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.

Inscriptions

Inscriptions listed in this catalogue are any signatures, dates, dedications, titles and erased markings written on an artwork by the artist's hand. Erased markings are usually dimensions the artist first considered for the related final work. Markings by studio staff or other cataloguers are transcribed only when relevant.

All inscriptions are based on reports and/or photographs taken during artwork examinations by a catalogue raisonné researcher or a trusted source. Examination Notes indicate when there were issues with artwork access that either prevented recording of all inscriptions or made it impossible to verify the assumed absence of inscriptions.

Entries indicate if a work was signed/initialed, dated and/or inscribed and provide the inscription location(s) and transcriptions. Transcriptions mirror the spelling, capitalization, punctuation and line breaks (indicated by a forward slash) as found on the artwork.

For works that could not be examined, inscriptions reflect information gathered from RL Studio Cards, RL Studio Photographs and auction records. Partial or unclear inscription information is given in quotation marks. All sources are referenced in Remarks. See also: 3. RESEARCH AND RESOURCES

Signatures

Signatures/initials include any variation of the artist’s name written by the artist with the intent of indicating completion and authorship. In several early works, Lichtenstein used abstracted lettering and symbols as signatures, transcribed in the catalogue as "[stylized signature]." On some paintings, the artist added a copyright symbol before his signature; those inscriptions are described as "copyrighted," then "signed."

When a work is signed two times, the header contains the qualifier "[twice]."

Artworks with no signature or date by the artist are marked as "Neither signed nor dated."

In some cases, the artist’s name is considered an inscription, not a signature (e.g., RLCR 1774).

Rare posthumous signatures by the artist’s widow, Dorothy Lichtenstein, are recorded and explained in Remarks.

Dates

Artwork dates usually accompany the artist’s signature.

Lichtenstein dated a group of prep-Pop paintings in code (e.g., RLCR 502). The encrypted dates are translated and explained in Remarks.

Sometimes, the artist seems to have misremembered the date of completion when signing a work in retrospect. These cases are assessed by the authors and addressed in Remarks.

Some works are dated by another hand. If there is no date by the artist on the work, those dates are published, followed by "[not by artist]."

Marks by the Artist

All titles and dedications written on the artwork by the artist are recorded. Other marks by the artist are provided when they are not visible in the Primary Image, such as when they are erased, or written on the artwork verso.

Marks Not by the Artist

Entries include a selection of markings not by the artist, mostly these are cataloguing numbers: RL numbers, LC numbers and Bianchini numbers. Other marks found on works, mostly numbers without a specifier, are not transcribed because they are considered temporary (e.g., loan numbers) or their meaning is unclear at this time.

It was not always clear whether arrows indicating an artwork's orientation were added by the artist or another hand. For publication, arrows are listed among markings not by the artist, e.g., "[up arrow indicating top of artwork]."

When it could not be confirmed whether an inscription is by the artist, the transcription is followed by the comment "[by artist?]."

Location of Inscriptions

Specific locations (e.g., upper left, bottom center) are given when known. Otherwise, entries reflect the information in available documentation.

For two-dimensional works, the markings noted in the entry are on the artwork recto unless otherwise indicated. Locations of multiple inscriptions are noted in order from recto to verso, top-to-bottom and left-to-right.

For multi-panel paintings, panels are identified as the viewer sees them when looking at the artwork ("left panel," "middle panel," etc.). Markings on panel versos are described as they appear to the viewer looking at the verso, with marks listed left-to-right and top-to-bottom.

Inscriptions on a backing board, frame, label, etc., are not transcribed unless they convey significant information about the artwork.

Transcription Details

Some characteristics of inscriptions are described in brackets after the transcription, (e.g., "[upside-down]" or "[erased]").

Illegible text is denoted by stand-in comments or question marks. Partially illegible text is preceded by the abbreviation "[est.]" for estimated.

When an inscription is likely misspelled, it is transcribed as found with the specifier "[sic]."

Labels

Researchers were asked to transcribe and photograph all labels on an artwork, including on stretchers or backing boards. While this information informed the writing of entries, markings on labels are usually not published in this catalogue.

Editioned Works

Lichtenstein hand-signed some of his early editioned works like enamels. Most other editioned works were fabricated by workshops who received a template from the artist studio modeling signature and inscriptions for final application. The fabricator added edition numbers and one or more chopmarks (workshop logo, initials, in-house numbers). Some works are marked with copyright notice. Posthumous casts of sculptures are marked with a copyright notice that names the copyright holder (usually the Estate of Roy Lichtenstein) and projected year of fabrication.

Entries for editioned works include an overall summary of signatures, dates, edition numbers and other markings found in the entire edition, pointing out any inconsistences.

Markings on individual pieces are transcribed. Inscription locations are given in brackets if inscriptions are applied via plaques or labels, not directly to the artwork. Inscriptions are not transcribed for large editions. Examination comments are added in brackets to indicate limited access to an individual piece, e.g. "[verso inaccessible]." When a transcription originates from a published source, it is added in quotation marks with the source cited in parentheses.

Methods of signature application (e.g., cast, engraved, stamped) are not indicated.