Between the Clock and the Bed

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An original hand-signed Jasper Johns lithograph print.

1989

Original lithograph printed in 14 colors on handmade John Koller HMP watermarked wove paper.

Hand-signed and dated in pencil in the margin lower right Jasper Johns 1989.

A superb impression of the definitive state from the edition of 32 printed on this paper (there were 50 additional impressions printed on Japan paper), numbered in pencil in the margin lower left. Published by Universal Limited Art Editions, West Islip, New York, bearing their blindstamp in the lower left margin.

Catalog: ULAE 246

19 ½ x 34 ¾ inches

Sheet Size: 29 x 42 1/8 inches

Pattern is key in this lithograph derived from a series of paintings from the early 1980’s by Jasper Johns, who still ranks as one of the most significant and innovative painters and printmakers of the twentieth century. Johns began experimenting with hatching as an aesthetic motif beginning in the 1970s as he concentrated on a restrained repertoire of processes and moved seamlessly between a variety of conceptual and stylistic interests. In multiple works, he elevated the supportive texturizing technique into a pictorial solo act through engaged attention with patchwork compositions. “Between the Clock and the Bed” ⎯ from an intimate series of early 1980s encaustics and oils ⎯ derives from a focused inspirational source: the Norwegian Expressionist, Edvard Munch. Johns’ vertical triptych of abstract hatchings duplicates the pattern on the bedspread in Munch’s 1940-43 “Self-Portrait: Between the Clock and the Bed”. In addition to the dedicated references to the linear, diagonal, and diamond-shaped forms on Munch’s bedspread, Johns also seems to pay homage to the elder artist’s celebrated expressive dexterity with color. Subtle shifts in hue move across each canvas, shimmering with life against segments of monochrome, celebrating the simplicity of line and pattern.