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Gray Rectangles
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Gray Rectangles
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À propos de l'objet

Jasper Johns (b. 1930)\nGray Rectangles\n\nsigned and dated 'J. JOHNS 1957' (on the reverse)\n\nencaustic on canvas with objects\n\n60 x 60 in. (152.4 x 152.4 cm.)\n\nPainted in 1957.
GB
GB
GB

notes

An American Place: The Barney A. Ebsworth Collection

On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot.

An American Place: The Barney A. Ebsworth Collection

title

Gray Rectangles

signed

and dated 'J. JOHNS 1957' (on the reverse)

creator

Jasper Johns (b. 1930)

exhibited

Paris, Galerie Rive-Droite, Jasper Johns, January 1959.

Milan, Galleria del Naviglio, Jasper Johns: 287a Mostra del Naviglio, March 1959.

New York, Stable Gallery; Carbondale, Allyn Gallery, Fine Arts Festival at Southern Illinois University; Indianapolis, John Herron Art Institute; Tallahassee, Florida State University; Watch Hill, Holiday Art Center; Ithaca, White Art Museum, Cornell University; Kent State University; Atlanta Public Library; Aurora, Wells College, School of New York: Some Younger Artists, December 1959-March 1961, no. 9.

Vienna, Galerie Würthle; Saltzburg, Zwerglgarten; Belgrade, Kalemegdan Pavilion; Skopje, Umetnicki Pavilion; Zagreb, Moderna Galerija; Maribor, Umetnostna Galerija; Ljubljana, Moderna Galerija; Rijeka, Gallery of Fine Arts; London, USIS Gallery, American Embassy; Darmstadt, Hessisches Landesmuseum, Vanguard American Painting, June 1961-May 1962, no. 37.

Los Angeles, Everett Ellin Gallery, Jasper Johns: Retrospective Exhibition, November-December 1962, no. 13.

New York, Jewish Museum, Jasper Johns, February-April 1964, no. 14.

Venice Biennale, United States Pavilion, Quattro Pittori Germinali/ Four Germinal Painters (Morris Louis, Kenneth Noland, Robert Rauschenberg, Jasper Johns), June-October 1964, no. 40.

London, Whitechapel Gallery, Jasper Johns: Paintings, Drawings and Sculpture, 1954-1964, December 1964, no. 8 (illustrated in color).

Pasadena Art Museum, Jasper Johns, January-February 1965, no. 17.

New York, Leo Castelli Gallery, Ten Years, February-March 1967, n.p. (illustrated).

New York, Whitney Museum of American Art; Cologne, Museum Ludwig; Paris, Musée National d’Arte Moderne, Centre Georges Pompidou; London, Hayward Gallery; Tokyo, Seibu Museum of Art; San Francisco Museum of Modern Art, Jasper Johns, October 1977-December 1978, n.p., pl. 36 (illustrated in color).

Museum of the City of Cologne, Westkunst: Zeitgenössische Kunst seit 1939, May-August 1981, p. 233, no. 543 (illustrated in color).

New York, Whitney Museum of American Art, Blam! The Explosion of Pop, Minimalism, and Performance, 1958-1964, September-December 1984.

New York, Whitney Museum of American Art, Hand Painted Pop: American Art in Transition, 1955-62, July-October 1993, p. 125 (illustrated in color).

New York, Museum of Modern Art, Jasper Johns: A Retrospective, October 1996-January 1997, p. 146, no. 24 (illustrated in color).

Washington, D.C., National Gallery of Art; Seattle Art Museum, Twentieth-Century American Art: The Ebsworth Collection, March-November 2000, pp. 147-151 and 288, no. 33 (illustrated in color).

Art Institute of Chicago; New York, Metropolitan Museum of Art, Jasper Johns: Gray, November 2007-May 2008, pp. 44, 56, 149, 159 and 164, no. 10 (illustrated in color).

Seattle Art Museum, Big Picture: Art After 1945, July-November 2016.

literature

N. Lynton, “London Letter: American Painting Exhibitions,” Art International, vol. 6, no. 4, May 1962, p. 97 (illustrated).

M. Kozloff, “The Inert and Frenetic,” Artforum, vol. 4, no. 7, March 1966, p. 44 (illustrated).

M. Kozloff, Jasper Johns, New York, 1967, p. 21, pl. 31 (illustrated in color).

R. Francis, Jasper Johns, New York, 1984, pp. 34-35 and 37, fig. 34 (illustrated in color).

R. Bernstein, Jasper Johns’ Paintings and Sculptures, 1954-1974: “The Changing Focus of the Eye”, Ann Arbor, 1985, pp. 33 and 40-41.

M. Welish, “When Is a Door Not a Door,” Art Journal, vol. 50, no. 1, Spring 1991, pp. 49-51, fig. 4 (illustrated).

M. Fitzgerald, ed., A Life of Collecting: Victor and Sally Ganz, London, 1997, pp. 96-97 (illustrated in color).

Jasper Johns: Retrospektive, exh. cat., Cologne, Museum Ludwig, 1997, pp. 132 and 152, pl. 25 (illustrated in color).

D. Ngo, ed., Art + Architecture: The Ebsworth Collection + Residence, San Francisco, 2006, n.p. (illustrated in color and installation views illustrated).

J. Yau, A Thing Among Things: The Art of Jasper Johns, New York, 2008, p. 37.

R. Bernstein, H. Colsman-Freyberger, C. Sweeney and B. S. Zinn, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 2, Painting, 1954-1970, New Haven and London, 2016, pp. 46-47, no. P23 (illustrated in color).

lot_number

19 B

provenance

Leo Castelli Gallery, New York

Everett Ellin Gallery, Los Angeles

Ben and Judy Heller, New York, 1963

Leo Castelli Gallery, New York

Victor and Sally Ganz, New York, 1964

Their sale; Sotheby's, New York, 10 November 1988, lot 9

Acquired at the above sale by the late owner


*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.

*Merci de noter que le prix n'est pas recalculé à la valeur actuelle, mais se rapporte au prix final réel au moment où l'objet a été vendu.


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