Jasper Johns

Screenprint in black and gray, 1973, signed and titled in pencil, dated and numbered 48/60 (total edition includes ten artist's proofs), on J.B. Green paper with its watermark, co-published by Jasper Johns and Simca Print Artists with blindstamp of the latter, framed

The full sheet is in good condition apart from three inconspicuous fox marks in the margins. There is a slight wave and several printer's creases at the extreme sheet edge (none extending into the image). Discoloration on the verso is visible around the edges of the image and there is one tiny fox mark in the center of the sheet (not showing through to the recto).
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

During the 1950's and 1960's, Jasper Johns along with artist's such as Robert Rauschenberg and Claes Oldenburg directly challenged the hegemony of post-war culture with intentionally ugly artworks that blatantly subverted post-war patriotism and mass-consumerism against the backdrop of American post-war prosperity.  Coinciding with 1973 Paris Peace Accords, which ended direct military involvement in Vietnam and signaled the U.S. retreat, Johns again satirically critiqued American nationalism.