Monotypes by Johns Jasper (18 results)

Hardcover. Condition: Sehr gut. Dust Jacket Condition: Leichtere Gebrauchsspuren. 1. Auflage. with many b/w-illustrations and 17 coloured plates; clothbound with illustrated jacket.

Condition: Good. Good condition. Acceptable dust jacket. A copy that has been read but remains intact. May contain markings such as bookplates, stamps, limited notes and highlighting, or a few light stains.

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. Fine in very good dust jacket showing light scratching, light rubbing, 3 short closed tears and wrinkling in a few areas to edges.

Hardcover with dustjacket, unpaginated; good condition; dj has scattered scratches, rubbing and a few small tears and pieces missing at top and bottom edge; no internal marks. Foreign shipping may be extra.

Hardcover with dustjacket, unpaginated; new condition; still sealed in shrinkwrap; clean and crisp. Foreign shipping may be extra.

Condition: Fine. Dust Jacket Condition: Good. First Edition. Dust jacket repaired on back with tape.

Soft cover. Condition: About Fine. 1st Edition. A single sheet folded 3 times to make a gatefold booklet for an exhibition at the Leo Castelli Gallery in April and May of 1999. Illustrated in color. Quite uncommon. Book.

[90] pages. Good copy. Sprache: Englisch Gewicht in Gramm: 1100 4° grey cloth without dustjacket.

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good+. Body of book in fine shape. DJ has a bit odf shelfwear. A couple of tiny tears o the DJ. ; Oblong 4to 11" - 13" tall; n/p pages.

Hardcover, in dust jacket. 1st Edition. Features monotype variations on Johns' emblematic image of the Savarin coffee tin filled with artists brushes. Fine in near fine, lightly rubbed edgeworn dust jacket.

hardcover. Condition: Good. Torn/worn dj. Good hardcover with some shelfwear; may have previous owner's name inside. Oversized.

Oversize cloth with Dustjacket. 1st Edition. Beautifully done full color prints by Johns based on his small bronze scupture of 1960 of paint brushes upside down in a Savarin coffee can. Nicely printed and produced. Fine/fine. Laid in are two rare brochures and booklets "Jasper Johns Process and Printmaking" 16pgs. with illustrations and "Jasper Johns a Retrospective" a large foldout brochure with illustrations. Both are from the Museum of Modern Art in 1997. Book.

Hardcover. folio. pp. [46 leaves-most versos blank]. 33 illus. (18 full-page colour). biblio. cloth. First Edition.

Hardcover. Condition: Near Fine. Dust Jacket Condition: Near Fine. 1st Edition. Signed by author on front end paper, edges of wraps lightly rubbed with a few small closed tears, contents fine. Signed by Author(s).

Condition: Gut. Ca. 110 S.; farb. Illustr.; 32 cm. Gutes Ex.; Umschlag stw. mit kl. Läsuren. - Englisch. - Jasper Johns, Jr. (* 15. Mai 1930 in Augusta, Georgia) ist ein vielseitiger US-amerikanischer Maler, Plastiker, Bühnen- und Kostümbildner. Er gilt als ein Wegbereiter der Pop Art, ohne dass sein bildnerisches Werk dieser Stilrichtung zuzurechnen ist. . Typische Johns-Werke wie Flag (1954/55, Museum of Modern Art, New York) oder Three Flags (1958, Whitney Museum of American Art, New York) entstanden in einer für Johns spezifischen Technik. Der Bildträger wird mit einer Collage aus Zeitungsausschnitten grundiert, ein populäres Bildmotiv wird gewählt und in einer Kombination aus Ölmalerei und Enkaustik (eine auf die Antike zurückgehende Malweise, bei der das Pigment mit flüssigem Wachs gebunden wird) auf den Bildträger aufgetragen. Durch das verfließende, aber schnell trocknende Wachs entstehen spezielle Oberflächenqualitäten. Die Collage bleibt durch die Farbschichten sichtbar. . Ab 1954 fand er die typischen Motive, die man heute mit Johns verbindet, wie die Targets, die amerikanische Flagge, die Landkarte der Vereinigten Staaten, die Buchstaben und Wörter und die Zahlen. Im Jahre 1957 begann eine Bekanntschaft mit Leo Castelli, der 1958 eine erste Einzelausstellung von Jasper Johns organisiert. Alfred Barr kaufte erste Werke für das Museum of Modern Art (MoMA) an. Rauschenberg, Johns und Emile de Antonio produzierten ein John-Cage-Retrospective-Konzert in der New Yorker Town Hall. Er schuf letzte Schaufensterdekorationen für Tiffany. . (wiki) / . Johns' working methods suggest he is a painter focused on the idea of perception. Linking past and present he ties perception to memory and creates a dialogue between an image's past history and its present appearance. Yet, perceptual concerns represent only one aspect of Johns' art. Other levels of meaning operate as obsessively. One sees recurring themes: fragmentation seen in body parts, entrapment suggested in veiled grays, hidden meanings indicated by an X, an overlapping panel, the impression of an iron. But even if each repetition is charted, each reappearance duly noted, it will only lead to another possibility. Johns has created a system of interconnected meanings that is open-ended. The Savarin holds a constant place in Johns' iconography of systems and things. It operates according to its own set of rules. The Savarin does not travel through paintings like the Watchman or rotate like the circle. Unlike other cast objects -the ale cans and the lightbulb - the Savarin never appears divided or separated. Wholeness is its chief characteristic. In a series of 1978 lithographs, Johns framed the Savarin in an old-fashioned oval, colored it bright blue, veiled it in reds. He has varied its color, size, medium, and surroundings over the years, but has never altered its position. It has never been shown from the back or the side, but is seen in an uncompromising position - brushes stopped like those in the 1960 Painted Bronze-head on, it stands alone, like a compliant subject in front of a lens. (Judith Goldman) ISBN 0910435049 Sprache: Deutsch Gewicht in Gramm: 1000 Originalleinen mit Schutzumschlag.

New York; ULAE, 1982. First edition. 32,5x25 cm. (35, 21 blanks) pp. + 18 plates. Publisher's cloth with printed dustjacket. The jacket is slightly chipped, otherwise fine. The book accompanied the exhibition "Savarin Monotypes" at Whitney Museum of American Art 1982-83. With an essay by Judith Goldman. "Because of a discrepance in the brightness of the paper, a group of proofs was withheld from the edition of Jasper Johns' lithograph Savarin (1977-81). Thinking to use these proofs as substructures for a series of monotypes, Johns began painting with colored inks on sheets of plexiglass. A lithograph, or, in some instances, blank paper was laid over the freshly painted surface, then covered with a felt blanket and run through a hand lithographic press. By modulating the applied pressure, it was often possible to transfer several slightly varying proofs from one painting." (preface). From the library of Anders Tornberg Gallery in Lund, Sweden, and with a stamp confirming this on the last blank page.

32 x 25cm. Hardcover with dustjacket, unpaginated [approx. 80pp]. Inscribed by the artist on the rainbow endpapers to art collector Babs Thomson (widow of John Altoon and Paul Thomson). A well-produced artist's book containing colour prints, concluding with a short essay on the Jasper Johns' work by Judith Goldman. Small closed tears to top of jacket, which is slightly rubbed, otherwise internally very good condition.

First edition. 4to. pp.92 (unpaginated), colour and black and white illustrations throughout, signed by the artist on the title page; bound in grey cloth boards with blind-stamped titles and multi-coloured endpapers; very good dust jacket; light shelfware and wear to extremities with some creasing to head of spine.