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 634 (LC 1; RL 1190)

Girl with Ball

1961

Title Source

Castelli; RL Studio Card

Alternate title and source: Girl with Beach Ball (RL Register)

Media

Oil, graphite pencil on canvas

Dimensions

60 1/4 x 36 1/4 in. (153 x 92.1 cm)

Inscriptions

Neither signed nor dated

Keyword

Cartoons

Photo: Courtesy MoMA

Provenance

Collection Leo Castelli, New York City, November 1961 (artist sale)

Philip Johnson, New Canaan, Conn., May 1962

The Museum of Modern Art, New York, Gift of Philip Johnson, November 1981. 421.1981

Exhibitions

1961 New York Castelli possibly

Leo Castelli Gallery (4 East 77th Street), New York, An Exhibition in Progress, September 22–October 14, 1961.

1963 Houston CAM

Contemporary Arts Museum, Houston, Pop! Goes the Easel, April 4–30, 1963 (MacAgy 1963).

1964 New York Pace

Pace Gallery (9 West 57th Street), New York, First International Girlie Exhibit, January 7–25, 1964. Traveled to: Pace Gallery, Boston, Mass., February 16–March 11, 1964.

1964 London Tate

Tate Gallery, London, '54–'64: Painting and Sculpture of a Decade, April 22–June 28, 1964 (Calouste Gulbenkian 1964, no. 263 n.p. facing p. 212 b/w ill.).

1965 Poughkeepsie Vassar

Vassar College Art Gallery, Poughkeepsie, New York, Art Since 1923: An Exhibition in Honor of Agnes Rindge, May 5–June 16, 1965 (McCormicK 1965).

1966 Tokyo MOMAT

National Museum of Modern Art, Tokyo, Two Decades of American Painting, October 15–November 27, 1966 (only Tokyo, Kyoto) (National Museum of Modern Art 1966). Traveled to: National Museum of Modern Art, Kyoto, Japan, December 10, 1966–January 22, 1967; Lalit Kala Academy, New Delhi, March 25–April 15, 1967 (Lalit Kala 1967); National Gallery of Victoria, Melbourne, Australia, June 6–July 8, 1967 (NGV and AGNSW 1967); Art Gallery of New South Wales, Sydney, July 17–August 20, 1967 (NGV and AGNSW 1967).

1969 New York Guggenheim

Solomon R. Guggenheim Museum, New York, Roy Lichtenstein, September 19–November 9, 1969 (not Seattle, Columbus) (Waldman 1969, no. 2 p. 24 b/w ill.). 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 (Varnedoe and Gopnik 1990a); (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.

1993 New York Guggenheim

Solomon R. Guggenheim Museum, New York, Roy Lichtenstein: A Retrospective, October 7, 1993–January 16, 1994 (only New York, Los Angeles, Montreal) (Waldman 1993b, no. 46 n.p. facing p. 49 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. 46 n.p. facing p. 49 color ill.); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 46 n.p. facing p. 49 color ill.); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 46 n.p. facing p. 49 color ill.); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 46 n.p. facing p. 49 color ill.).

2000 New York MoMA

Museum of Modern Art, New York, MoMA 2000: Making Choices: Walker Evans and Company, March 16–August 22, 2000 (only New York; not in cat.) (Galassi 2000). Traveled to: J. Paul Getty Museum, Los Angeles, Calif., July 10–September 16, 2001 (as Walker Evans and Company: Works from the Museum of Modern Art).

2003 Houston MFA

Museum of Fine Arts, Houston, The Heroic Century: The Museum of Modern Art's Masterpieces, 200 Paintings and Sculptures, September 21, 2003–January 4, 2004 (Elderfield 2003, p. 280 color ill.). Traveled to: Neue Nationalgalerie, Berlin, February 18–September 19, 2004 (as MoMA in Berlin: Masterworks from The Museum of Modern Art).

2010 New York Pace

Pace Gallery (534 West 25th Street), New York, 50 Years at Pace: Art in the Twenty-First Century, September 17–October 23, 2010 (Pace Gallery 2010, no. 79 p. 139 color ill.).

2012 Atlanta High

High Museum of Art, Atlanta, Fast Forward: Modern Moments 1913–2013, October 13, 2012–January 20, 2013 (Hauptman, Friedman, and Rooks 2012, no. 93 p. 109 color ill.).

2017 Hartford Wadsworth

Wadsworth Atheneum Museum of Art, Hartford, Connecticut, Hand-Painted Pop! Art and Appropriation 1961 to Now, April 29–August 13, 2017.

Literature

Berg 1961

Berg, Paul. "About-Face from the Abstract." St. Louis Post-Dispatch Sunday Pictures, December 31, 1961, p. 10 color ill. (as Beachball; with artist and Leo Castelli).

Scene 1962

"The Art of Lichtenstein." Scene (New York) 8, no. 4 (August 1962), p. 42 b/w ill.

Alfieri 1962

Alfieri, Bruno. "USA: Verso la fine della pittura 'astratta'?/Vers la fin de la peinture 'abstraite'?/Towards the End of 'Abstract' Painting?" Metro (Milan), nos. 4–5 (May 1962), no. 19 p. 10 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.

Lerman 1962

Lerman, Leo. "The Village Idea." Mademoiselle 55, no. 2 (June 1962), no. 1 p. 70 b/w ill. (with artist).

Newsweek 1962

"Everything Clear Now?" Newsweek 59, no. 9 (February 26, 1962), p. 87 b/w ill.

Tono 1963b

Tono, Yoshiaki, ed. "Statements by Contemporary Artists." Mizue (Tokyo), no. 700 (June 1963), p. 28 b/w ill.

Melville 1964b

Melville, Robert. "Prospect for the Future." Architectural Review 136, no. 810 (August 1964), no. 3 p. 135 b/w ill.

Lippard 1966c

Lippard, Lucy R. Pop Art. New York: Thames & Hudson, 1966, no. 63 n.p. facing p. 80 b/w ill.

Whitney 1967a

Whitney, David. "La galerie souterraine de Philip Johnson." Quadrum (Brussels), no. 20 (1967), p. 158 b/w ill.

Kerber 1970

Kerber, Bernhard. Roy Lichtenstein: Ertrinkendes Mädchen. Stuttgart: Reclam, 1970, no. 2a n.p. following p. 16 b/w ill.

Waldman 1971b

Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 7 n.p. color ill.

Lipman and Marshall, R. 1978

Lipman, Jean, and Richard Marshall. Art About Art. New York: Whitney Museum of American Art, 1978. Exhibition catalogue (1978 New York Whitney), p. 154 b/w ill. [not exhibited].

Keller 1979

Keller, Jean-Pierre. Pop art et évidence du quotidien. Lausanne: L’Âge d’Homme, 1979, p. 135 b/w ill.

Bouniort 1980

Bouniort, Jeanne. Le pop'art: le pop'art anglais et le pop'art américain. Actualité des arts plastiques 49. Paris: Centre National de Documentation Pédagogique, 1980, p. 16 b/w ill.

Russell, J. 1981

Russell, John. The Meanings of Modern Art. New York: Museum of Modern Art and Harper and Row, 1981, p. 347 b/w ill.

Cowart 1981b

Cowart, Jack. Roy Lichtenstein 1970–1980. New York: Hudson Hills Press in association with the St. Louis Art Museum, 1981. Exhibition catalogue (1981 St. Louis Art Museum), p. 110 b/w ill. [not exhibited].

Cowart 1982a

Cowart, Jack. Roy Lichtenstein 1970–1980. Translated from the English by Nicolas Hepp. Munich: Prestel Verlag, 1982. Exhibition catalogue (1981 St. Louis Art Museum), no. 100 p. 110 b/w ill. [not exhibited].

Cowart 1982b

Cowart, Jack. Roy Lichtenstein 1970–1980. Translated from the English by Stefania Coppi. Florence: Electa, 1982. Exhibition catalogue (1981 St. Louis Art Museum), p. 62 b/w ill. [not exhibited].

Cowart 1983

Cowart, Jack. Roy Lichtenstein 1970–1980. Tokyo: Seibu Museum of Art, 1983. Exhibition catalogue (1981 St. Louis Art Museum), p. 106 b/w ill. [not exhibited].

Alloway 1983b

Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 9 p. 17 color ill.

De Coppet and Jones 1984

De Coppet, Laura, and Alan Jones, eds. The Art Dealers. New York: Clarkson N. Potter, 1984, p. 95 b/w ill.

Sgan-Cohen 1987

Sgan-Cohen, Michael. "Lichtenstein in Tel Aviv." Yediot Aharonot: Weekly Supplement (Tel Aviv) 11, no. 1241 (November 13, 1987), p. 31 b/w ill.

Busche 1988

Busche, Ernst A. Roy Lichtenstein: Das Frühwerk, 1942–1960. Berlin: Gebr. Mann Verlag, 1988, fig. 137 p. 234 b/w ill.

Hendrickson 1988

Hendrickson, Janis. Roy Lichtenstein. Cologne: Benedikt Taschen, 1988, n.p. facing p. 25 color ill.

Busche 1989

Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 3 n.p. color ill.

Osterwold 1989a

Osterwold, Tilman. Pop Art. Cologne: Benedikt Taschen, 1989, n.p. facing p. 184 color ill.

Berri 1990

Berri, Claude. Claude Berri recontre Leo Castelli. Edited by Ann Hindry. Paris: Renn, 1990, p. 44 b/w ill.

Livingstone 1990

Livingstone, Marco. Pop Art: A Continuing History. 1st ed. New York: Harry N. Abrams, 1990, no. 98 p. 73 color ill.

Kyung Hyang Daily News 1991

"Overseas artists' exhibitions continue to decorate Seoul." Kyung Hyang Daily News (Seoul), November 13, 1991, p. unavail. ill.

Hindry 1991a

Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), p. 22 b/w ill.

Kodansha 1992

Kodansha Ltd. Contemporary Great Masters: Roy Lichtenstein. Tokyo: Kodansha Ltd., 1992, no. 60 p. 89 color ill.

Hendra 1993

Hendra, Tony. Brad '61: Portrait of the Artist As a Young Man. New York: Pantheon Books, 1993, p. 61 color ill.

New York Times 1993

"A Stroll Up the Ramp with Roy Lichtenstein." New York Times, October 31, 1993, p. H39 b/w ill.

Richardson, E. 1993

Richardson, Elizabeth. "Those Lichtenstein Women." Harper's Bazaar 126, no. 3383 (October 1993), no. 4 p. 235 color ill.

Waldman 1993c

Waldman, Diane. Roy Lichtenstein. Rizzoli Art Series. New York: Rizzoli, 1993, no. 1 color ill.

Bode 1994

Bode, Peter M. "Roy Lichtenstein: Am Anfang war der Comic Strip." Art: Das Kunstmagazin (Hamburg), no. 10 (October 1994), p. 28 color ill.

Hohmeyer and Matussek 1994

Lichtenstein, Roy, Jürgen Hohmeyer, and Matthias Matussek, eds. "Ich lass' nur die Kleider weg." Der Spiegel (Hamburg), no. 41 (October 10, 1994), p. 236 color ill.

Kelleher 1996

Kelleher, Karen. "Roy Lichtenstein: The Controversy Pop's." Hamptons (Southampton, N.Y.) (May 31, 1996), b/w ill.

Hendricks, N. 2000

Hendricks, Norine S. "Pop Goes the Artist: Roy Lichtenstein." Timeline (Columbus: Ohio Historical Society) 17, no. 5 (September–October 2000), p. 18 color ill.

Serafini 2000

Serafini, Giuliano. Art e Dossier. Special issue, Lichtenstein (Milan), no. 152 (January 2000), p. 26 color ill.

Collins, B. 2003

Collins, Bradford R. "Modern Romance: Lichtenstein's Comic Book Paintings." American Art (Smithsonian American Art Museum) 17, no. 2 (Summer 2003), no. 5 p. 66 color ill., front cover color ill. (cropped).

Fedders 2005

Fedders, Kristin Utter. "Pop Art at the 1964/65 New York World's Fair." PhD diss., University of Pennsylvania, Philadelphia, 2005, no. 86 p. 306 ill.

Naivin 2006

Naivin, Bertrand. "Corps abstrait ou la représentation du corps dans le Pop Art américain à travers l'oeuvre d'Andy Warhol, Roy Lichtenstein, Tom Wesselmann, Allen Jones et Mel Ramos." PhD diss., Université de Paris VIII, Paris, 2006, p. 49 color ill.

Doris 2007

Doris, Sara Kathleen. Pop Art and the Contest over American Culture. Cambridge, United Kingdom: Cambridge University Press, 2007, no. 31 p. 192 b/w ill.

Fundación Juan March 2007a

Fundación Juan March, Madrid. Roy Lichtenstein: Beginning to End. Madrid: Fundación Juan March, 2007. Exhibition catalogue (2005 Cuenca Arte Abstracto), p. 72 color ill. [not exhibited].

Fundación Juan March 2007b

Fundación Juan March, Madrid. Roy Lichtenstein: De principio a fin. Madrid: Fundación Juan March, 2007. Exhibition catalogue (2005 Cuenca Arte Abstracto), p. 72 color ill. [not exhibited].

Fundación Juan March 2007c

Fundación Juan March, Madrid. Roy Lichtenstein: Évolution. Translated from the English by Delphine Billaut, Isabelle Choque, Aude Pasquier, and Maïca Sanconie. Madrid: Fundación Juan March; Paris: Pinacothèque de Paris, 2007. Exhibition catalogue (2005 Cuenca Arte Abstracto), p. 72 color ill. [not exhibited].

Bader 2010b

Bader, Graham. Hall of Mirrors: Roy Lichtenstein and the Face of Painting in the 1960s. Cambridge, Mass.: MIT Press, 2010, no. 0.4 p. xxvi b/w ill. , no. 3.7 p. 93 b/w ill. (detail), back cover color ill.

Dunne 2012

Dunne, Nathan. Roy Lichtenstein. London: Tate, 2012. Exhibition catalogue (2012 Chicago Art Institute), no. 22 p. 29 color ill. [not exhibited].

Dunne 2013

Dunne, Nathan. Roy Lichtenstein. Translated from the English by Sarah Dali. London: Tate, 2013. Exhibition catalogue (2012 Chicago Art Institute), no. 22 p. 29 color ill. [not exhibited].

Faton-Boyancé 2013

Faton-Boyancé, Jeanne, ed. L'objet d'art. Special issue, Roy Lichtenstein exposition au Centre Pompidou, no. 69 (July 2013), p. 17 color ill.

Bauer, G., and Schröder 2024a

Bauer, Gunhild, and Klaus Albrecht Schröder, eds. Roy Lichtenstein. Munich; London; New York: Prestel, 2024. Exhibition catalogue (2024 Vienna Albertina), n.p. facing p. 36 color ill. (detail), fig. 2 p. 39 color ill. [not exhibited].

Bauer, G., and Schröder 2024b

Bauer, Gunhild, and Klaus Albrecht Schröder, eds. Roy Lichtenstein. Vienna: Albertina; Munich: Prestel Verlag, 2024. Exhibition catalogue (2024 Vienna Albertina), n.p. facing p. 36 color ill. (detail), fig. 2 p. 39 color ill. [not exhibited].

View Citation of this Page

Theil, Andrea. “Girl with Ball, 1961 (RLCR 634).” In Roy Lichtenstein: A Catalogue Raisonné. New York: Roy Lichtenstein Foundation. www.lichtensteincatalogue.org/catalogue/entry.php?id=1296 (accessed on April 18, 2025).

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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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