Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery
Roy Lichtenstein, ‘Finger Pointing, from the Collection of Ileana Sonnabend and the Estate of Nina Castelli Sundell’, 1973, Alpha 137 Gallery

This iconic Roy Lichtenstein silkscreen is one of his most recognizable, as it has been reproduced in numerous exhibition catalogues, posters, textbooks and even museum websites, and is frequently cited in writings on Pop Art. It was created in 1973 for the legendary "New York for Stockholm" portfolio. (The portfolio was issued to commemorate the collection of paintings and sculpture by New York artists of the 1960s, assembled by Hultén and Klüver for the Moderna Museet Museum in Stockholm. The roster of artists included forms a who's who's of the New York art world during one of its most influential decades: Lee Bontecou, John Chamberlin, Walter De Maria, Jim Dine,Dan Flavin, Red Grooms, Hans Haacke, Donald Judd, Elsworth Kelly, Sol Lewitt, Roy Lichtenstein, Louise Nevelson, Kenneth Noland, Claes Oldenburg, Nam June Paik, Robert Rauschenberg, Larry Rivers, James Rosenquist, George Segal, Richard Serra, Cy Twombly, Andy Warhol, and others.) Over the years, this untitled print has been the subject of extensive critical commentary. It is interpreted as a parody of the iconic WWI Army recruitment poster in which Uncle Sam points his finger and says, "I Want You." Pop Art historians, however, note that Lichtenstein eliminated all patriotic fervor and left only the hand with its pointing finger -- against a blood red colored background. This print captures the zeitgeist of the early Seventies, as it was conceived and created during the Nixon era, when Americans were fatigued and disillusioned by the Vietnam War. Soon after, Nixon would resign as US President, and America would end its involvement in Vietnam. Today,some interpret the work as pointing an accusatory finger at the viewer, rather than as a commentary against the government, assigning a different social meaning to it.

Other editions of this print are in the permanent collections of major museums and public institutions worldwide, including the Metropolitan Museum of Art, the Museum of Modern Art, the Smithsonian American Art Museum, Moderna Museet, the Walker Art Center, the Los Angeles County Museum of Art, the Dayton Art Institute, the Frost Art Museum,the Herbert F. Johnson Museum of Art, the San Diego Museum of Art, the Princeton University Art Museum, the Pierpoint Morgan Library, and the Albertina Museum - to name only a few. Other editions, have been featured in dozens of exhibitions over the past three decades, including most recently,"Figuratively Speaking: A Survey of the Human Form", at the Bellagio Gallery of Fine Art, Las Vegas,and "iCON: Consuming the American Image" at the Johnson Museum of Art.
Mint condition; never framed; with Lichtenstein's authorized signature stamp on verso and hand numbered from the edition of 300. in the original portfolio sleeve on Crane's No. 1 Bond Paper.
Catalogue Raisonne: Corlett, Mary Lee. The Prints of Roy Lichtenstein: a catalogue raisonné. New York: Hudson Hills Press, 1994, Corlett 126
Printed by: Styria Studio, New York
Published by Experiments in Art and Technology (Robert Rauschenberg's publishing group)

Unframed and in mint condition; held in the original portfolio sleeve. This will be the first time the work has been removed from the mahogany box that housed the portfolio in the Sonnabend/Castelli collection. Rare especially in fine condition in the original portfolio sleeve with the artist's name in block letters on Crane's No. 1 bond paper - and with such impressive provenance. Stamp signed and hand numbered from the edition of 300.

Please check out our other listings and FOLLOW us on Artsy:
www.artsy.net/alpha-137-gallery

Signature: Stamp signed on the verso, and numbered in pencil on the verso as follows: Stamped on verso "© Copyright 1973 By Roy Lichtenstein" Stamped on verso "Printed At Styria Studio" Numbered in pencil on verso 158/300 Comes with original stamped portfolio sleeve and xerox of colophon page from original Stockholm portfolio.

Publisher: Styria Studio, Inc. New York

Leo Castelli exhibition of New York for Stockholm Portfolio to benefit Moderna Museet
Other editions:
Walker Art Center Leo Castelli Gallery Brooklyn Museum Pop Impressions Europe/USA, Museum of Modern Art and dozens of other venues

Catalogue Raisonne Reference: Corlett, 126

Collection of Ileana Sonabend (wife of legendary dealer Leo Castelli, and pioneering art dealer in her own right) and the Estate of their daughter Nina Castelli Sundell.

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