Roy Lichtenstein, Reflections on Crash, from the Reflections Series, 1990

Roy Lichtenstein Reflections on Crash, from the Reflections Series, 1990 hand signed screenprint for sale by Masterworks Fine Art Gallery

Signed Roy Lichtenstein Screenprint, Reflections on Crash, from the Reflections Series, 1990

Artist:Roy Lichtenstein (1923 - 1997)

Title:Reflections on Crash, from the Reflections Series, 1990

Reference:Corlett 239

Medium:Screenprint, lithograph, and relief in colors, with metalized PVC collage with embossing on mold-made Somerset paper

Image Size:53 1/16 in x 69 in (134.8 cm x 175.3 cm)

Sheet Size:59 1/8 in x 75 in (150.2 cm x 190.5 cm)

Framed Size:approx. 69 1/8 in x 85 in (175.6 cm x 216 cm)

Edition:Inscribed ‘AP’ (Artist Proof) in pencil in the lower right; aside from the numbered edition of 68

Signature:This work is hand signed by Roy Lichtenstein (New York, 1923 – New York, 1997) and dated (’90) in pencil in the lower right.

Condition:This work is in excellent condition.

Contact Us:1-800-805-7060

Gallery Price:
Have One To Sell?

Historical Description of this artwork

Roy Lichtenstein Reflections on Crash, from the Reflections Series, 1990 is rich with the dynamic narration and subtle mystery that Lichtenstein’s works are so famous for. We are presented with a dramatic scene, ruled by a bold action bubble containing the word CRASH. At the bottom left is the sharp-featured face of a pilot whose diagonal gaze leads to a plane at the right side of the piece. Bold slanted stripes of reflective material slice the composition and bring the viewer closer into the action of the work by taking on a reflection of whatever setting the work is in. Part of Lichtenstein’s Reflection Series, Crash explores the connection between commercial imagery, story telling, art,and the viewer.

Created in 1990, this lithograph, screenprint and relief in colors, with metalized PVC collage with embossing is hand signed by Roy Lichtenstein (New York, 1923 – New York, 1997) and dated (’90) in pencil in the lower right and inscribed “AP” (Artist Proof); aside from the numbered edition of 68.


Catalogue Raisonné & COA:

Roy Lichtenstein Reflections on Crash, from the Reflections Series, 1990, is fully documented and referenced in the below catalogue raisonnés and texts (copies will be enclosed as added documentation with the invoices that will accompany the sale of the work)

1.Corlett, Lee Mary. The Prints of Roy Lichtenstein A Catalogue Raisonné 1948-1997. New York: Hudson Hills Press, 2002. Listed and illustrated as catalogue raisonné no. 239

2.A Certificate of Authenticity will accompany this artwork.


About the Framing:

Framed to museum-grade, conservation standards, Roy Lichtenstein Reflections on Crash, from the Reflections Series, 1990 is presented in a complementary moulding and finished with silk-wrapped mats and optical grade Plexiglas.

What Do I Get With My Purchase?

The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.

All catalogue raisonné and historical documentation is included with your purchase.

Learn more

Request Invitation:

We have openings for a few new members each day. Members receive exclusive offers on our entire inventory. Join Now!


Why Lichtenstein?

American pop artist Roy Lichtenstein used comic book-inspired imagery to parody and document modern society. Along with Andy Warhol, he developed what became the Pop Art movement, favoring multi media prints, screenprints, monumental paintings, sculptures and canvases for art.

Sell Your Lichtenstein

Sell your Lichtenstein fine art with us. We offer free evaluations.

Artistic Styles of Lichtenstein

Roy Lichtenstein Complete Biography

About Us

Masterworks Fine Art

Masterworks Fine Art strives to be the best source of fine art for our clients and collectors all over the world. We also want to be an educational resource to the artcommunity. We have educational fine art material for students and researchers, and we will continue to donate fine art to charities. You can see some of our donationsmade by Masterworks Fine Art. We believe the most direct way to accomplish this is byestablishing a lifetime of personal and professional relationships with our clients. More About Us »

Roy Lichtenstein Pop Art Screen Prints and Paintings
Roy Lichtenstein (1923-1997)

Roy Lichtenstein Biography

New York-born American pop art painter and sculptor Roy Lichtenstein studied under Reginald Marsh at the Art Students’ League (1939), served in the Army, then completed an MFA degree at Ohio State University in 1949. While painting in Cleveland (1951-7) he worked as a freelance designer, then taught at the State College in Oswego after moving to New York. Later he instructed at Rutgers University in New Jersey, Lichtenstein worked in a non-figurative Abstract Expressionist mode before 1957; then he began to use loosely handled cartoon images from bubble-gum wrappers, also re Interpreting paintings of the old West by Frederick Remington and others. His changeover to stylistic preoccupations with vulgar cartoon or pulp-magazine images, and to commercial subject matter and techniques, was complete by 1961. Conscious of the ‘happenings’ initiated in the early 1960s by Claes Oldenburg, Jim Dine and his Rutgers colleague Allan Kaprow, Lichtenstein shared their concern with making art from the materials and products of the industrial environment. He was particularly interested in the lack of sensitivity in mass-produced, often perishable images and merchandizing art, which prompted him to mimic such aspects of the public landscape in his own work. Rejecting the personal and romantic subjectivism of the Abstract Expressionists, Lichtenstein substituted the conventions of a crass contemporary art form, creating a kind of instant nostalgia.

Comicstrip characters are extracted from their narrative context, blown up in size and reproduced with the same typographic screen techniques (Ben Day dots) or prints with which they were printed, thus becoming an emblematic parody of the original (Good Morning, Darling, 1964, New York, Leo Castelli Gallery). But the simulation is not meant to bear a message of social commentary, ironic as it may seem. just as the Pop subject matter dictates the use of a commercial technique for an aesthetic end, the message itself becomes an aesthetic one.

In his reproductions of corny popular romance characters, travel-poster vulgarizations of Classical ruins (Temple of Apollo, 1964, Pasadena, California, s Coll. Mr. and Mrs. Robert A. Rowan), comic-book s war heroes, advertising fragments (Girl with Ball, 1961, New York, Coll. Philip Johnson) or stylized landscapes, Lichtenstein contrasts what is already a s travesty of emotion, scene or object with his unemotionally banal rendition.

Roy Lichtenstein  Pop Art screen prints and paintings oversimplify and extract from the artifacts of mass culture, creating new psychological overtones that reveal, but do not directly comment upon, the sensibility of an era. Roy Lichtenstein also uses the discredited styles and mannerisms of earlier periods, such as his paintings, prints and sculptures (1967-8) based on the once popular 1930s ‘modern’, a corrupt and ornamental version of Cubism. Modern Painting With, Yellow Interweave (1968, Leo Castelli Gallery) and the curved brass or chrome, tinted glass and marble slabs of his elegant sculptures evoke the taste and style of that period. The subjects of Lichtenstein’s ‘Pop’ paintings, ceramics, sculptures and posters are quoted from an anonymous idiom; with selective mechanical methods he transforms this source material into a personal style offering new sensations and terms for viewing and understanding art.

According to ARTnews, “Alexander Calder’s 25-foot-high sculpture Red Stabile (1971); Sky Gate, New York (1978), a painted-wood relief by Louise Nevelson; Joan Miró’s World Trade Center Tapestry (1974); and a painting by Roy Lichtenstein from his “Entablature” series of the 1970s. Roy Lichtenstein’s 30-foot-tall Modern Head, which stands in the shadow of the World Financial Center, was covered in soot and debris but is still intact.”

Lichtenstein Paintings

Roy Fox Lichtenstein’s painting career began as a Studio Arts student at Ohio State University in 1940. Though his studies were briefly interrupted due to the Second World War, he resumed in 1946, studying under Hoyt L. Sherman who would be one of his greatest influences. During this period, Lichtenstein also began working on one of his first series. These initial paintings were based on mythology and folklore, often poking fun at medieval knights, kings and maidens. He usually painted them in styles that paid tribute to earlier art. Arguably, this is also when he began developing his tongue in cheek style. In 1951, Lichtenstein celebrated his first solo exhibition at the Carlebach Gallery in New York. Lichtenstein began experimenting with different styles in the late 50s and early 60s. In 1957, he was painting in an abstract expressionist style, often incorporating hidden images of cartoon characters like Mickey Mouse and Bugs Bunny in his abstract paintings. Thus began his progression into the 1960s, possibly Lichtenstein’s most exciting period. In 1960, Lichtenstein began teaching at Rutgers and began creating his first pop paintings using cartoon images. He employed the use of Ben Day Dots to replicate the look of commercial printing. The best known painting during this time is Look Mickey, 1961. By the mid-1960’s Lichtenstein used mainly oil and magna for his works such as Drowning Girl, 1963. Currently, the painting is on display at the MOMA in New York. The artist’s most influential painting is Whaam!, 1963, one of the earliest examples of Pop art. In 2015, one of Lichtenstein’s comic book-style paintings of a nurse sold for $95.4 million at Christie’s, setting an auction record for the artist.

Lichtenstein Prints

In addition to paintings, Lichtenstein also created over 300 prints, most in screenprinting. He devoted himself earlier than any other major artist of his time to printmaking, creating his first prints in 1948. By 1950, he would add screenprint and etching to his body of work. Most of his prints were made in collaboration with the Gemini G.E.L., Tyler Graphics Ltd. His prints are comprehensively catalogued and described in the catalogue raisonné The Prints of Roy Lichtenstein by Mary Lee Corlett.

Lichtenstein Lithographs

Lithography has appeared prominently throughout Lichtenstein’s career. He created his first lithograph in 1948 as a student at Ohio State University. In 1956, he created his first proto-Pop lithograph titled Ten Dollar Bill (Ten Dollars), 1956. This piece is considered one of the best artistic depictions of currency. In 1963, he and his studio assistants used lithographic rubbing crayon on finished paintings to create larger and more uniform Ben Day dots. A few years later, he created his famous lithograph Explosion, 1967 which shares all the hallmarks (flat primary colors, Ben Day dots, schematic drawing) of his early painting style. In 1969, Lichtenstein published his first serial prints, seven Haystack and six Rouen Cathedral lithographs, at Gemini G.E.L. in Los Angeles.

Raisonne Title

< ?php if (get_field('reference') !="") { ?>

< ?php } ?>

< ?php if (get_field('dimension') != "") { ?>

< ?php } ?>

< ?php if (get_field('edition') != "") { ?>

< ?php } ?>

< ?php if (get_field('series') != "") { ?>

< ?php } ?>

< ?php if (get_field('printer') != "") { ?>

< ?php } ?>

< ?php if (get_field('publisher') != "") { ?>

< ?php } ?>

< ?php if (get_field('style') != "") { ?>

< ?php } ?>

Artist< ?php the_field('artist_name'); ?>

Title:< ?php the_title(); ?>

Reference< ?php the_field('reference');?>

Medium:< ?php the_field('medium'); ?>

Sheet Size< ?php the_field('dimension'); ?>

Edition< ?php the_field('edition'); ?>

Series< ?php the_field('series'); ?>

Printer< ?php the_field('printer'); ?>

Publisher< ?php the_field('publisher'); ?>

Style< ?php the_field('style'); ?>


To inquire about this particular artwork, please fill out the following form:
  • This field is for validation purposes and should be left unchanged.
Shipping Informatoin

Custom Packing and Insured Shipping
Expert custom packaging and insured shipping guarantees the safety of your work and the security of your investment while in transit.
We typically ship using FedEx, as they assume full insurance for door-to-door transit of your artwork. We charge actual shipping and insurance costs, plus the cost of the packing materials. We never charge a handling fee. Feel free to contact us for shipping quotes. Should you opt to use a shipper other than FedEx, we ask that you please notify us prior to shipping. Please note: shipments to California residents are subject to local sales tax.

Masterworks Fine Art Gallery schedules shipping for our clients. Works can be shipped via FedEx Ground (3-5 business days), 3-Day, 2-Day, Standard Overnight or Priority Overnight shipping. Purchases typically ship within 3 days of payment clearance. We ship daily, Monday – Friday. Special delivery arrangements can be made, if needed.


Submit Best Offer.

  • This field is for validation purposes and should be left unchanged.