w ill.).
1985 Providence RISD
Museum of Art, Rhode Island School of Design, Providence, Rhode Island, Fortissimo! Thirty Years from the Richard Brown Baker Collection of Contemporary Art, March 1–April 28, 1985 (Baker, R. 1985, no. 84 p. 68 ill.). Traveled to: San Diego Museum of Art, San Diego, Calif., June 29–August 11, 1985; Portland Art Museum, Portland, Ore., October 2–November 10, 1985.
1991 London Royal Academy
Royal Academy of Arts, London, Pop Art, September 13–December 15, 1991 (not Madrid, Montreal) (Livingstone 1991a, no. 149 p. 94 color ill.). Traveled to: Museum Ludwig, Cologne, January 23–April 19, 1992 (Livingstone 1992c, no. 44 color ill.); Museo Nacional Centro de Arte Reina Sofía, Madrid, June 16–September 14, 1992. (Livingstone 1992a); Musée des Beaux-Arts de Montréal, Montreal, October 23, 1992–January 24, 1993 (revised and re-organized with a selection of prints) (Livingstone 1992b).
1993 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (not Columbus) (Waldman 1993b, no. 81 n.p. facing p. 93 color ill.). Traveled to: Museum of Contemporary Art, Los Angeles, Calif., January 26–April 3, 1994; Musée des Beaux-Arts de Montréal, Montreal, May 26–September 5, 1994; Haus der Kunst, Munich, October 13, 1994–January 9, 1995 (included early works) (Waldman 1994, no. 81 n.p. facing p. 93 color ill.); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 81 n.p. facing p. 93 color ill.); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 81 n.p. facing p. 93 color ill.); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 81 n.p. facing p. 93 color ill.).
1999 New York Whitney
Whitney Museum of American Art, New York, The American Century: Art and Culture, 1900–2000 (Part II, 1950–2000), September 26, 1999–February 13, 2000 (Phillips, L. 1999, no. 207 p. 134 color ill.).
Literature
Scene 1962
"The Art of Lichtenstein." Scene (New York) 8, no. 4 (August 1962), pp. 42–43 b/w ill. (installation view, 1962a New York Castelli).
Art Students League News 1962
"The New Realists: Pacesetters or Passés?" Art Students League News 15, no. 9 (December 1962), b/w ill.
Kozloff 1962
Kozloff, Max. "Pop Culture, Metaphysical Disgust, and the New Vulgarians." Art International 6, no. 2 (March 1962), p. 36 b/w ill.
Show 1963
"Which Twin Is the Phony?" Show 3, no. 2 (February 1963), p. 88 b/w ill.
Clark, A. 1963
Clark, Anthony M. "The Changing Past of American Art." Art Gallery (Ivoryton, Conn.) 7, no. 3 (December 1963), p. 13 b/w ill.
Picabia, Roosevelt, and O'Doherty 1963
Picabia, Francis, Theodore Roosevelt, and Brian O'Doherty. "1913 The Armory Show, 1963 Pop Art: The Avant-Garde Fifty Years Later." Harper's Bazaar 96, no. 3016 (March 1963), no. 3 p. 158 color ill. (blue, upside down).
Sottsass 1963
Sottsass, Ettore, Jr. "Dada, New Dada, New Realists." Domus, no. 399 (February 1963), p. 30 b/w ill. (installation view, 1962 New York Janis).
Boatto and Falzoni 1966
Boatto, Alberto, and Giordano Falzoni, eds. Fantazaria (Rome). Special issue, Lichtenstein 1, no. 2 (July–August 1966), n.p. facing p. 14 b/w ill.
Hunter, S. 1966a
Hunter, Sam. "Art Since 1945." In New Art Around the World: Painting and Sculpture, by Will Grohmann and Sam Hunter. New York: Harry N. Abrams, 1966, no. 16 n.p. facing p. 57 color ill.
Johnson, E. 1966c
Johnson, Ellen H. "Paradoxen hos Lichtenstein." Konstrevy (Stockholm) 42, nos. 5–6 (1966), p. 227 b/w ill.
Roberts, C. 1967
Lichtenstein, Roy, and Colette Roberts. "Interview de Roy Lichtenstein." Aujourd'hui: Art et architecture 10, nos. 55–56 (December 1966–January 1967), no. 2 p. 125 b/w ill.
Crespo 1970a
Crespo, Ángel. Roy Lichtenstein y el arte pop. Mayagüez: Universidad de Puerto Rico, 1970. Exhibition catalogue (1970 Mayagüez Universidad de Puerto Rico), no. 3 n.p. b/w ill. [not exhibited].
Crespo 1970b
Crespo, Ángel. "Roy Lichtenstein y el arte pop." Revista de arte/The Art Review (Universidad de Puerto Rico, Mayagüez), no. 5 (June 1970), no. 3 p. 11 b/w ill.
Waldman 1971b
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 19 n.p. b/w ill.
Alloway 1972
Alloway, Lawrence. "On Style: An Examination of Roy Lichtenstein's Development." Artforum 10, no. 7 (March 1972), p. 53 b/w ill.
Iida 1972
Iida, Yoshikuni. "Roy Lichtenstein: Paradoxical pictures, or, critiquing critical pictures." Arts quarterly 6, no. 3, issue 22 (summer 1972), p. 77 b/w ill.
Coplans 1972a
Coplans, John, ed. Roy Lichtenstein. New York: Praeger Publishers, 1972, no. 18 n.p. b/w ill.
Baldwin, C. 1974
Baldwin, Carl R. "On The Nature of Pop." Artforum 12, no. 10 (June 1974), p. 34 color ill.
Hughes, R. 1974
Hughes, Robert. "The Instant Nostalgia of Pop." Time 103, no. 15 (April 15, 1974), p. 81 color ill.
Perreault 1974
Perreault, John. "'Classic' Pop Revisited." Art in America 62, no. 2 (March–April 1974), p. 67 color ill.
Rose, Barbara 1975
Rose, Barbara. American Art Since 1900. New York: Praeger Publishers, 1975, no. 8-8 p. 191 b/w ill.
Kuspit 1976
Kuspit, Donald. "Pop Art: A Reactionary Realism." Art Journal 36, no. 1 (Fall 1976), no. 1 p. 32 b/w ill. (flopped).
Dubreuil-Blondin 1980a
Dubreuil-Blondin, Nicole. La Fonction critique dans le Pop Art américain. Montreal: Presses de l'Université de Montréal, 1980, no. 41 n.p. b/w ill.
Boatto 1983
Boatto, Alberto. Grande Opere: Pop Art. Rome: Editori Laterza, 1983, no. 97 n.p. b/w ill.
Chávarri 1983
Chávarri, Raúl. "Lichtenstein y Warhol." Cuadernos hispanoamericanos (Madrid), no. 398 (August 1983), n.p. facing p. 395 b/w ill. (flopped).
Alloway 1983b
Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 15 p. 21 color ill.
Busche 1989
Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 16 n.p. color ill.
RA Magazine 1991
RA Magazine. Special issue, Pop, no. 32 (Fall 1991), pp. 24–25 color ill. (double spread).
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), n.p. preceding p. 160 b/w ill.
Kodansha 1992
Kodansha Ltd. Contemporary Great Masters: Roy Lichtenstein. Tokyo: Kodansha Ltd., 1992, no. 7 n.p. color ill.
Lösel 1992
Lösel, Anja (Photographs by Thomas Höpker). "Pop Art: Die alten Meister." Stern (Hamburg) 45, no. 13 (March 19, 1992), pp. 58–59 color ill. (double spread).
Livingstone 1992a
Livingstone, Marco, ed. Arte Pop. Madrid: Museo Nacional Reina Sofía, 1992. Exhibition catalogue (1991 London Royal Academy), p. 77 color ill. [not exhibited].
Hendra 1993
Hendra, Tony. Brad '61: Portrait of the Artist As a Young Man. New York: Pantheon Books, 1993, p. 70 color ill.
Altshuler 1994
Altshuler, Bruce. "Pop Triumphant: A New Realism." In The Avant-Garde in Exhibition: New Art in the 20th Century, by Bruce Altshuler. New York: Abrams, 1994, p. 217 b/w ill. (installation view, 1962 New York Janis).
BT 1994g
BT: Bijutsu techō (Tokyo). Special Issue, Roy Lichtenstein 60's–90's 46, no. 689 (June 1994), pp. 28–29 color ill. (double spread).
Baker, R. 1999
Baker, Richard Brown. "The Days and Nights of a Collector." Paris Review 41, no. 152 (Fall 1999), p. 183 b/w ill.
Becker, W. 1999
Becker, Wolfgang. I Love Pop: Europa—USA Anni '60: Mitologie del quotidiano. Milan: Electa, 1999. Exhibition catalogue (1999a Rome Chiostro del Bramante), p. 22 b/w ill. [not exhibited].
Farrell 2008
Farrell, Jennifer. "Reflections on a Gift: Richard Brown Baker and Roy Lichtenstein." Yale University Art Gallery Bulletin Recent Acquisitions (2008), no. 2 p. 49 color ill.
Celant 2022
Celant, Germano, ed. New York: 1962–1964. New York: Jewish Museum; Milan: Skira, 2022. Exhibition catalogue (2022 New York Jewish Museum), n.p facing p. 101 color ill. [not exhibited].
Reference Material
SRC 20070
All American Men of War
1962
Panel: 5 1/4 x 2 13/16 in. (13.3 x 7.1 cm)

Kanigher, Robert (editor). All American Men of War 89 (January–February 1962), National Periodical Publications, Inc. (DC).

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.

Permitted Uses

Provided that you comply with these Terms, we grant you a personal, revocable, limited, non-exclusive, royalty-free, non-transferable, non-sublicensable license to use this Site solely for your personal, non-commercial, educational and research purposes.  You may not make any other use of the Site or any of the Content without prior written permission from RLF or the entity(ies) or individual(s) RLF designates for purposes of granting or withholding the relevant permission(s).  To request such permission, please contact [email protected]. 

The images, text and source material in the Site may be protected by third-party copyright or trademark.  No license is granted to you under any such third-party rights.

Prohibited Uses

Notwithstanding the foregoing, you may not (i) download, or attempt to download, any reproduction or image of any work of art, (ii) remove or alter any copyright, trademark or other proprietary notices from any of the Content or (iii) modify, translate, decompile, create derivative work(s) of, copy, distribute, or otherwise use in any manner not expressly permitted herein, the Site.  Specifically, and by way of illustration and not limitation, you may not separate any graphics, photographs or other elements from the accompanying text or material in the Site without the prior express written permission of RLF and/or its licensor(s). 

You may not use the Site in any way that violates any applicable federal, state, local or international law or regulation (including, without limitation, any laws regarding the export of data or software to and from the US or other countries).

You may not use any “deep-link”, “page-scrape”, “robot”, “spider” or other automatic device, program, algorithm or methodology, or any similar or equivalent manual process, to access, extract, acquire, copy or monitor any portion of the Site or any Content, or in any way reproduce or circumvent the navigational structure or presentation of the Site or any Content, to obtain or attempt to obtain any materials, documents or information through any means not purposely made available through the Site.  

No Content accessed from the Site may be used to train artificial intelligence models or tools or otherwise for generating output or other content using artificial intelligence technologies, or to permit others to do the same.  

You further agree that you will not:

  1. Interfere with the proper functioning of the Site;
  2. Attempt to gain unauthorized access to any portion or feature of the Site, or any other systems or networks connected to the Site or to any RLF server, or to any of the services offered on or through the Site, by hacking, password “mining” or any other illegitimate means; or
  3. Probe, scan or test the vulnerability of the Site or any network connected to the Site, nor breach the security or authentication measures on the Site or any network connected to the Site. 

Registered Users

If you are 18 years old or older, you may register to become a registered user (“Registered User”) and access the Site. You are responsible for all activity under your Registered User account.  You agree to provide accurate, current and complete information at all times, and to update it in a timely manner.  You may not transfer or otherwise do anything to give another person access to your Registered User account.  You must notify us immediately at [email protected] if you become aware that anyone has gained unauthorized access to your Registered User account.  You represent and warrant that all information you provide as a Registered User is accurate and complete.

We reserve the right, in our sole discretion, to suspend or terminate your registered access at any time if you have not complied with the Terms or for other reasons that we determine in good faith are necessary or appropriate, including if we suspect you are using or attempting to use the Site in any way that violates these Terms or any applicable laws or regulations.

Third-Party Content and Links to Third-Party Websites 

The Site may contain content of, or links to websites controlled by, third parties (“Third-Party Websites”).  We are not responsible for Third-Party Websites or their content, activities or privacy practices.  Any information you share or actions you take on Third-Party Websites are governed by those websites’ terms of use and privacy statements, which you should review carefully to learn about their practices.  The inclusion of third-party content or links to Third-Party Websites on our Site does not imply our endorsement of Third-Party Websites, their content, or any associated organization or activity.  We make no representation or warranty whatsoever about the nature of Third-Party Websites and if you decide to access any other websites linked to or from the Site, you do so entirely at your own risk.  WE ARE NOT RESPONSIBLE, OR LIABLE TO YOU OR ANY THIRD PARTY, FOR THE CONTENT OR ACCURACY OF ANY MATERIALS PROVIDED BY ANY THIRD PARTIES.

Frames; Metatags

Unless you obtain our prior written consent in each case, you may not: (A) frame any Content on any other website; or (B) use metatags or any other “hidden text” that incorporates the “ROY LICHTENSTEIN” trademarks, marks confusingly similar to our trademarks, or our name.

Additional Disclaimers

THE SITE, CONTENT, AND LINKS AVAILABLE THROUGH IT ARE AVAILABLE “AS IS” AND “AS AVAILABLE.”  WE DO NOT WARRANT THAT THE SITE OR ANY CONTENT AND LINKS AVAILABLE THROUGH IT WILL BE UNINTERRUPTED OR ERROR-FREE.  THERE MAY BE DELAYS, OMISSIONS, INTERRUPTIONS AND INACCURACIES IN CONTENT AVAILABLE ON THE SITE.  WE MAKE NO REPRESENTATIONS OR WARRANTIES ABOUT THE ACCURACY, COMPLETENESS, TIMELINESS, RELIABILITY, OR NON-INFRINGEMENT OF ANY CONTENT AVAILABLE ON THE SITE OR CONTENT OR SERVICES AVAILABLE THROUGH LINKS TO THIRD-PARTY WEB SITES.  WE RESERVE THE RIGHT TO CORRECT ANY ERRORS OR OMISSIONS ON THE SITE AND IN ITS CONTENT.  IF YOU RELY ON THE SITE AND ANY CONTENT AVAILABLE THROUGH IT, YOU DO SO ENTIRELY AT YOUR OWN RISK.

TO THE MAXIMUM EXTENT PERMITTED UNDER LAW, RLF DISCLAIMS ANY AND ALL EXPRESS OR IMPLIED WARRANTIES WITH RESPECT TO THE SITE AND ANY CONTENT OR INFORMATION THAT IS AVAILABLE THROUGH IT, INCLUDING WITHOUT LIMITATION, ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE (EVEN IF THAT PURPOSE HAS BEEN DISCLOSED).

ALTHOUGH RLF INTENDS TO TAKE REASONABLE STEPS TO PREVENT THE INTRODUCTION OF VIRUSES, WORMS, “TROJAN HORSES,” OR OTHER MALICIOUS CODE TO THE SITE, RLF DOES NOT GUARANTEE OR WARRANT THAT THE SITE, OR CONTENT THAT MAY BE AVAILABLE THROUGH IT, ARE FREE FROM SUCH DESTRUCTIVE FEATURES.  RLF IS NOT LIABLE FOR ANY DAMAGES OR HARM ATTRIBUTABLE TO SUCH FEATURES.

Limitation of Liability

RLF AND ITS AFFILIATES, MANAGERS, OFFICERS, EMPLOYEES, CONTRACTORS, AGENTS, VOLUNTEERS, AND ADVISORS, WHETHER IN SUCH CAPACITIES OR INDIVIDUALLY, AND THE HEIRS, SUCCESSORS AND ASSIGNS OF EACH OF THEM (TOGETHER, THE “COVERED PARTIES”) ARE NOT LIABLE FOR ANY CLAIM OF ANY NATURE WHATSOEVER BASED ON LOSS OR INJURY BECAUSE OF ERRORS, OMISSIONS, INTERRUPTIONS, OR INACCURACIES IN THE SITE OR ANY CONTENT AVAILABLE THROUGH IT, INCLUDING LOSS OR INJURY THAT RESULTS FROM YOUR BREACH OF ANY PROVISION OF THESE TERMS.

UNDER NO CIRCUMSTANCES WILL RLF OR THE COVERED PARTIES BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL, SPECIAL, PUNITIVE, OR EXEMPLARY DAMAGES (INCLUDING LOST REVENUES OR PROFITS, LOSS OF BUSINESS, OR LOSS OF DATA) ARISING OUT OF OR IN CONNECTION WITH YOUR USE OF THE SITE OR CONTENT OR THESE TERMS, REGARDLESS OF THE THEORY OF LIABILITY, WHETHER TORT (INCLUDING NEGLIGENCE), CONTRACT, OR ANY OTHER LEGAL OR EQUITABLE THEORY, EVEN IF RLF HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.  OUR AGGREGATE LIABILITY TO YOU FOR ANY USE OF, OR INABILITY TO USE, THE SITE OR CONTENT IS LIMITED TO $1000. SOME STATES DO NOT ALLOW THE LIMITATION OF LIABILITY FOR THESE KINDS OF DAMAGES, SO THESE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU.

Indemnification

You agree to indemnify, defend and hold harmless RLF and the Covered Parties from and against all demands, loss, liability, claims or expenses (including attorneys’ fees) made against RLF and the Covered Parties arising out of your use of the Site, its Content, or violation of these Terms.

Infringing Material

RLF respects the intellectual property of others and expects users to do the same.  As to allegedly infringing copyrighted works, we comply with the take down and counter notification provisions of the Digital Millennium Copyright Act (“DMCA”), 17 U.S.C.A. § 512, as set forth below. 

We reserve the right to remove or disable access to any Content claimed to be infringing, at any time at our sole discretion, without notice or liability.  In appropriate circumstances, we will also terminate users of the Site who are repeat infringers.

If you believe that Content has been used in a way that constitutes copyright infringement, please provide our designated agent, whose contact information is listed below, with a written notice containing all of the following information (“DMCA Notice”):

  • A physical or electronic signature of a person authorized to act on behalf of the owner of an exclusive right that is allegedly infringed;
  • Identification of the copyrighted work claimed to have been infringed;
  • Identification of the Content that is claimed to be infringing or to be the subject of infringing activity, and information reasonably sufficient to permit us to locate such Content on our Site (such as the URL to each page on the Site containing allegedly infringing material);
  • Information reasonably sufficient to permit us to contact you, such as an address, telephone number, and, if available, an email address;
  • a statement that you have a good faith belief that use of the Content in the manner complained of is not authorized by the copyright owner, its agent, or the law; and
  • a statement that the information in your notice is accurate and, under penalty of perjury, that you are authorized to act on behalf of the owner of an exclusive right that is allegedly infringed.

Our agent designated to receive DMCA Notices may be contacted as follows:

[email protected]

Changes to the Terms

RLF may change these Terms from time to time by posting an updated version on this web page, or, if we determine that it is appropriate, we may provide other notice to you.  Your continued use of the Site after we post updated Terms means that you accept and agree to such Terms.  We recommend checking back on this web page regularly if you use the Site.

Termination

We reserve the right to terminate the Site, these Terms, and any Content, and your access to the Site and/or the Content, at any time without notice, for any reason.  The “Reliance on Information Posted,” “Copyright & Trademark,” “Inclusions in Catalogue Raisonné (or Lack Thereof),” “Additional Disclaimers,” “Limitation of Liability,” “Indemnification,” and “Governing Law” sections of these Terms (along with this provision and any other provision that by its terms contemplates survival) survive any termination of these Terms.

Governing Law

These Terms are the complete agreement between you and RLF regarding your use of the Site and is governed by applicable federal laws and the laws of the State of New York applicable to agreements made and completely performed there.  Any dispute arising out of or in connection with these Terms shall be subject to the exclusive jurisdiction and venue of the United States District Court for the Southern District of New York located in the Borough of Manhattan in the City of New York or, only if such court does not have subject-matter jurisdiction, the Supreme Court of the State of New York, New York County.

You irrevocably agree to bring any claim or dispute relating to your use of the Site and these Terms exclusively in the state and federal courts located in New York, to submit to the exclusive jurisdiction of those courts, and to waive any jurisdictional, venue, inconvenient forum, or other objections to those courts.  

Other

Section titles and headings are for convenience only and have no legal or contractual effect.  The failure of RLF to exercise or enforce any right or provision of the Terms shall not constitute a waiver of such right or provision.  If a court of competent jurisdiction determines that any provision of these Terms is unenforceable for any reason, then that provision will be deleted and the remaining provisions of these Terms will be enforceable to the fullest extent permitted by law.

Questions

Please email [email protected] with any questions you may have about these Terms.

Accept Terms & Conditions