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Jasper Johns

United States (1930 ) Wikipedia® : Jasper Johns
JOHNS Jasper  Cup 2 Picasso

Phillips, De Pury & Luxembourg /Jun 7, 2017
1,719.59 - 2,292.79
3,164.15

Find artworks, auction results, sale prices and pictures of Jasper Johns at auctions worldwide.
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Variants on Artist's name :

Johnes Jasper

 

Artworks in Arcadja
2118

Some works of Jasper Johns

Extracted between 2,118 works in the catalog of Arcadja
Jasper Johns -  Alphabet

Jasper Johns - Alphabet

Original 1969
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Lot number: 200
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Description:
Description: Embossing, 1969, signed and dated in red pencil, numbered 11/70 in pencil (total edition includes nine artist's proofs), on Arches paper, with the blindstamp of the publisher, Gemini G.E.L., Los Angeles, and with their inkstamp (faded) on the verso, framed Dimensions: sheet: 29 5/8 by 37 in. (75.3 by 94 cm.)
Jasper Johns - Cup 2 Picasso

Jasper Johns - Cup 2 Picasso

Original 1973
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Lot number: 93
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Description:
JASPER JOHNS (B. 1930) Cup 2 Picasso JASPER JOHNS (B. 1930) Cup 2 Picasso lithograph in colors, on Fred Siegenthaler paper, 1973, from the edition of approximately 1,500 (there was a signed and numbered edition of eleven), published in XXe Siècle no. 40, June 1973 Sheet: 12 ¼ x 9 ½ in. (311 x 241 mm.) Literature ULAE 123 Lot Notes Note this lot is the property of a private collector.
Jasper Johns - Jasper Johns. Print Retrospective From The Leo Castelli Collection

Jasper Johns - Jasper Johns. Print Retrospective From The Leo Castelli Collection

Original
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Lot number: 211
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Description: Johns, Jasper - nach Jasper Johns. Print Retrospective from the Leo Castelli Collection. Ausstellungsplakat mit dem Motiv "Flag I" von 1973. 1990. Farboffset auf glattem Offsetpapier. 44 x 57 cm (76 x 61 cm). Mit Gefälligkeitssignatur sowie datiert "8 march 1991".Exhibition poster. Colour offset on smooth paper. Signed and dated.Erschienen anlässlich der gleichnamigen Ausstellung am Brenau College in Gainesville, Georgia vom 4.3-14.4.1991.Plakate
Jasper Johns -  Cup 2 Picasso

Jasper Johns - Cup 2 Picasso

Original 1973
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Lot number: 149
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Description: JASPER JOHNS - Cup 2 Picasso, 1973 Dimensions: I. 28.2 x 26 cm (11 1/8 x 10 1/4 in.) S. 56.4 x 35.2 cm (22 1/4 x 13 7/8 in.) Medium: Lithograph in colours, on Fred Siegenthaler paper, with full margins. Literature: Universal Limited Art Editions 123 Notes: Signed, dated and numbered 6/11 in pencil (there were also 4 artist's proofs), published by Universal Limited Art Editions, West Islip, New York, framed.
Jasper Johns - Untitled

Jasper Johns - Untitled

Original 1998
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Lot number: 77050
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Description: Jasper Johns (b. 1930) Untitled (Red, Yellow, Blue), 1998 Acrylic and pencil over intaglio on paper 9-1/2 x 12-1/2 inches (24.1 x 31.8 cm) (sheet) Signed and dated lower right: J. Johns / '98 Signed, dated, and inscribed verso: Acrylic paint / over etching / J. Johns '98 PROVENANCE: The artist; Bill T. Jones, New York; Matthew Marks Gallery, New York; Private collection, New York. EXHIBITED: Max Protech Gallery, New York, "Bring Home a Dancer," May 5, 1998--?. LITERATURE: P. Karmel, Jasper Johns: Drawing Over, exhibition catalogue, Leo Castelli Gallery, New York, 2010, p. 67. This work will be included in the forthcoming Catalogue Raisonné of the Drawings of Jasper Johns being prepared and published by the Menil Foundation as a project of the Menil Drawing Institute under reference number 1998.001. In 1960, after becoming a household name for his encaustic paintings of flags, targets, numbers, and maps, Jasper Johns radically changed the direction of his art, developing new techniques and motifs that he would incorporate into his work for the rest of his career. Two paintings from 1963, Land's End (San Francisco Museum of Modern Art), and Periscope (Hart Crane) (collection of the artist), foreground much of the major iconography Johns utilized for decades, including for the present lot, Untitled (Red, Yellow, Blue) of 1998. Both of the vertical paintings feature a predominantly gray-black-white palette; bold, frenzied brushwork; areas of alternating viscous and scraped paint; and a tripartite division into horizontal bands. Land's End, Periscope (Hart Crane), and others from the early 1960s demonstrate Johns's fascination with grisaille and with primary colors-red, blue, and yellow paint, as well as the stenciled words "RED," "BLUE," "YELLOW," rarely corresponding to the color beneath. 'Painting over' is a tradition in art history. With Johns, however, it has been given a new meaning. Here, what started out as a deep cut intaglio print with images reminiscent of Lands End imagery becomes a lush, intimate acrylic painting that defies its own dimensions and challenges the strict line, cut and discipline that is the intaglio process. The present lot, Untitled (Red, Yellow, Blue), a print painted over with acrylic, is a particularly novel variation on this theme. In 1998 Johns began working on a series of etchings with aquatint printed in blue, green, and black. Differing in size--a larger 41 x 81" one in an edition of 44, and a smaller 3 x 7" one in an edition of 35--the etchings share the same basic composition in a triptych format printed on a single sheet. For the present lot, Johns completely painted over one of these etchings with acrylic, radically simplifying its composition to the "essential" motifs from the 1960s. Overall, the work is more painterly than the original print, asserting Johns's presence through active brushstrokes (a black squiggly line even bleeding across two panels) and irregular dots of overlapping flagstones. ​ ​ Notably, Untitled (Red, Yellow, Blue) also bears the artist's fingerprint, visible in the center "blue" frame.​ Gray is common to Johns' work, and was the subject of an exhibition at the Art Institute of Chicago, 2007, Jasper Johns: Gray. Critics have variously interpreted Johns's preoccupation with gray and primary colors at this time. The novelist Michael Crichton, Johns's good friend and biographer, explained the gray paintings as paralleling Johns's state of mind, "more self-referential, more difficult, more disturbing" (B. Hess, Jasper Johns, Cologne, 2007, p. 39). Writer Barbara Hess saw an art historical influence on Johns: "The gray encaustic alluded to Rene Magritte, an artist Johns admired, who in the early 1950s had done a series of paintings in which the objects appeared petrified, turned to gray stone" (Ibid.) "[Johns's decision to work with a palette of primary colors . . . , as well as the tonal range from black to white, downplays a personal color range. . . . [His] boldly distilled, fiercely anti-illusionistic colors are a central thesis in his lifelong argument with the realm of appearances, which tends to offer false impressions that will lure us into the trap of looking rather than encouraging us to see" (J. Yau, A Thing Among Things: The Art of Jasper Johns, New York, 2008, p. 96). This extraordinary metamorphosis of print into painting attests to Johns's versatility in multiple media and his methodical probing of a particular theme. The "obscuring" paint also reminds the viewer that one must look hard at a Johns work to decipher its language. John Yau perfectly explicated how interaction with a Johns work like Untitled (Red, Yellow, Blue) sharpens the mind: "Looking at [the painted-over print] involves noting which areas are repeated [from the original print], while trying to distinguish where replication ends and divergence begins. . . . The great lengths to which Johns went to conceal the repetition forces us into a highly conscious state of looking. . . . We must harness distinct modes of comprehension in order to engage fully with the painting" (Yau, p. 100). HID04901242017
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