Acrylic, oil, graphite pencil on canvas
80 x 67 3/4 in. (203.2 x 172.1 cm)
Signed and dated verso, upper left: rf Lichtenstein
Classification: painting

Painting

In this catalogue paintings are classified 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

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.

Acrylic and Oil Paints

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. 

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 in c. 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 of 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 of 1964 and beyond, solid colors are assumed to be acrylic and dots and diagonals oil. However, it is possible that Lichtenstein continued his experimentation with paints through and after 1964.

Graphite Pencil Underdrawing

A closer look at Lichtenstein's paintings reveals that graphite pencil underdrawing and palimpsest is visible in most of them, starting in the 1960s. Nevertheless, pencil has not historically been mentioned in the related media lines. Due to the artist's well-known intention that his work not appear "too finished," this catalogue includes pencil in media lines. 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. Lebron stretchers were standard orders from c. 1972 on, and were typically delivered assembled. A different stretcher brand was introduced once and quickly abandoned.  

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 at least from the time James dePasquale became Lichtenstein's assistant.   

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
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Catalogue entry

Artwork: Okay, Hot-Shot, Okay!, 1963 (RLCR 795)
RLCR 795 (LC 100; RL 1200)
Okay, Hot-Shot, Okay!
1963
Title Source
RLF
Alternate titles and sources: O.K. Hot (RL Register); O.K. Hot Shot (Castelli); O.K. Hot Shot, O.K (RL Register); O.K. – Hot Shot (RL Register); Okay Hot Shot (RLF)
Media
Acrylic, oil, graphite pencil on canvas
Dimensions
80 x 67 3/4 in. (203.2 x 172.1 cm)
Inscriptions
Signed and dated verso, upper left: rf Lichtenstein
Studio
66 South Adelaide Avenue, Highland Park, New Jersey
Keyword
Cartoons
Provenance
Remo Morone, Turin, Italy, January 1964 (via Leo Castelli Gallery, New York City; via Galerie Ileana Sonnabend, Paris)
Mr. and Mrs. S.I. Newhouse, Jr., New York City, 1979 (via Sperone Westwater Fischer, New York City; via BlumHelman Gallery, New York City)
David Geffen, Los Angeles, by 1993
Private collection, 1996
Exhibitions
1963b Paris Sonnabend
Galerie Ileana Sonnabend (37, quai des Grands-Augustins), Paris, Roy Lichtenstein, June 5–30, 1963 (Jouffroy, Johnson, E. and Rosenblum 1963). Traveled to: Galleria il Punto Arte Moderna, Turin, Italy, December 23, 1963–January 23, 1964 (Sonnabend, M. 1963, no. 6 b/w ill. [cropped]).
1963 London ICA
Institute of Contemporary Arts, London, The Popular Image, October 24–November 23, 1963 (Solomon, A. 1963b, b/w ill.).
1964 Stockholm Moderna Museet
Moderna Museet, Stockholm, Amerikansk Pop-Konst, February 29–April 12, 1964 (Hultén 1964, p. 45 b/w ill. [in pink; installation view, 1963b Paris Sonnabend], p. 49 b/w ill. [in pink]). Traveled to: Louisiana Museum of Modern Art, Humlebaek, Denmark, April 17–May 24, 1964 (Louisiana Museum 1964); Stedelijk Museum, Amsterdam, June 22–July 26, 1964 (as De nieuwe amerikaanse kunst/American Pop Art) (Solomon, A. 1964b, no. 29 b/w ill.).
1966 Venice Biennale
Venice Biennale, Giardini della Biennale, United States Pavilion, Venice, Italy, Helen Frankenthaler, Ellsworth Kelly, Roy Lichtenstein, Jules Olitski in La Biennale di Venezia, 33. Esposizione Biennale Internazionale d'Arte, June 18–October 16, 1966 (National Collection of Fine Arts 1966, p. 32 b/w ill.). Traveled to: National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., December 1, 1966–January 16, 1967.
1967 Pasadena, Calif, Pasadena Art Museum
Pasadena Art Museum, Pasadena, California, Roy Lichtenstein, April 18–May 28, 1967 (only Pasadena) (Coplans 1967a, no. 19 n.p. facing p. 33 b/w ill.). Traveled to: Walker Art Center, Minneapolis, Minn., June 23–July 30, 1967.
1967 São Paulo Bienal
São Paulo Bienal, Museu de Arte Moderna, São Paulo, Environment U.S.A.: 1957–1967/Meio-Natural U.S.A.: 1957–1967 in IX Bienal do Museu de Arte Moderna, São Paulo, September 22, 1967–January 8, 1968 (Seitz and Goodrich 1967, no. 18 p. 15 not ill.). Traveled to: Rose Art Museum, Brandeis University, Waltham, Mass., February 26–March 31, 1968 (as Environment USA, 1957–1967).
1969 Turin Galleria Civica
Galleria Civica d'Arte Moderna, Turin, Italy, New-Dada e Pop Art Newyorkesi, April 2–May 4, 1969 (Malle 1969, no. 52 n.p. color ill.).
1969 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein, September 19–November 9, 1969 (Waldman 1969, no. 23 p. 45 color 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.
1987 New York BlumHelman
BlumHelman Gallery, New York, Roy Lichtenstein: Pop Masterpieces, 1961–1964, May 5–June 6, 1987 (BlumHelman 1987, no. 8 color ill. [as Okay, Hot-Shot]).
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, no. 85 p. 207 color ill.); (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 Cambridge, Mass, Fogg
Fogg Museum, Harvard University Art Museums, Cambridge, Massachusetts, American Painting at Mid-Century: Highlights from a Private Collection, June 12–October 3, 1993 (until September 19, 1993) (Cuno 1993).
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) (Waldman 1993b, no. 95 n.p. following p. 105 color ill, n.p. following p. 89 color ill. [detail]). 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. 95 n.p. following p. 105 color ill, n.p. following p. 89 color ill. [detail]); Deichtorhallen, Hamburg, Germany, February 8–April 30, 1995 (included early works) (Waldman 1994, no. 95 n.p. following p. 105 color ill, n.p. following p. 89 color ill. [detail]); Palais des Beaux-Arts, Brussels, June 2–September 3, 1995 (included early works) (Waldman 1994, no. 95 n.p. following p. 105 color ill, n.p. following p. 89 color ill. [detail]); Wexner Center for the Arts, Ohio State University, Columbus, Ohio, September 21, 1995–January 7, 1996 (abridged version) (Waldman 1994, no. 95 n.p. following p. 105 color ill, n.p. following p. 89 color ill. [detail]).
Literature
Brown, Doris 1963
Brown, Doris. "Two Douglass Professors Are Leading the Pop Art Charge." Central Jersey Home News (New Brunswick, N.J.), April 28, 1963, p. 20 b/w ill. (in progress; in studio).
Hultén 1963
Hultén, Pontus. "Om Pop-Kunsten." Louisiana revy (Humlebaek, Denmark) 4, no. 1 (September 1963), p. 10 b/w ill. (installation view, 1963b Paris Sonnabend).
Klüver 1964
Klüver, Billy. "Bakelsen som Konst." Vi (Stockholm) 51, no. 9 (February 29, 1964), p. 12 b/w ill.
Olofsson 1964
Olofsson, Rune Pär. "Kristet Valfiskemen är detta Konst?" Idun/Vecko-journalen (Stockholm), February 28, 1964, p. 16 ill.
Ullén 1964
Ullén, Jan Olov. "Detta är pop-konst: Ölburkar och seriefigurer!" Stockholm-Tidningen, February 28, 1964, p. 26 b/w ill.
Wretholm 1964
Wretholm, Eugen. "Men är detta konst?" Idun veckojournalen (Stockholm), February 28, 1964, pp. 16–17 b/w ill. (double spread).
Solomon, A. 1964a
Solomon, Alan. "The New American Art." Art International 8, no. 2 (March 1964), p. 51 b/w ill.
Bergmark 1964b
Bergmark, Torsten. "Svitch-blang pä Moderna museet." Dagens Nyheter (Stockholm), February 29, 1964, p. 4 b/w ill.
Scholz–Wanckel 1965
Scholz-Wanckel, Katharina. Pop Import: Eine selektive Abhandlung über Pop Artisten. Hamburg: Matari Verlag, [1965], p. 58 b/w ill. (installation view, 1963b Paris Sonnabend).
Boatto and Falzoni 1966
Boatto, Alberto, and Giordano Falzoni, eds. Fantazaria (Rome). Special issue, Lichtenstein 1, no. 2 (July–August 1966), inside front cover b/w ill.
Il Gazzettino 1966
"Una Biennale divertente." Il Gazzettino (Venice), June 15, 1966, p. 9 ill. (installation view, 1966 Venice Biennale).
Pascal 1966
Lichtenstein, Roy, and David Pascal. "Pop art et comic books." Translated from the English by Colette Swarc. Giff-Wiff (Paris), no. 20 (May 1966), p. 11 b/w ill.
Hahn 1966a
Hahn, Otto. "Roy Lichtenstein." Translated from the French by Arnold Rosin. Amended by the editor, James Fitzsimmonds. Art International 10, no. 6 (Summer 1966), p. 69 b/w ill. (as O.K. Hot Shot!).
Johnson, E. 1966a
Johnson, Ellen H. "The Image Duplicators: Lichtenstein, Rauschenberg, and Warhol." Canadian Art 23, no. 1 (January 1966), p. 14 b/w ill.
Solomon, A. 1966a
Solomon, Alan. "American Art between Two Biennales." Metro (Milan), no. 11 (June 1966), no. 9 p. 29 b/w ill.
Johnson, E. 1966b
Johnson, Ellen H. "Lichtenstein at Venice: The Printed Image." Art and Artists Special issue,Venice Biennale Number 1, no. 3 (June 1966), p. 14 b/w ill.
Couperie et al. 1967
Couperie, Pierre, Proto Destefanis, Édouard François et al. Bande dessinée et figuration narrative: Histoire, esthétique, production et sociologie de la bande dessinée mondiale, procédés narratifs et structure de l'image dans la peinture. Paris: Musée des Arts Décoratif, 1967. Exhibition catalogue (1967 Paris MAD), fig. 4 p. 228 b/w ill. [not exhibited].
F, A. 1967
F., A. "Pop Art Parodies with the Ben Day Dot." San Francisco Sunday Examiner and Chronicle, April 30, 1967, p. 38 b/w ill.
Glusberg 1967
Glusberg, Jorge. "Itinerario de un rebelde: En el estudio de Roy Lichtenstein." Artes Plasticas, no. 315 (March 27, 1967), p. 42 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. 3 p. 125 b/w ill.
Seldis 1967a
Seldis, Henry J. "The Pontificator of Pop." Los Angeles Times, April 30, 1967, Calendar, p. 34 b/w ill.
Fabri 1969
Fabri, Ralph. "Roy Lichtenstein at the Guggenheim." Today's Art (New York), October 18, 1969, pp. 8–9 color ill. (double spread).
Fry 1969
Fry, Edward. "Inside the Trojan Horse." ARTnews 68, no. 6 (October 1969), p. 38 color ill.
Hunter, S. 1969
Hunter, Sam. "Neorealismo, Assemblage, Pop Art in America." L'arte moderna (Milan) 13, no. 112 (1969), p. 144 color ill.
Rose, Barbara 1969
Rose, Barbara. American Painting: The Twentieth Century. Lausanne: Skira, 1969, p. 88 color ill.
Lichtenstein, R. 1971
Lichtenstein, Roy. [no title]. Edited by Christian Bourgois. Kitsch (Paris: Marie Concorde Editeur), no. 2 (February 1971), n.p. preceding p. 40 b/w ill. (cropped).
Waldman 1971b
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 74 n.p. color ill.
Coplans 1972a
Coplans, John, ed. Roy Lichtenstein. New York: Praeger Publishers, 1972, no. 35 n.p. preceding p. 85 b/w ill.
Calvesi 1975
Calvesi, Maurizio. Le due avanguardie. Vol. 2, Informale, New Dada, Pop Art. Bari: Editori Laterza, 1975, no. 23 n.p. b/w ill.
Novas 1975
Novas, Himilce. "Roy Lichtenstein: Representante de hoy ante el mañana." Fascinación (Caracas, Venezuela) 2, no. 1 (1975 [?]), p. 37 color ill. (as O.K. Big Shot).
Orlandini 1975
Orlandini, Marisa Volpi. "La Pop Art 1." Edited by Franco Russoli. L'Arte Moderna (Milan), no. 101 (1975), p. 151 color ill.
BT 1976
"U.S.A. 1945–1976: Three Decades of Contemporary Arts." BT: Bijutsu techō (Tokyo) 28, no. 410 (August 1976), no. 45 n.p. b/w ill.
Akita 1981
Akita, Norikazu. "Kagirinaki Pessimism." Mizue (Tokyo), no. 921 (December 1981), p. 81 b/w ill.
Tully 1981
Tully, Judd. "Lichtenstein." Horizon (Tuscaloosa, Ala.) 24, no. 9 (September 1981), p. 43 color ill.
Boatto 1983
Boatto, Alberto. Grande Opere: Pop Art. Rome: Editori Laterza, 1983, no. 96 n.p. b/w ill.
Alloway 1983b
Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 27 p. 30 b/w ill.
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. 100 p. 486 b/w ill.
Bernard and Thompson, M. 1986
Lichtenstein, Roy, April Bernard, and Mimi Thompson. "Roy Lichtenstein." Bomb, no. 14 (Winter 1986), n.p. facing p. 22 b/w ill.
Wosk 1986
Wosk, Julie H. "The Impact of Technology on the Human Image in Art." Leonardo 19, no. 2 (1986), no. 8 p. 152 b/w ill.
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. 40 n.p. facing p. 163 b/w ill.
Busche 1989
Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 19 n.p. color ill.
Patton 1990
Patton, Phil. "'High and Low': Modern Art Meets Popular Culture." Smithsonian 21, no. 8 (November 1990), p. 139 color ill.
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), n.p. following p. 19 color ill.
Schmahmann 1992
Schmahmann, Brenda. "Roy Lichtenstein's Critique of Modernism: The Comic Book Works (1961–1965)." Edited by DJ van den Berg. Acta varia (Bloemfontein, South Africa) 2 (1992), no. 1 p. 95 b/w ill.
Sorman 1992
Sorman, Guy. "Roy Lichtenstein, roi du Pop." Le Figaro Magazine (Paris), no. 14775 (February 22, 1992), n.p. facing p. 70 color ill. (detail).
Filler 1993
Filler, Martin (Photographs by Michel Comte). "Pop's Granddad." Vanity Fair 56, no. 8 (August 1993), pp. 134–135 color ill. (double spread).
Hendra 1993
Hendra, Tony. Brad '61: Portrait of the Artist As a Young Man. New York: Pantheon Books, 1993, p. 52 color ill.
Bode 1994
Bode, Peter M. "Roy Lichtenstein: Am Anfang war der Comic Strip." Art: Das Kunstmagazin (Hamburg), no. 10 (October 1994), p. 17 color ill.
Morgan, S. 1994
Morgan, Susan. "A Few Good Colors Are Plenty." Los Angeles Times, January 30, 1994, Calendar sec, front cover b/w ill.
Jancène 1997
Jancène, France. "Les mots dans la peinture pop américaine: Jasper Johns, Andy Warhol et Roy Lichtenstein." PhD diss., Université de Paris X, Nanterre, 1997, p. 131 ill.
Whiting 1997
Whiting, Cécile. A Taste for Pop: Pop Art, Gender, and Consumer Culture. Cambridge, England: Cambridge University Press, 1997, no. 35 p. 106 b/w ill.
Serafini 2000
Serafini, Giuliano. Art e Dossier. Special issue, Lichtenstein (Milan), no. 152 (January 2000), p. 13 b/w ill.
Minola et al. 2000b
Minola, Anna, Maria Cristina Mundici, Francesco Poli et al. Gian Enzo Sperone, Torino-Roma-New York: 35 anni di mostre tra Europa e America. Torino: Hopefulmonster, 2000, p. 75 color ill. (vol. 1).
Lobel 2001
Lobel, Michael. "Technology Envisioned: Lichtenstein's Monocularity." Oxford Art Journal 24, no. 1 (2001), no. 10 p. 147 b/w ill.
Lobel 2002
Lobel, Michael. Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art. New Haven: Yale University Press, 2002, no. 59 n.p. facing p. 96 color ill.
Kunstforum Wien 2003
Kunstforum Wien. Roy Lichtenstein. Edited by Ingried Brugger and Florian Steininger. Vienna: Kunstforum Wien; Wolfratshausen: Edition Minerva Hermann Farnung, 2003. Exhibition catalogue (2003 Vienna Kunstforum), fig. 5 p. 45 b/w ill. [not exhibited].
Dunne 2012
Dunne, Nathan. Roy Lichtenstein. London: Tate, 2012. Exhibition catalogue (2012 Chicago Art Institute), no. 32 p. 42 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. 32 p. 42 color ill. [not exhibited].
Pommereau 2013
Pommereau, Claude, ed. Roy Lichtenstein au Centre Pompidou. Issy-les-Moulineaux, France: Beaux Arts Éditions, 2013, p. 40 color ill.
Reference Material
SRC 21921
G.I. Combat
June–July 1962
Panel: 2 3/4 x 2 3/4 in. (7 x 7 cm)

Kanigher, Robert (editor). G.I. Combat 94 (June–July 1962), National Periodical Publications, Inc. (DC). 

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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