Technique and condition
A screenprint from a portfolio of six double-sided screenprints printed on woodpulp board, laminated on both sides with white chromolux card. Published in an edition of 150, of which this portfolio is number seventy. The screenprints were printed in collaboration with the artist in Stuttgart and Korntal, Germany with printers, Hans Peter Haas, Stuttgart, and Staid & Mayer, Korntal, assembled by Rudolf Rieser and published by the Petersburg Press, London. The structural condition of the prints is characteristic of their construction on woodpulp laminate board; each print has inherent weaknesses and will deteriorate further.
The images on the recto were all initially printed with the Piccadilly image in four colour, off-set lithography. These were then over-printed in screenprint using a range of one to twenty-six colours from stencils drawn by the artist. The verso of each print has a vignette image of the original Piccadilly scene printed in four colour, offset lithography. All six prints are based on the same image of Piccadilly Circus.
The image is made from an eleven colour screenprint applied over a silver printed background. A craquelure pattern has developed in areas of purple ink, continuing through areas of ink applied over this colour, suggesting the artist was using a specifically formulated ink. The surface is pitted in several areas, probably caused by air bubbles in the ink on application. The image is in good condition with minimal abrasion and some surface dirt. There are losses apparent in the top left and right corners, noticeable in the brown ink along the border revealing the white support beneath. A blue inked fingerprint is visible on the right edge, and a brown ink mark in the bottom left corner. The woodpulp board extends beyond the laminated printed surface along the top edge. The image on the verso is generally in good condition, although the surface has some abrasion the top edge of the extended board is slightly scuffed. The print is signed and dated, with the edition number inscribed below the image.
The portfolio comprises of a box made from brown corrugated board, wrapped in brown card with a colour lithograph image of Piccadilly printed on the lid. The base and wrapping are held together by clear pressure sensitive tape and staples along the base. The tape has subsequently failed and caused staining to the brown card. The box is inscribed on the verso, 'Dieter Roth 6 Piccadillies, Petersburg Press'. A wooden and wire handle is attached with string to the side.