Oil, graphite pencil on canvas
56 5/16 x 68 1/16 in. (143 x 172.8 cm)
Signed and dated verso, upper left: rf Lichtenstein / '62
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
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Catalogue entry

Artwork: Takka Takka, 1962 (RLCR 725)
RLCR 725 (LC 37; RL 0081)
Takka Takka
1962
Title Source
Castelli; RL Register; RL Studio Card
Media
Oil, graphite pencil on canvas
Dimensions
56 5/16 x 68 1/16 in. (143 x 172.8 cm)
Inscriptions
Signed and dated verso, upper left: rf Lichtenstein / '62
Stretcher: # / 37 [twice]
Keyword
Cartoons
Provenance
David Hayes, New York City, March 1962 (via Leo Castelli Gallery, New York City)
Peter and Irene Ludwig, Aachen, Germany, August 1969 (via Galerie Ileana Sonnabend, Paris)
Museum Ludwig, Cologne, 1976. Inv.-Nr. ML 01074 (by donation)
Exhibitions
1962 New York Mi Chou
Mi Chou Gallery, New York, Art of Two Ages: The Hudson River School and Roy Lichtenstein, August 6–31, 1962.
1962 Los Angeles Dwan
Dwan Gallery, Los Angeles, My Country 'Tis of Thee, November 18–December 15, 1962 (Nordland 1962, b/w ill.).
1964 Los Angeles Dwan
Dwan Gallery, Los Angeles, New York, New York, June 29–July 25, 1964.
1969 New York Guggenheim
Solomon R. Guggenheim Museum, New York, Roy Lichtenstein, September 19–November 9, 1969 (only New York) (Waldman 1969, no. 14 p. 29 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.
1969–76 Cologne Wallraf-Richartz (Extended Loan)
Wallraf-Richartz-Museum and Fondation Corboud, Cologne, Extended Loan, February 28, 1969–February 23, 1976, Dep. 1074 (Von der Osten and Keller 1971, no. 98 color ill.).
1971 Cologne Wallraf-Richartz
Wallraf-Richartz-Museum, Cologne, Hurra!? Vom Unsinn des Krieges: Sechste Jugendausstellung der Kölner Museen im Wallraf-Richartz-Museum, September 1, 1971–May 31, 1972 (Ronte 1971, no. 49 p. 61 b/w ill.).
1973 Lucerne Kunstmuseum
Kunstmuseum Luzern, Lucerne, Switzerland, Ein grosses Jahrzehnt amerikanischer Kunst, July 15–September 16, 1973 (Kunstmuseum Luzern 1973, color ill.).
1975 Paris CNAC
Centre National d'Art Contemporain, Centre Beaubourg, Paris, Roy Lichtenstein: Dessins sans bande, January 10–February 17, 1975 (only Aachen) (Abadie 1975). Traveled to: Nationalgalerie, Staatliche Museen Preussischer Kulturbesitz, Berlin, April 30–June 15, 1975 (as Roy Lichtenstein: Zeichnungen) (Schmied 1975); Neue Galerie der Stadt Aachen, Aachen, Germany, July 12–September 14, 1975 (as Pop Art: Roy Lichtenstein) (Schmied 1975).
1979 Tel Aviv Museum
Tel Aviv Museum, Tel Aviv, Israel, Art of the Sixties, Europe and the U.S.A.: From the Collection of the Ludwig Museum, Cologne, April 26–July 20, 1979 (Museum Ludwig, Cologne 1979).
1981 St. Louis Art Museum
Saint Louis Art Museum, St. Louis, Roy Lichtenstein 1970–1980, May 8–June 28, 1981 (only Cologne, lower floor exhibit) (Cowart 1981b). Traveled to: Seattle Art Museum, Seattle, Wash., July 16–September 6, 1981; Whitney Museum of American Art, New York, N.Y., September 22–November 29, 1981; Fort Worth Art Museum, Fort Worth, Tex., December 16, 1981–February 7, 1982; Josef-Haubrich-Kunsthalle, Cologne, March 10–April 25, 1982 (with an additional exhibit on the Kunsthalle's lower floor showing Lichtenstein artworks from the Ludwig Collection) (Cowart 1982a); Orsanmichele, Florence, Italy, May–August 1982 (Cowart 1982b); Musée des Arts Décoratifs, Paris, September 21–December 19, 1982 (Cowart 1982b); Fundación Juan March, Madrid, January 14–March 20, 1983 (Cowart 1982b); Ohara Museum of Art, Chuo Kurashiki City, Okayama Prefecture, Japan, April 26–May 22, 1983 (Cowart 1982b); Seibu Museum of Art, Seibu Takanawa, Tokyo, June 1–July 13, 1983 (Cowart 1983).
1983 Los Angeles MOCA
Museum of Contemporary Art, Los Angeles, The First Show: Painting and Sculpture from Eight Collections, 1940–1980, November 20, 1983–February 19, 1984 (Brown, Julia and Johnson, B. 1983, p. 196 color ill.).
1991 London Royal Academy
Royal Academy of Arts, London, Pop Art, September 13–December 15, 1991 (only Madrid; not in cat.) (Livingstone 1991a). Traveled to: Museum Ludwig, Cologne, January 23–April 19, 1992 (Livingstone 1992c); 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 Nuremberg Germanisches Nationalmuseum
Germanisches Nationalmuseum, Nuremberg, Germany, LudwigsLust: Die Sammlung Peter und Irene Ludwig, June 19–October 10, 1993 (Eissenhauer 1993, no. 332 p. 365 color ill.).
1997 Konstanz Schloss Mainau
Schloss Mainau, Insel Mainau, Konstanz, Germany, Made in USA: Pop Art aus dem Museum Ludwig, October 31, 1997–March 1, 1998 (not in cat.) (Fischer, A. 1997).
1998 Tokyo Sezon
Sezon Museum of Art, Tokyo, Pop Art Spirits: Masterpieces from the Ludwig Collection, August 15–October 5, 1998 (Sezon Museum of Art 1998, no. 26 p. 75 color ill.). Traveled to: Himeji Museum of Art, Hyogo, Japan, October 24–November 23, 1998.
2003 Turku Wäinö Aaltonen
Wäinö Aaltonen Museo, Turku, Finland, Pop International, June 18–October 19, 2003 (Wäinö Aaltonen Museo 2003, p. 112 color ill.).
2004 Aarhus Kunstmuseum
ARoS Aarhus Kunstmuseum, Denmark, Pop Classics: Allan d'Arcangelo, Jim Dine, Robert Indiana, Jasper Johns, Allan Kaprow, Edward Kienholz, Yayoi Kusama, Roy Lichtenstein, Marisol, Claes Oldenburg, Robert Rauschenberg, James Rosenquist, Ed Ruscha, Wayne Thiebaud, Andy Warhol, Tom Wesselmann, May 29–September 5, 2004 (Jensen, M. 2004, p. 65 color ill.).
2004 Stuttgart Staatsgalerie
Staatsgalerie, Stuttgart, Germany, Funny Cuts: Cartoons und Comics in der zeitgenössischen Kunst, December 4, 2004–April 17, 2005 (Nakas 2004, no. 38 p. 21 color ill.).
2012 Chicago Art Institute
Art Institute of Chicago, Chicago, Roy Lichtenstein: A Retrospective, May 16–September 3, 2012 (Rondeau and Wagstaff, Sheena 2012, no. 30 n.p. color ill.). 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. 25 p. 33 color ill.); 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. 25 p. 33 color ill.); (Pompidou 2013); (Morineau 2013a, no. 11 p. 78 color ill.).
2021 Berlin Martin-Gropius-Bau
Martin-Gropius-Bau, Berlin, The Cool and the Cold: Malerei aus den USA und der USSR 1960–1990, Sammlung Ludwig, September 24, 2021–January 9, 2022 (Franzen 2020, p. 147 color ill.).
2023 Seoul My Art Museum
My Art Museum, Seoul, South Korea, Picasso and the 20th Century Masters: Museum Ludwig Collection, March 24–August 27, 2023.
Literature
Seckler 1962
Seckler, Dorothy Gees. "Folklore of the Banal." Art in America 50, no. 4 (Winter 1962), n.p. facing p. 57 b/w ill.
Selz 1963b
Selz, Peter. "A Symposium on Pop Art." Arts Magazine (New York) 37, no. 7 (April 1963), no. 5 p. 45 b/w ill., front cover b/w ill. (detail).
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. 8 pp. 125–126 b/w ill. (foldout).
Hamilton, R. 1968
Hamilton, Richard. "Roy Lichtenstein." Studio International 175, no. 896 (January 1968), p. 23 b/w ill.
Becker, W. 1969
Becker, Wolfgang. "Die Sammlung Ludwig im Wallraf-Richartz-Museum." Köln: Vierteljahrschrift für die Freunde der Stadt, Verkehrsamt der Stadt Köln, no. 2 (June 1969), p. 95 color ill.
Kerber 1970
Kerber, Bernhard. Roy Lichtenstein: Ertrinkendes Mädchen. Stuttgart: Reclam, 1970, p. 4 b/w ill.
Tuchman, P. 1970
Tuchman, Phyllis. "American Art in Germany: The History of a Phenomenon." Artforum 9, no. 3 (November 1970), p. 63 b/w ill.
Weber, J. 1970
Weber, Jürgen. Pop Art: Happenings und Neue Realisten. Munich: Heinz Moos Verlag, 1970, no. 75 p. 59 b/w ill.
Aue 1971
Aue, Walter. Typos I: Zeit/Beispiele. Bad Homburg: Tsamas Verlag, 1971, p. 20 b/w ill.
Kerber 1971
Kerber, Bernhard. Amerikanische Kunst seit 1945: Ihre theoretischen Grundlagen. Stuttgart: Philipp Reclam Jun., 1971, p. 25 b/w ill.
Waldman 1971b
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971, no. 22 n.p. color ill.
Coplans 1972a
Coplans, John, ed. Roy Lichtenstein. New York: Praeger Publishers, 1972, no. 10 n.p. b/w ill.
Damus 1973
Damus, Martin. Funktionen der bildenden Kunst im Spätkapitalismus: Untersucht anhand der “avant-gardistischen" Kunst der sechziger Jahre. Frankfurt am Main: Fischer Taschenbuch Verlag, 1973, no. 24 p. 72 color ill.
Alloway 1974
Alloway, Lawrence. American Pop Art. New York: Whitney Museum of American Art, 1974. Exhibition catalogue (1974 New York Whitney), no. 65 n.p. facing p. 75 b/w ill. [not exhibited].
Packard 1976
Packard, Vance. Die geheimen Verführer: Der Griff nach dem Unbewussten in Jedermann. Frankfurt am Main: Ullstein, 1976, p. 37 b/w ill.
Zänker 1981
Zänker, Jürgen. "Walter Benjamins Kunstwerk-Aufsatz im Lichte der Pop-Art: Dargestellt am Beispiel Roy Lichtensteins." In Wallraf-Richartz-Jahrbuch: Westdeutsches Jahrbuch für Kunstgeschichte, vol. 42, by Wallraf-Richartz-Museum, Cologne. Cologne: DuMont Buchverlag, 1981, no. 2 p. 306 ill.
Ruhrberg 1982
Ruhrberg, Karl. "Kunst über Kunst: Roy Lichtenstein." Museen der Stadt Köln Bulletin 2 (1982), p. 21 ill.
Alloway 1983b
Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville Press, 1983, no. 25 p. 29 color ill.
Abbott 1986
Abbott, L. L. "Comic Art: Characteristics and Potentialities of a Narrative Medium." Journal of Popular Culture 19, no. 4 (Spring 1986), no. 5 p. 163 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. 101 p. 487 b/w ill.
Hendrickson 1988
Hendrickson, Janis. Roy Lichtenstein. Cologne: Benedikt Taschen, 1988, p. 23 color 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. 36 p. 158 b/w ill.
Von Hassell 1988
Von Hassell, Christa. "Atelierbesuch: Ein Pop-Star kommt zurück." Pan (Offenburg), no. 7 (September 1988), p. 62 color ill.
Busche 1989
Busche, Ernst A. Roy Lichtenstein: Pop-Paintings, 1961–1969. Schirmer's visuelle Bibliothek 6. Munich: Schirmer/Mosel, 1989, no. 17 n.p. color ill.
Osterwold 1989a
Osterwold, Tilman. Pop Art. Cologne: Benedikt Taschen, 1989, p. 139 color ill.
Hindry 1991a
Hindry, Ann, ed. Artstudio. Special issue, Roy Lichtenstein, no. 20 (Spring 1991), p. 10 b/w ill.
Kodansha 1992
Kodansha Ltd. Contemporary Great Masters: Roy Lichtenstein. Tokyo: Kodansha Ltd., 1992, no. 66 p. 89 color ill.
Mamiya 1992
Mamiya, Christin J. Pop Art and Consumer Culture: American Super Market. Edited by William H. Goetzmann. Austin: University of Texas Press, 1992, no. 46 p. 93 b/w ill.
Waldman 1993b
Waldman, Diane. Roy Lichtenstein. New York: Solomon R. Guggenheim Foundation, 1993. Exhibition catalogue (1993 New York Guggenheim), no. 82 n.p. facing p. 95 color ill. [not exhibited].
Waldman 1994
Waldman, Diane. Roy Lichtenstein. Translated from the English by Bram Opstelten and Magda Moses. New York: Solomon R. Guggenheim Foundation, 1994. Exhibition catalogue (1993 New York Guggenheim), no. 82 n.p. facing p. 95 color ill. [not exhibited].
Phillips, L. 1999
Phillips, Lisa. The American Century: Art and Culture, 1950–2000. New York: Whitney Museum of American Art, 1999. Exhibition catalogue (1999 New York Whitney), no. 217 p. 139 color ill. [not exhibited].
Serafini 2000
Serafini, Giuliano. Art e Dossier. Special issue, Lichtenstein (Milan), no. 152 (January 2000), p. 12 color ill.
Honnef 2004
Honnef, Klaus. Pop Art. Ed. Uta Grosenick. Cologne: Taschen, 2004, p. 51 color ill.
Faton-Boyancé 2013
Faton-Boyancé, Jeanne, ed. L'objet d'art. Special issue, Roy Lichtenstein exposition au Centre Pompidou, no. 69 (July 2013), p. 23 color ill.

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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