Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's
Roy Lichtenstein, ‘Sample Portfolio (Seven Haystack And Six Cathedral Prints)’, 1969, Freeman's

1969, all the full sheets and with the '© Copyright Gemini G.E.L. 1969' stamp at the lower sheet edges. The complete set of 13 reproductive color prints used to promote the release of these prints in 1969, framed individually, with original printed paper slipcase and informational insert.

all sheets: 6.375 x 9.375 in (16.2 x 23.8cm)
[13 + slipcase]

About Roy Lichtenstein

When American Pop artist Roy Lichtenstein painted Look Mickey in 1961, it set the tone for his career. This primary-color portrait of the cartoon mouse introduced Lichtenstein’s detached and deadpan style at a time when introspective Abstract Expressionism reigned. Mining material from advertisements, comics, and the everyday, Lichtenstein brought what was then a great taboo—commercial art—into the gallery. He stressed the artificiality of his images by painting them as though they’d come from a commercial press, with the flat, single-color Ben-Day dots of the newspaper meticulously rendered by hand using paint and stencils. Later in his career, Lichtenstein extended his source material to art history, including the work of Claude Monet and Pablo Picasso, and experimented with three-dimensional works. Lichtenstein’s use of appropriated imagery has influenced artists such as Richard Prince, Jeff Koons, and Raymond Pettibon.

American, 1923-1997, New York, New York, based in New York and Southampton, New York