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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 8, 2011 | Christie's | New York | Post-War Contemporary Evening Sale | 34 | $****** - ****** | I Can See the Whole Room!...and There's Nobody in it! | |||
Nov 9, 1988 | Christie's | New York | Contemporary Art from The Tremaine Collection | 27 | Estimates not disclosed | I can see the whole room ... and there's nobody in it |
paintings
121.9 x 121.9 cm (47.99 x 47.99 in)
oil and graphite on canvas
signed 'rfl' (lower right)
Leo Castelli Gallery, New York. Emily and Burton Tremaine, Meriden, 1961.
Their sale; Christie's, New York, 9 November 1988, lot 27.
Acquired at the above sale by the present owner.
Hartford, Wadsworth Atheneum, American Painting and Sculpture from Connecticut Collectors, July-September 1962. New York, Solomon R. Guggenheim Museum, Six Painters and the Object, March-June 1963. Middletown, Wesleyan University, Davison Art Center, The New Art, March 1964. Fort Worth Art Museum; Washington, D.C., Hirshhorn Museum and Sculpture Garden and New York, Metropolitan Museum of Art, New York Painting and Sculpture: 1940-1970, October 1969-February 1970, p.216 no. 228 (illustrated). Stamford Museum and Nature Center, The Eye of the Collector: Contemporary Art, Burton and Emily Tremaine Collection, March-May 1978. New York, Whitney Museum of American Art, Downtown Branch, The Comic Art Show: Cartoons in Painting and Popular Culture, July-August 1983, p. 69 (illustrated). Hartford, Wadsworth Atheneum, The Tremaine Collection: 20th Century Masters--The Spirit of Modernism, February-April 1984, p. 99 (illustrated in color). Sydney, Art Gallery of New South Wales; Brisbane, Queensland Art Gallery and Melbourne, National Gallery of Victoria, Pop Art 1955-1970, September 1984-August 1985, p. 60 (illustrated in color). New York, Gagosian Gallery, Pop Art from the Tremaine Collection, October-November 1985, p. 60 (illustrated in color).
E. Loran, "Pop Artists Who Are Copy Cats?," Art News, September 1963, p. 61 (illustrated). M. Compton, Pop Art, London, pp. 96 and 162 (illustrated). J. Coplans, Roy Lichtenstein, New York, 1972, no. 5 (illustrated). B. Clearwater, Roy Lichtenstein: Inside/Outside, exh. cat., North Miami, Museum of Contemporary Art, 2001, pp. 49-50 and 52 (illustrated in color). K. Housley, Emily Hall Tremaine: Collector on the Cusp, Meriden, 2001, pp. 4 and 168 (illustrated in color). M. Blondeau and P. Davet, Louise Lawler: The Tremaine Pictures, exh. cat., Geneva, BFAS Blondeau Fine Art Services, 2007, pp. 37, 39 and 59 (illustrated in color and on the cover). M.J. Holm, P.E. Tojner and M. Caiger-Smith, Roy Lichtenstein--All About Art, exh. cat., Denmark, Louisiana Museum of Art, 2003, p. 17 (illustrated in color). E.A. Busche, Roy Lichtenstein: Das Fruehwerk 1942-1960, Berlin, 1988, p. 248 (illustrated). E.A. Busche, Roy Lichtenstein: Pop Paintings 1961-1969, New York, 1989, pl. 4 (illustrated in color). J. Hendrickson, Lichtenstein, Cologne, 1988, p. 77 (illustrated). B. Marcade, "La Peinture et son ombre," Artstudio 20, Spring 1991, p. 130 (illustrated in color). M. Lobel, Image Duplicator, New Haven, 2002, p. 76 (illustrated in color). S.G. Rubin, Whaam!: The Art & Life of Roy Lichtenstein, New York, 2008, p. 27 (illustrated in color).
