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An original hand-signed Jasper Johns lithograph, linocut, and woodcut print.

1975-76

Original lithograph, linocut and woodcut printed in four colors from four aluminum plates, four linoleum blocks and four woodblocks on heavy hand-made white Twinrocker wove paper.

Hand-signed and dated in pencil in the margin lower right J Johns / 75-76.

A superb impression of the definitive state, from the edition of 42 (there were 6 additional hors commerce proofs, and 7 artist’s proofs), numbered in pencil in the margin lower left. Published by Universal Limited Art Editions, West Islip, New York, bearing its blindstamp in the sheet lower left; printed by Bill Goldston, James V. Smith, and Juda Rosenburg, Bayshore, New York. Bearing an unidentified inkstamp verso.

Catalog: Richard S. Field Jasper Johns: prints 1970-1977. Wesleyan University Press, Middletown, Connecticut, 1978, cat. no. 208, p. 104, ill;
Richard S. Field The Prints of Jasper Johns, 1960–1993: A Catalogue Raissoné with a text by Richard S. Field. Universal Limited Art Editions, West Islip, New York, 1994, cat. no. 166, ill.

25 ¼ x 43 inches

Sheet Size: 31 ¼ x 47 inches

Jasper Johns stands as an important bridge between abstract expressionism and pop and minimal art. Printmaking has long been an important part of the process for the artist. He first worked at ULAE in 1960. Initially, lithography suited Johns and enabled him to create print versions of iconic depiction of flags, maps, and targets that filled his paintings, such as Target, 1960. In 1967, Johns expanded his repertoire to etching and created Target I and Light Bulb. In 1971, Johns became the first artist at ULAE to use the handfed offset lithographic press, resulting in Decoy – an image realized in printmaking before it was made in drawing or painting. Since then, Johns has become a master of both media and continues making prints with subjects as varied as the seasons, creative reinterpretations of Holbein, and curious faces and features combined with everyday objects.