ROY LICHTENSTEIN (1923 1997)

1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20

Reverie
ROY LICHTENSTEIN (1923 1997)
Reverie, 1965
68.7 x 58.3 cm (27 x 23 in)
Edition: 200, 50 proofs numbered in Roman numerals, approximately 5 AP
Materials: Screenprint on smooth, white wove paper
Markings: Signed 'rf Lichtenstein' in pencil lower right, numbered in pencil lower left
Printer: Knickerbocker Machine and Foundry, Inc., New York (KMF)
Publisher: Original Editions, New York
Catalogue: Corlett 38

Additional Notes:

From the 11 Pop Artists portfolio, volume II.

Sheet: 76.5 x 60.9 cm (30 1/8 x 24 inches)

The 11 Pop Artists portfolios, simultaneously published in three volumes, were commissioned by Philip Morris for use in Pop and Op, an exhibition of approximately 65 graphic works circulated by the American Federation of Arts, which toured the United States from about 1965-1967.  The Op prints were purchased individually from preexisting editions.  The project was developed by Nina Kaiden of Ruder & Finn for Philip Morris International.  Kaiden asked Rosa Esman, of Original Editions, to coordinate production of the three Pop portfolios.

Contributing artists were Allan D'Arcangelo, Jim Dine, Allen Jones, Gerald Laing, Roy Lichtenstein, Peter Phillips, Mel Ramos, James Rosenquist, Andy Warhol, John Wesley, and Tom Wesslemann.  Each artist created three prints, one for each volume in the series.

Elaine Lustig Cohen designed the portfolios for all three volumes.  11 Pop Artists, volume II, is housed in a purple cloth-covered portfolio with deep yellow paper lining and title screenprinted in white on the front.  Each print is protected by a paper folder.

The title of this pint is sometimes given as The Melody Haunts My Reverie.

An unknown number of unauthorized impressions (some possibly with a copied signature and designated as artist's proofs) are known to exist.

The impression reproduced in the first edition of the catalogue raisonne was an artist's proof, which differs slightly from the edition print.  Most notably, the small area of blue at the bottom left edge of the edition print remains white in the artist's proof.  Reproduced here is an impression from the edition.