Jasper Johns Decoy 1971 Lithograph in colors, on Rives BFK paper, the full sheet, S. 41 3/8 x 29 5/8 in (105.1 x 75.2 cm) signed, dated `70' and numbered 54/55 in pencil (there were also 4 artist's proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, framed.
Literature Universal Limited Art Editions 98 Catalogue Essay Decoy represents the first use by an artist of the hand-fed offset lithography press (originally bought by ULAE for proofing only). Johns took advantage of the press which enabled a faster pace of alternate trials, alterations and color sequence changes, and also a larger number of subtle overprintings on one print. Decoy contains reworkings of a number of images: a Ballantine ale can from Painted Bronze 1960; the letters of the names of colors and the leg cast from Passage II 1966 (oil on canvas), the lithographs Passage I and II, and the six images of First Etchings (2nd State) 1967–9. The leg cast and some aspects of the painterly washes and color names also relate to the painting Watchman 1964 and the lithograph of the same title, 1967. Decoy has been much discussed as Johns’ most complex print, and one of his most enigmatic. It is unique in that he made a painting of the same title after the print: also, he returned to the subject to make another lithograph, Decoy II in 1971–3 (ULAE 125), using the same one stone and eighteen plates as for Decoy, reworking them and adding a further seven plates. Tate Collection Read More Artist Bio Jasper Johns American • 1930 Jasper Johns is a painter and printmaker who holds a foundational place in twentieth century art history. Quoting the evocative gestural brushstroke of the Abstract Expressionists, Johns represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form. Drawing from common commercial and 'readymade' objects, such as newspaper clippings, Ballantine Ale and Savarin Coffee cans, Johns was a bridge to Pop, Dada and Conceptual art movements. Beyond the historical significance, each work by Johns is individually considered in sensuous form. A curiosity of medium led him to employ a range of materials from encaustic and commercial house paint to lithography, intaglio and lead relief. View More Works
Jasper Johns Decoy 1971 Lithograph in colors, on Rives BFK paper, the full sheet, S. 41 3/8 x 29 5/8 in (105.1 x 75.2 cm) signed, dated `70' and numbered 54/55 in pencil (there were also 4 artist's proofs), published by Universal Limited Art Editions, West Islip, New York (with their blindstamp), in very good condition, framed.
Literature Universal Limited Art Editions 98 Catalogue Essay Decoy represents the first use by an artist of the hand-fed offset lithography press (originally bought by ULAE for proofing only). Johns took advantage of the press which enabled a faster pace of alternate trials, alterations and color sequence changes, and also a larger number of subtle overprintings on one print. Decoy contains reworkings of a number of images: a Ballantine ale can from Painted Bronze 1960; the letters of the names of colors and the leg cast from Passage II 1966 (oil on canvas), the lithographs Passage I and II, and the six images of First Etchings (2nd State) 1967–9. The leg cast and some aspects of the painterly washes and color names also relate to the painting Watchman 1964 and the lithograph of the same title, 1967. Decoy has been much discussed as Johns’ most complex print, and one of his most enigmatic. It is unique in that he made a painting of the same title after the print: also, he returned to the subject to make another lithograph, Decoy II in 1971–3 (ULAE 125), using the same one stone and eighteen plates as for Decoy, reworking them and adding a further seven plates. Tate Collection Read More Artist Bio Jasper Johns American • 1930 Jasper Johns is a painter and printmaker who holds a foundational place in twentieth century art history. Quoting the evocative gestural brushstroke of the Abstract Expressionists, Johns represented common objects such as flags, targets, masks, maps and numbers: He sought to explore things "seen and not looked at, not examined" in pictorial form. Drawing from common commercial and 'readymade' objects, such as newspaper clippings, Ballantine Ale and Savarin Coffee cans, Johns was a bridge to Pop, Dada and Conceptual art movements. Beyond the historical significance, each work by Johns is individually considered in sensuous form. A curiosity of medium led him to employ a range of materials from encaustic and commercial house paint to lithography, intaglio and lead relief. View More Works
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