Authenticity & Sources

Two promises underpin this archive: that every work the Estate sells is genuine and documented, and that the story we tell of REX's life is told honestly — including where it is uncertain.

How a REX work is authenticated

Every original and every authorized edition the Estate sells carries documented authenticity:

Certificate of Authenticity. Each work ships with a signed Certificate of Authenticity bearing the Estate of REX mark — its circular seal, REX's signature logo, and the work's details (title, date, medium, and, for prints, the edition number).

The estate blindstamp. Authorized editioned prints are embossed with the Estate's blindstamp by our printer and counter-signed by the Estate — a physical mark that can't be reproduced by a scan.

Provenance. Originals are documented from the Estate's own inventory: title, the date and city where REX drew them, dimensions, and — where known — their publication history (for example, works that appeared in Drummer magazine). A condition report accompanies each original on request.

A registry. The Estate keeps a record of every original and numbered edition it releases, so an owner's certificate can always be checked against the source.

Beware of fakes & unauthorized copies

REX's work is widely reproduced online, and not every print or "original" offered elsewhere is genuine. The images on this site are watermarked and displayed at web resolution only. The Estate is the sole authority for authenticating a REX work. If you are considering a purchase from elsewhere and want it checked, write to us — we are glad to help protect his legacy.

Ask the Estate →

A note on sources — how we tell his story

REX was an intensely private man. In life he guarded his history and, by many accounts, told it differently to different people — varying the dates, the names, even the origins. The biography on this site is therefore a reconstruction: the most-corroborated version the Estate could assemble from REX's own work and papers and from conversations with the people who knew him. Where accounts genuinely conflict, we say so rather than choosing a tidy myth; where a story rests on a single voice, we attribute it. We do not invent, and we do not state things we cannot support. Some questions about his life may never have a settled answer — and we think that, for a man who valued his privacy, that is as it should be.