- 135
Jasper Johns
Estimate
300,000 - 400,000 USD
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Description
- Jasper Johns
- Untitled
- signed and dated '90
- pastel on paper
- 31 1/2 by 22 3/4 in. 80 by 57.8 cm.
Provenance
Anthony d’Offay, London (acquired directly from the artist in 1990)
Private Collection
Private Collection
Exhibited
London, Anthony d’Offay Gallery, Jasper Johns: New Drawings and Watercolours, November 1990 - January 1991
New York, Leo Castelli Gallery, Jasper Johns: Paintings and Drawings, February - March 1991
Seoul, Gana Art Gallery, Jasper Johns: Recent Paintings and Drawings, September 1991, cat. no. 2, illustrated in color
Stockholm, Heland Wetterling Gallery, Jasper Johns: JFMAMJJASOND, October - November 1991, illustrated in color
Brussels, Galerie Isy Brachot, Jasper Johns: Prints from the Leo Castelli Collection, December 1991 - February 1992
Salzburg, Galerie Thaddaeus Ropac, Jasper Johns, Robert Rauschenberg: Important Paintings and New Works on Paper, July - August 1992
New York, Leo Castelli Gallery, Jasper Johns: Paintings and Drawings, February - March 1991
Seoul, Gana Art Gallery, Jasper Johns: Recent Paintings and Drawings, September 1991, cat. no. 2, illustrated in color
Stockholm, Heland Wetterling Gallery, Jasper Johns: JFMAMJJASOND, October - November 1991, illustrated in color
Brussels, Galerie Isy Brachot, Jasper Johns: Prints from the Leo Castelli Collection, December 1991 - February 1992
Salzburg, Galerie Thaddaeus Ropac, Jasper Johns, Robert Rauschenberg: Important Paintings and New Works on Paper, July - August 1992
Literature
Arts Review 42, No. 24, 30 November 1990, p. 14, illustrated
Anthony d'Offay, Ed., Jasper Johns: A Calendar for 1991, London 1991, n.p., illustrated in color
Anthony d'Offay, Ed., Jasper Johns: A Calendar for 1991, London 1991, n.p., illustrated in color
Condition
This work is in very good condition overall. All four edges of the sheet are deckled and there is a slight undulation to the sheet, inherent to the artist’s working method. There is an artist’s pinhole in each corner and two at the upper right corner of the sheet. All surface inconsistencies and smudges, which are particularly visibly in the white unworked area that is obscured by the top matte appear to be inherent to the artist’s working method and chosen medium. The sheet is hinged verso to the matte at the top two corners. Framed under glass.
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.
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.
Catalogue Note
"I became interested in looking at [Pablo Picasso's Woman in a Straw Hat] in the book—suddenly it held my attention. It became extremely poetic, something that conveys many meanings at once. While looking at it, it interested me that Picasso had constructed a face with features on the outer edge. I started thinking in that direction, and it led me to use the rectangle of the paper as a face and attaching features to it."
Jasper Johns