Jasper Johns

United States (1930 ) - Prints Wikipedia® - Jasper Johns
JOHNS Jasper Figure 6

Sotheby's /Nov 11, 2014
Not disclosed
1,784,029.00

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Variants on Artist's name :

Johnes Jasper

 

Artworks in Arcadja
1757

Some works of Jasper Johns

Extracted between 1,757 works in the catalog of Arcadja
Jasper Johns - Untitled

Jasper Johns - Untitled

Original 1965
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Lot number: 2113
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Description:
Description: Johns, Jasper Born 1930 Augusta/Georgia, lebt und arbeitet in New York und Edisto Beach. Untitled. Lithograph in colours on wove paper. Signed lower right and dated 1965. Foxing, water stains at the lower margin. Geb. 1930 Augusta/Georgia, lebt und arbeitet in New York und Edisto Beach. Ohne Titel. Farblithographie auf Velin. U.r. sign. und 1965 dat. Stockfleckig, Wasserflecken am unteren Rand. H. 75,5, B. 56,3 cm (Darstellungsgröße).
Jasper Johns - Land's End

Jasper Johns - Land's End

Original 1978
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Lot number: 581
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Description:
Jasper Johns (American, b 1930) Land's End, 1978 Etching and sugar-lift aquatint on paper (framed) Signed, dated and numbered 19/56 34 1/8" x 24 1/4 (image) 42" x 29 1/2" (sheet) Printer: Atelier Crommelynck, Paris Literature: ULAE 197 Provenance: Private Collection, North Carolina Condition Report: The work of art is in good condition. Signed, dated and numbered in pencil lower recto. Edges are discolor and paper is slightly bucked.
Jasper Johns - Fool's House.

Jasper Johns - Fool's House.

Original 1972
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Lot number: 140
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Description:
JASPER JOHNS Color lithograph on Angomois à la main paper, 1972. 1030x508 mm; 40 3/4x20 inches, full margins. Signed, dated and numbered 9/67 in pencil, lower margin. Printed and published by Gemini G.E.L., Los Angeles, with the blind stamp lower right. A superb, richly-inked impression with strong colors. Field 154.
Jasper Johns - Figure 6

Jasper Johns - Figure 6

Original 1972
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Gross Price
Lot number: 57
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Description:
Jasper Johns B. 1930 FIGURE 6 signed and dated 64-72 on the stretcher; signed and dated 1964-72 on the reverse sculp-metal and collage on canvas 9 3/4 x 7 1/2 in. 24.8 x 19 cm. Read Condition Report Read Condition Report Register or Log-in to view condition report Saleroom Notice Provenance Owen Lee (acquired from the artist in 1973) Private Collection, Paris (acquired from the above in 1997) Christie's, New York, May 17, 2007, Lot 122 Acquired by the present owner from the above Brimming with the peerless innovation of Jasper Johns’’ celebrated practice across every inch of its hypnotizing surface, Figure 6 encapsulates the very essence of this most groundbreaking artist’’s aesthetic theory. Executed between 1964 and 1972, and in one of Johns’’ favored media of sculp-metal, this phenomenal work bears witness to the artist’’s truly revelatory exploration into the nature of painting in the wake of the Abstract Expressionist revolution. Challenging our preconceptions about its status as an aesthetic object by abrogating the boundaries between painting and sculpture, sign, and referent, Figure 6 is the physical manifestation of Johns’’ classification of the most successful examples of his art, wherein ````````The canvas is object, the paint is object, and object is object.’’’’ (the artist in an interview with David Sylvester, Interviews with American Artists, 2001, p. 167) For Johns, choice of ‘subject’’ is revelatory of his entire aesthetic spirit. Famously beginning in the mid-1950s with the first of his dream-inspired Flag paintings, Johns adopted a markedly objective style that stressed the complex semiotics of art as object and art as practice. Focusing on ````signs’’ and ````symbols’’, Johns explored art’’s ability to communicate and the viewer’’s ability to perceive. From this starting point, all aspects of Johns’’ art of the 1950s and 1960s focused on this act of intellectual investigation; medium, pictorial language, and execution of the work all served to engage the artist and the viewer in the phenomena of artistic expression. In marked contrast to the emotive outpourings of his forebears in the New York School, Johns pursued as his subjects phenomena that were so familiar as to be almost invisible, and approached them with a thoughtful reserve that befitted their inherent ‘neutrality.’’ Numbers were particularly favored for their ‘ready-made’’ design that required no compositional invention and their status as “pre-formed, conventional, de-personalized, factual, exterior elements.” (the artist cited in David Sylvester, Jasper Johns Drawings, London, 1974, p. 7) By harnessing the connotative power of a sign so familiar as to be immediately recognized, Johns removed all inclination on the part of the viewer to discern a narrative in his work, leaving only an overwhelming impulse to appreciate Figure 6 for its enchanting physical properties. The complete triumvirate in Johns’’ artistic lexicon is ‘signs,’’ media, and color. Throughout the early part of his career, Johns explored the artistic possibilities presented by the trinity of red, yellow and blue, complemented by glorious works that resound in one color; the fusion of both ends of the chromatic spectrum – gray. It is through the use of monochromatic gray that Johns achieves the ultimate act of negation and conclusively declares the ‘objectness’’ of his paintings. Figure 6 is a particularly sumptuous declaration of this theme, asserting its profound presence through the fabulously variegated texture of its sculp-metal surface. The central importance of monochromism in Johns’’ oeuvre was crystallized in the 2007-2008 exhibition Jasper Johns: Gray at the Art Institute of Chicago and the Metropolitan Museum of Art in New York. As James Rondeau wrote in the catalogue, "Often [Johns’’] preferences are made manifest through essentially additive processes… through strategies of accumulation, repetition, and quotation. .. At other times, effect is achieved through a more determined, subtractive process, distilled as a language of forms, gestures and objects in the absence of color." (Exh. Cat., Chicago, Art Institute of Chicago (and travelling), Jasper Johns: Gray, 2007, p. 23) Through his use of sculp-metal and collage, Johns confers upon Figure 6 a pronounced enigmatic essence, as the fundamental nature of the aesthetic object is thrown further into question with his elision of the boundaries between painting and sculpture. Divested of color, the marks Johns makes in his sculp-metal surface become even more profound, contrasting only in subtle tonal differences brought about by the variances in reflected light that catch the polished ground. This dichotomy between presentation and representation; between the Image and its Index, draws Johns’’ viewer into the drama of the meaning of his paintings, lending them more physical and intellectual resonance. In the encrusted, heavily worked surface of Figure 6, the viewer can indulge the eye and delight simply in the sheer beauty of Johns’’ chosen medium. Fig. 1 Jasper Johns, Numbers in Color , 1958-59 Albright-Knox Art Gallery, Buffalo, New York / Bridgeman Images Art © 2014 Jasper Johns / Licensed by VAGA, New York, NY Fig. 2 Rosetta Stone, 196 BC British Museum, London De Agostini Picture Library / Bridgeman Images
Jasper Johns - Periscope I

Jasper Johns - Periscope I

Original 2012
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Net Price
Lot number: 81
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Description:
Description: JASPER JOHNS (american, b. 1930)/span "PERISCOPE I" 1979, pencil signed, dated and numbered 42/65 (there were also 12 artist's proofs), the full sheet, Gemini G.E.L., Ltd., Los Angeles, publisher and with their blindstamp. Color etching on Japanese Kurotani. sheet: 50 x 36 in. (127 x 91.4cm) [ULAE, 200] The yellows possibly very slightly darkened. A two inch crease below the 'O' of the yellow, an 8-inch horizontal crease in the upper right area of the blue band. A few stray pencil or surface soiling marks in a 2-in. area verso not visible from the front. Four strips of tape along bottom edge of sheet verso. Otherwise, overall in good condition.
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