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).

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).

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.

Catalogue entry

RLCR 808 (LC 113; RL 0137)

Whaam!

1963

Title Source

RL Studio Card

Alternate titles and sources: Whaam (RL Register); Wham (RL Register)

Media

Acrylic, oil, graphite pencil on canvas (two joined panels)

Dimensions

Overall: 68 1/8 x 159 13/16 in. (173 x 405.9 cm)

Both panels: 68 1/16 x 79 15/16 in. (172.9 x 203 cm) (approx.)

Inscriptions

Signed and dated each panel verso, top center: rf Lichtenstein / '63

By artist left panel verso, upper right: LEFT PANEL; right panel verso, upper right: RIGHT PANEL. Each panel stretcher: WHAAM! / MAGNA & OIL

Keyword

Cartoons

Photo: Tate

Related Works

Provenance

Tate Gallery, London, December 1966. T00897 (via Leo Castelli Gallery, New York City; via Galerie Ileana Sonnabend, Paris)

Exhibitions

1963c New York Castelli

Leo Castelli Gallery (4 East 77th Street), New York, Roy Lichtenstein, September 28–October 24, 1963.

1963 Buffalo Albright-Knox

Albright-Knox Art Gallery, Buffalo, New York, Mixed Media and Pop Art, November 19–December 15, 1963 (Smith, Gordon 1963).

1964 Paris Musée d'Art Moderne

Musée d'Art Moderne de la Ville de Paris, Paris, XXe Salon de mai, May 16–June 7, 1964 (Salon de mai 1964, no. 102 p. 16 b/w ill.).

1964 Hague Gemeentemuseum

Haags Gemeentemuseum, The Hague, the Netherlands, Nieuwe Realisten, June 24–August 31, 1964 (Gemeentemuseum 1964, no. 95 p. 35 b/w ill.).

1964 Vienna Museum des 20. Jh.

Museum des 20. Jahrhunderts, Vienna, Pop, etc., September 19–October 31, 1964 (Hofmann 1964b, no. 84 p. 55 b/w ill.).

1964 Berlin Akademie

Akademie der Künste, Berlin, Neue Realisten und Pop Art, November 20, 1964–January 3, 1965 (Hofmann 1964a).

1965 Brussels Palais des Beaux-Arts

Palais des Beaux-Arts, Brussels, Pop Art — Nouveau Réalisme — etc. . ., February 5–March 1, 1965 (Palais des Beaux-Arts 1965).

1965 Turin Sperone

Gian Enzo Sperone, Turin, Italy, Pop: Dine, Lichtenstein, Oldenburg, Pistoletto, Rauschenberg, Rosenquist, Warhol, Wesselmann, June 11–July 1965 (Sperone 1965, b/w ill.).

1967 Amsterdam Stedelijk

Stedelijk Museum, Amsterdam, Roy Lichtenstein, November 4–December 17, 1967 (Stedelijk Museum 1967, no. 22 color ill. [double spread]). Traveled to: Tate Gallery, London, January 6–February 4, 1968 (Tate 1968b, no. 21 pp. 30–31 color ill. [double spread], front cover color ill. [detail]); Kunsthalle Bern, Bern, Switzerland, February 23–March 31, 1968 (Kunsthalle Bern 1968, no. 20 color ill. [double spread]); (Tate 1968a, no. 19 p. 30 color ill. [double spread], front cover color ill. [detail]); Kestner-Gesellschaft, Hannover, Germany, April 13–May 19, 1968 (Kestner-Gesellschaft 1968, no. 20 pp. 68–69 color ill. [double spread]).

1969 New York Guggenheim

Solomon R. Guggenheim Museum, New York, Roy Lichtenstein, September 19–November 9, 1969 (only New York) (Waldman 1969, no. 25 pp. 48–49 color ill. [double spread]). Traveled to: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Mo., December 18, 1969–January 16, 1970; Museum of Contemporary Art, Chicago, Ill., February 7–March 22, 1970; Seattle Art Museum, Seattle, Wash., April 10–May 17, 1970; Columbus Gallery of Fine Arts, Columbus, Ohio, July 9–August 30, 1970.

1990 New York MoMA

Museum of Modern Art, New York, High and Low: Modern Art and Popular Culture, October 7, 1990–January 15, 1991 (only New York) (Varnedoe and Gopnik 1990a, no. 79 pp. 204-205 color ill. [double spread]); (Varnedoe and Gopnik 1990b). Traveled to: Art Institute of Chicago, Chicago, Ill., February 23–May 12, 1991; Museum of Contemporary Art, Los Angeles, Calif., June 21–September 15, 1991.

1992 Pully-Lausanne FAE

FAE Musée d'Art Contemporain, Pully-Lausanne, Switzerland, Roy Lichtenstein, September 26, 1992–January 31, 1993 (Michetti-Prod'Hom and Edelman 1992, pp. 34–35 color ill. [double spread]). Traveled to: Tate Liverpool, Liverpool, United Kingdom, February 17–April 18, 1993 (Tate Liverpool 1993, pp. 26–27 color ill. [double spread]).

1993 New York Guggenheim

Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (only New York) (Waldman 1993b, no. 90 n.p. color ill. [double spread]). 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. 90 n.p. color ill. [double spread]); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 90 n.p. color ill. [double spread]); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 90 n.p. color ill. [double spread]); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 90 n.p. color ill. [double spread]).

1997 New York Whitney

Whitney Museum of American Art, New York, Views from Abroad: European Perspectives on American Art 3: American Realities, July 11–October 5, 1997 (Serota, Nairne, and Weinberg 1997, p. 11 b/w ill, front and back cover [detail, pink]).

1998 Riehen Fondation Beyeler

Fondation Beyeler, Riehen, Switzerland, Roy Lichtenstein, May 24–September 27, 1998 (Beyeler [Fondation] 1998, no. 15 p. 43 color ill. [double spread]).

2003 Humlebaek Louisiana

Louisiana Museum of Art, Humlebaek, Denmark, Roy Lichtenstein: All about Art, August 22, 2003–January 18, 2004 (Holm, Tøjner, and Caiger-Smith 2003a, no. 19 n.p. color ill. [double spread]). Traveled to: Hayward Gallery, London, February 26–May 16, 2004 (as Roy Lichtenstein); Museo Nacional Centro de Arte Reina Sofía, Madrid, June 24–September 27, 2004 (as Roy Lichtenstein) (Holm, Tøjner, and Caiger-Smith 2003b, no. 19 n.p. color ill. [double spread]); San Francisco Museum of Modern Art, San Francisco, Calif., October 20, 2004–February 22, 2005 (as Roy Lichtenstein) (Holm, Tøjner, and Caiger-Smith 2003b, no. 19 n.p. color ill. [double spread]).

2012 Chicago Art Institute

Art Institute of Chicago, Chicago, Roy Lichtenstein: A Retrospective, May 16–September 3, 2012 (Rondeau and Wagstaff, Sheena 2012, no. 36 n.p. color ill. [double spread]). Traveled to: National Gallery of Art, Washington, D.C., October 14, 2012–January 13, 2013; Tate Modern, London, February 21–May 27, 2013 (as Lichtenstein: A Retrospective) (Dunne 2012, no. 31 pp. 40–41 color ill. [double spread]); Musée National d'Art Moderne, Centre National d'Art et de Culture Georges Pompidou, Paris, July 3–November 4, 2013 (as Roy Lichtenstein, revised and reorganized) (Dunne 2013, no. 31 pp. 40–41 color ill. [double spread]); (Pompidou 2013, pp. 12–13 color ill. [double spread]); (Morineau 2013a, no. 13 p. 81 color ill. [double spread]).

Literature

Dienst 1965

Dienst, Rolf-Gunter. Pop-Art: Eine kritische Information. Wiesbaden: Rudolph Bechtld, 1965, n.p. b/w ill.

Frigerio 1965

Frigerio, Simone. "Les expositions à l'étranger." Aujourd'hui art et architecture 9, no. 49 (April 1965), p. 46 b/w ill.

Der Spiegel 1967

"Lichtenstein: Mythos von Mickey." Der Spiegel, December 11, 1967, p. 161 b/w ill.

Blok 1967

Blok, C. "Roy Lichtenstein." Museumjournaal voor moderne Kunst 12, no. 10 (1967), p. 283 b/w ill.

Melville 1967

Melville, Robert. "Battlepieces and Girls." Architectural Review 141, no. 842 (April 1967), no. 1 p. 289 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. 1 p. 124 b/w ill.

Causey 1968

Causey, Andrew. "Art and the Popular." Illustrated London News, January 20, 1968, p. 26 ill.

Hamilton, R. 1968

Hamilton, Richard. "Roy Lichtenstein." Studio International 175, no. 896 (January 1968), p. 24 color ill.

Kozloff 1969

Kozloff, Max. "Lichtenstein at the Guggenheim." Artforum 8, no. 3 (November 1969), p. 42 b/w ill.

Compton 1970

Compton, Michael. Pop Art. London: Hamlyn Publishing Group, 1970, frontispiece color ill., front and back endpapers b/w ill. (detail).

Metken 1970

Metken, Günter. Comics. Frankfurt am Main and Hamburg: Fischer Bücherei, 1970, pp. 180–181 b/w ill. (double spread).

Weber, J. 1970

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Lichtenstein, R. 1971

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Waldman 1971b

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Kettlewood 1972

Kettlewood, Beatrice Card. "A Study of Visual Space in Selected American Paintings 1945–1965: In Relation to the 1970–1972 Paintings of the Artist-Investigator." EdD diss., New York University, New York, 1972, no. 26 p. 140 b/w ill.

Davidson, A. 1974

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Thomas, Denis. Battle Art: Images of War. Oxford, England: Phaidon Press; New York: E. P. Dutton and Co, 1977, p. 93 color ill. (sideways).

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Collins, J. et al. 1983

Collins, Judith, John Welchman, David Chandler, and David Anfam. Techniques of Modern Artists. London and Sydney: MacDonald and Co., 1983, p. 148 color ill.

Alloway 1983b

Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 24 p. 28 color ill.

Kunzle 1984

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Wosk 1984

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Palais des Beaux–Arts, Charleroi 1985

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Adler, E. 1986

Adler, Edward Jerome. "American Painting and the Vietnam War." PhD diss., School of Education, Health, Nursing, and Arts Professions, New York University, New York, 1986, no. 103 p. 489 b/w ill.

Hendrickson 1988

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Steiner 1988

Steiner, Wendy. "Divide and Narrate: Seurat, Warhol, and Lichtenstein." In Pictures of Romance: Form against Context in Painting and Literature. Chicago: University of Chicago Press, 1988, no. 41 p. 163 b/w ill.

Von Hassell 1988

Von Hassell, Christa. "Atelierbesuch: Ein Pop-Star kommt zurück." Pan (Offenburg), no. 7 (September 1988), p. 64 color ill.

Busche 1989

Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 20 n.p. color ill. (double spread).

Berri 1990

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Livingstone 1990

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Hindry 1991a

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Mamiya 1992

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Cork 1993

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Hendra 1993

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Vernissage Köln 1994

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James, J. 1996

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Cork 1997

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Jancène 1997

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Kijima 1997

Kijima, Shunsuke. The Appeal of Modern Art: Surveying the Art of the 20th Century. The Great History of Art. Kyoto: Dōhōsha Shuppan, 1997, p. 133 color ill.

Leslie 1997

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Whiting 1997

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Crook and Learner 1999

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Louisiana revy 2003

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View Citation of this Page

Theil, Andrea. “Whaam!, 1963 (RLCR 808).” In Roy Lichtenstein: A Catalogue Raisonné. New York: Roy Lichtenstein Foundation. www.lichtensteincatalogue.org/catalogue/entry.php?id=472 (accessed on December 15, 2024).

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Interfere with the proper functioning of the Site;
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
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.

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