Jasper Johns

(American, b. 1930)

Corpse and Mirror

, 1976

lithograph in white on black German etching paper

signed, dated, and numbered 15/58 in white pencil

28 3/4 x 30 1/2 inches.

Property from a Private Colorado Collector

Literature:

ULAE 168

Lot Essay:

I only saw it for a second, but knew immediately that I was going to use it. It had all the qualities that interest me – literalness, repetitiveness, an obsessive quality, order with dumbness, and the possibility of a complete lack of meaning.

-Jasper Johns, on glimpsing the crosshatched pattern for the first time on a passing car – a pattern that permeated his work for the next ten years

Based on a painting of the same title from 1974 on which black encaustic hatching appears on a white field, Jasper Johns’ Corpse and Mirror printed at ULAE in 1976, was an ambitious undertaking from the start. It was not his first crosshatch print and would not be his last, but the complexity of the composition is pushed to the edge through the stark use of a black ground.

The title, Corpse and Mirror,refers to the game cadavre exquis or exquisite corpse invented by the French Surrealists where a player makes a drawing on a piece of paper which is then folded over so that only the edge is visible to the next player who continues, thus producing a continuous but not logically linked image. Here, Johns furthers the idea of this game through the mirrored element, his signature crosshatching and of course his sophisticated mastery of printmaking.

The printing process involved twelve lithographic plates each printed on a hand fed offset proofing press resulting in six individual yet related fields. The almost indecipherable differences in his treatment of each of the six sections include a light pink wash, adding violet, yellow or blue to the white pigment, but doing so in such a subtle way that the eye cannot immediately process the differences on the black background. This is where Johns’ deep knowledge and understanding of printmaking and compositional intricacies is most evident.

For Jasper Johns, the 1970’s hailed a move to experimentation with the abstracted crosshatch theme in his paintings as well as his prints. It has become one of the central themes in Johns’ canon and is expertly executed in the work presented here. The complexity and calculated sophistication in technique and composition are a hallmark of the artist in every medium in which he works.

Framed: 39 1/4 x 49 1/2 inches. Hinged to backing board in multiple areas along sheet verso, slight time fading, please request additional images.

The physical condition of lots in our auctions can vary due to age, normal wear and tear, previous damage, and restoration/repair. All lots are sold "AS IS," in the condition they are in at the time of the auction, and we and the seller make no representation or warranty and assume no liability of any kind as to a lot's condition. Any reference to condition in a catalogue description or a condition report shall not amount to a full accounting of condition. Condition reports prepared by Freeman's staff are provided as a convenience and may be requested from the Department prior to bidding.

The absence of a posted condition report on the Freeman's website or in our catalogues should not be interpreted as commentary on an item's condition. Prospective buyers are responsible for inspecting a lot or sending their agent or conservator to inspect the lot on their behalf, and for ensuring that they have requested, received and understood any condition report provided by Freeman's.

Please email for any additional information or questions you may have regarding this lot.

To request further details about this lot, please email [email protected]

Joseph Stanfield

Senior Vice President, Director, Fine Art

[email protected]312.280.1212

As the head of Hindman’s Fine Art Department, Mr. Stanfield is instrumental in bringing in major consignments from private collectors, estates, dealers and institutions. He has led the department to dozens of auction records, with a particular focus on Chicago Modernism. Mr. Stanfield has played an integral role in the development of the American & European and Post War & Contemporary Art categories, with the most successful year for the department in company history coming in 2021. He also oversaw a house record for total sales for a week of Fine Art auctions in May 2022. Mr. Stanfield is also the lead auctioneer for the Fine Art sales at Hindman. Prior to returning to Hindman in 2019, he was at Toomey & Co. for eight years, where he oversaw important collections including the estate of Candice B. Groot, the collection of Governor Jim Thompson, and the estate of Robert E. Beck. Mr. Stanfield earned a BA from the University of Kansas where he studied Art History.

Monica Brown

Managing Director, Vice President, Fine Art, Head of Department, Prints and Multiples

[email protected]303.825.1855

Ms. Brown rejoined the firm in 2019 as a senior specialist in the Fine Art department, where she has been the resident expert and Head of Sale for Prints and Multiples. She has over 17 years of art-market experience, most recently as founder of Monica Brown Fine Art. In addition to working for renowned auction houses, she has extensive knowledge in over five centuries of works on paper from her tenure at the Newberry Library in Chicago, and eight years of experience with one of London’s leading dealers of Pop Art editions.

Framed: 39 1/4 x 49 1/2 inches. Hinged to backing board in multiple areas along sheet verso, slight time fading, please request additional images.

Please email for any additional information or questions you may have regarding this lot.

Prints and Multiples

Corpse and Mirror

Lot Description

Condition Report

Preview

Auction Contact

Shipping | Pickup