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Descriptif du lot
Rosa Esman, the pioneering print publisher and gallerist, first approached Roy Lichtenstein with the concept of creating the solo print portfolio Ten Landscapes. A variety of mediums, including screenprint with collage of iridescent Mylar, photography, and Rowlux, are combined in this series of images rich in textural and spatial interplay. The landscapes are invented, not derived from comic strips, advertisements, or other printed sources.
Lichtenstein first used the shimmery, flexible plastic material Rowlux in 1965 for the print Seascape. The screenprint stencils used to create Ten Landscapes were hand-cut by the artist. The photographs, taken by the artist, were printed by Slide-O-Chrome Corporation, New York. The printer, Charles Cardinale, under Lichtenstein's supervision, die-cut the Rowlux from large sheets, so the desired moiré pattern could be obtained for each image. Individual prints within each edition thus differ from each other owing to variation in the moiré pattern.
Each print is mounted to a museum-board backing with a strip of linen tape at the top and then covered by a folder of white Cranes Crest paper. The prints are housed in a portfolio box made of aluminum, Plexiglas, and black cloth-covered boards and designed so that when the box is placed on a table, one of the prints can be safely displayed through the Plexiglas top.[1]
[1] Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997, p.88
Lichtenstein first used the shimmery, flexible plastic material Rowlux in 1965 for the print Seascape. The screenprint stencils used to create Ten Landscapes were hand-cut by the artist. The photographs, taken by the artist, were printed by Slide-O-Chrome Corporation, New York. The printer, Charles Cardinale, under Lichtenstein's supervision, die-cut the Rowlux from large sheets, so the desired moiré pattern could be obtained for each image. Individual prints within each edition thus differ from each other owing to variation in the moiré pattern.
Each print is mounted to a museum-board backing with a strip of linen tape at the top and then covered by a folder of white Cranes Crest paper. The prints are housed in a portfolio box made of aluminum, Plexiglas, and black cloth-covered boards and designed so that when the box is placed on a table, one of the prints can be safely displayed through the Plexiglas top.[1]
[1] Mary Lee Corlett, The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948-1997, p.88