Richard Gray Gallery, Chicago
Acquired from the above by the present owner in September 1997

Chicago, Richard Gray Gallery, Roy Lichtenstein, September 1997
Turin, Galleria Civica d'Arte Moderna e Contemporanea, Roy Lichtenstein: Opera Prima, September 2014 - January 2015, cat. no. 228, p. 227, illustrated in color

This work is in very good condition overall. Please contact the Contemporary Department at (212) 606-7254 for a professional condition report prepared by Alan Firkser of Paper Conservation Studio, Inc. Framed under glass.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
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BARBARALEE DIAMONSTEIN-SPIELVOGEL: Many critics have spoken of you as a classical artist. It is obvious that you have rigorous training in drawing. It is clear, too, that you know a great deal about the traditions of the history of art, even as you spoof them. Would you describe yourself as a classical artist?

ROY LICHTENSTEIN: I think you would have to call it classica🙈l if you were opposing it to romantic. Even just the style of it, where classical art tends to be more concerned with an edge and then filling in a color, whereas romantic art seems to make the color the shape itself, and the edges are the result of, and emergent of, the work. My feeling is more for romantic art. I mean, my preference would be for that. But there is something about what I do—because classical art usually seems to be more thought out beforehand. So I don't think you could possibly describe it as romantic. If you take the brush strokes I did, the brush stroke is a romantic gesture, a bravura gesture, and mine is drawn and filled in. It's a picture of a brush stroke—a classical rendition of a romantic idea.

Roy Lichtenstein and Barbaralee Diamonstein-Spielvogel, Inside the Art World:  Conversations with Barbaralee Diamonstein, Rizzoli Internatꦕional Publications, Inc., New York, 1994, p. 162