01
List of the Documents
The section organizes the available documentation and provenance signals so the artwork can be reviewed as a traceable object, not only as an image.
Real client case
Framed triptych
Real client case reviewed by ConfirmArt for Framed triptych, attributed or related to Roy. The public page presents selected visual evidence and a rendered report viewer without exposing the private commissioned PDF.
- Artist / group
- Roy
- Identifier
- 0434-12/2024
Selected evidence
Images extracted from the report source
Report structure
Section summaries
02
Iconography by Panel
A spinning fighter aircraft fills the field, caught in the cross-hairs of an unseen gunner. The fuselage reads as a diagonal band of alternating navy, crimson, and cream, ringed by white "burst" shapes that suggest impact or flash . The lavender–violet sky is rendered in tight concentric Ben-Day dots; the lower left bears the explosive onomatopoeia " BRAT!
03
Material and Printing Details
Detail, right panel lower margin: Roy Lichtenstein's graphite signature and Ben-Day dot pattern. Note the fluid cursive and the slightly wavering ink density along the stroke—a hallmark of genuine hand-signing rather than photomechanical reproduction. Lower right corner of the same sheet, showing the raised SM blindstamp incorporated into the printed border—an identification feature unique to Stedelijk Museum posters of the period.
04
Condition and Framing Evidence
Figure compiles photographs of the verso and recesses. The smooth white backing boards and extensive black gaffer tape imply a relatively recent re-framing campaign; no original Stedelijk inscriptions are visible on the reverse, which may be concealed beneath the backing. Hanging hardware is modern galvanised steel.
05
Verso Production Labels
The reverse of the right-hand poster carries two discrete typographic blocks, screen-printed in black sans-serif (Fig. These labels supply the critical provenance metadata linking the sheet to the Stedelijk Museum's authorised offset edition. .47 Upper block: artist and painting reference.
06
High-Definition Macro Photographs (Unframed)
After removing the right-hand sheet from its frame we obtained two hand-held macro photographs under diffuse daylight: one of the paper surface at the left verso margin and one centred on the signature itself (Fig. These images offer a level of material insight impossible through glass, revealing fibre texture, ink deposition and micro-scale interaction between medium and support. Hand-held daylight macros captured with the sheet unframed.
07
Concluding Summary
The 1966 Stedelijk triptych occupies a hybrid space: neither scarce fine‐art lithograph nor mere promotional poster. Its large unnumbered edition ( 3 000 sets), subsequent reprints, and occasional artist signatures create a pricing spectrum: unsigned examples trade in the low four figures USD, while signed first‐edition sets command noticeably higher sums . Although visually indistinguishable, provenance and verso text remain the key authentication features; purported "limited editions" or sheets lacking the Stedel
08
Signature Authenticity Analysis
An important factor in assessing the authenticity of a print attributed to Roy Lichtenstein is the handwriting analysis of the artist's signature. Lichtenstein's signatures across different periods often share consistent features, including: A pronounced rightward slant in the letters. A relatively continuous line connecting letters, especially the "t" and the subsequent "e" .
09
Writing Instrument and Ink Characteristics
) reveals several clues about the pen and ink used: Stroke morphology. Line width fluctuates between \( 0.30\) mm (ascending stems) and \( 0.55\) mm (initial down-stroke and cross-loops), with edges that feather softly into the fibres. Such "wicked" fringes are typical of dye-based, water or alcohol-soluble inks applied by a porous-tip instrument rather than by a viscous oil-based ball-point.
10
Absence of Embossing on the Verso
was taken directly beneath the signature zone yet reveals no cresting, ridges, or embossment transmitted through the sheet. In other words, the writing instrument left no physical indentation in the paper substrate. Verso view of the signature region: fibres lie flat and uncompressed, indicating minimal writing pressure during autograph execution.
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