Guide to the Catalogue

Welcome to Roy Lichtenstein: A Catalogue Raisonné, a digital publication by the Roy Lichtenstein Foundation that provides a comprehensive account of all known paintings, sculptures, drawings, collages, prints, commissions and other artworks by Roy Lichtenstein (1923–97). It was launched on the occasion of the artist's centennial in October 2023.

The chapters in this guide outline the scope of our catalogue raisonné project, specify research methodology and resources used, and define the organizational principles that inform the catalogue entries.

The content on these pages was created from documentation that does not necessarily reflect the Roy Lichtenstein Foundation's complete or current knowledge. Review and updating of records is ongoing.

 

Exhibitions

This catalogue covers solo and group exhibitions of Roy Lichtenstein's art held at museums, galleries and other institutions, with more recent shows added on a continuing basis. Extended loans are included as exhibitions. Excluded are in-house showings of works from an institution’s own permanent collection, except in rare cases when an artwork has little or no other known exhibition history. Collection shows on loan to other institutions, however, are included. Of the numerous displays of corporate art collections, only a small selection is included, primarily when occurring in museums or galleries.

Prints are hyperlinked to solo exhibitions up to 2023, reflecting ongoing research of the Foundation expanding on research published in Mary-Lee Corlett's The Prints of Roy Lichtenstein: A Catalogue Raisonné, 1948–1997 (2002 edition). Prints in group shows are not hyperlinked at this time.

Art fairs are not listed except when the works were shown in a formally curated (solo) exhibition or were otherwise relevant. Auctions are not included unless they served as benefit exhibitions. Benefit auction previews are not listed as exhibitions, but instead are mentioned in the affected artwork's provenance.

Many sources were consulted in researching this exhibition history. Among them were the records maintained at the Roy Lichtenstein Foundation Archives; gallery records (especially those of Lichtenstein’s long-time dealer, Leo Castelli, New York); museum and university documentation; other artists’ records; exhibition announcements and other printed matter accompanying exhibitions; published exhibition histories; and published exhibition reviews. Items known only through notes by the artist and the artist’s studio may be included if documentation is sufficient to verify details, in such cases verifiable sources are noted.

Format and Style

The format of the full entries includes an abbreviation (which appears in the entries of individual artworks in the catalogue raisonné) followed by institution name and city, exhibition title (in italics), and exhibition dates. Entries for exhibitions that traveled include the subsequent venues with dates. The standard format for an exhibition that did not travel is:

Abbreviation

Venue (usually also the organizer), city, state or country, Exhibition Title, dates.

North American cities are only listed with their state and not the country ("United States"). Foreign cities are given with their country.

The abbreviation is the year the exhibition opened followed by the city and, in most cases, a shortened form of the name of the institution, gallery or exhibition space hosting the first or only showing. Generally, shortened names were preferred to initials, unless initials are commonly used by the institution itself. Each abbreviation is unique: for example, "New York J. Goodman" and "New York M. Goodman" are used to indicate, respectively, James Goodman Gallery and Marian Goodman Gallery. If there were multiple shows during a given year at an institution, letters are added to the abbreviation in chronological order, e.g., 1971a New York Castelli, 1971b New York Castelli, etc.

Special formatting consideration has been made for the art fairs and biennials selected for this catalogue: organizer and venue are listed together, but the entries’ abbreviation form is the organizer, not the venue. A special formatting consideration has also been made for exhibitions of multiples and prints with multi-year tours in which the work was only included in one venue: only that venue is listed with a remark mentioning the tour.

Institutions, Organizers and Venues

If the name of an institution begins with "the" that initial article is dropped. In the case of non-English institution names, capitalization is treated as if the names were in English. The names of exhibition spaces at colleges, as well as the institution names in use at the time of an exhibition was held, are provided when available. The name of a gallery or museum that is part of a larger institution, such as a college or university, appears before the name of its host institution. 

For traveling exhibitions venues are given in chronological order. The first venue is also the exhibition organizer unless noted otherwise. When a lender or an institution is included in the exhibition title, but is not the first venue, the reader can assume significant organizational activity on their part. If "circulated by" appears before an organization’s name, the tour was arranged by that entity. Curators of solo shows are acknowledged by name when available.

Street addresses are included for Leo Castelli Gallery and for other galleries that had more than one location in the same city, such as Gagosian Gallery, Pace Gallery or Galerie Ileana Sonnabend. For New York City, boroughs, not neighborhoods, are provided for exhibitions taking place outside of Manhattan. 

Titles

Every attempt was made to confirm the contemporaneous title of an exhibition. When titles could not be confirmed, a descriptive title was added by the authors, appearing in Roman type. In Castelli Gallery group shows without formal titles, all artists included in the show are given in parentheses, in Roman type.

The capitalization of exhibition titles in foreign languages follows the style generally used in that language, punctuation follows the standards for English. For titles in non-Roman alphabets, an English service translation is provided. When exhibition titles changed during a tour, subsequent venues’ titles are noted. Sources were exhibition announcements, catalogues, and brochures. When a traveling exhibition was expanded or otherwise revised at a venue, this is noted as well.

Exhibited Artworks

Multiple sources were consulted to verify artworks’ exhibition histories: the robust holdings of RLF Archives, personal and institutional correspondence, consignment and shipping lists, installation photography, exhibition and catalogue checklists, periodicals, etc. Every reasonable attempt has been made to identify and confirm exhibited works. When this was not possible, a brief remark in the exhibition entry explains the rationale for the selection of works. Sometimes, suggested works are linked with the qualifier probably.

When an artwork was not shown at all venues of a traveling exhibition, that is stated. On rare occasions when an artwork was exhibited but is not illustrated nor listed in the exhibition's catalogue, that is indicated as "not in cat."

For sketchbooks and notebooks, the pages displayed are noted, when known. When notebook pages were shown for which no catalogue entries exist (because the artist did not draw on them), the entire notebook entry is referenced.

Catalogue Terms & Conditions

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