Allen Jones, ‘Self, from New York International Portfolio’, 1965, Alpha 137 Gallery

Allen Jones’ style reflects a preoccupation with exploring the representation of the figure in the context of 1960s Minimalism and the decline of figurative representation in art. His disembodied Self, one of his best known prints, is a classic example of Jones' early works before he turned to sculpture. In the 1970s, he returned to painting, producing works inspired by mail-order fetish-wear catalogues. Other impressions of Self are in the permanent collections of major museums and public collections around the world, including the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; and Smithsonian Institution, Washington, D.C. It has become quite scarce thus. This work is in fine condition and has never been framed.
Publisher: Tanglewood Press, Los Angeles
Printer: Chiron Press, New York
Catalogue Raisonné: 28, Lloyd

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Signature: Signed and dated in pencil lower right; numbered lower left in pencil; also features the blind stamp of the printer lower left recto (front)

Publisher: Tanglewood Press, Los Angeles, publisher; Chiron Press, New York, printer

Catalogue Raisonné: 28, Lloyd

This work has fine provenance and was part of a complete New York International portfolio, featuring a group of prints by international artists on the New York scene, including Arman, Oyvind Fahlstrom, Mary Baumeister, and John Goodyear, as well as established American artists like Robert Motherwell, James Rosenquist, and Ad Reinhardt.

About Allen Jones

Controversial painter and sculptor Allen Jones is best known for his trio of fiberglass figures: Hatstand, Table, and Chair from 1969. The forniphilic series, which rocketed Jones to fame and made him an enemy to feminists, depicts women as furniture. They are placed in poses of submission and vanity, and clad in rubber BDSM costumes. Jones’s style reflects a desire to explore the representation of “the figure” in the context of 1960s minimalism and the decline of figural representation in art. He is fascinated by the effort and fakery people put into presenting themselves, and strives to personify the human condition in his pieces. Jones studied painting in art school but turned to sculpture as a means of giving his forms a true, physical presence. He returned to painting in the 1970s, producing works inspired by mail-order fetish-wear catalogues.

English, b. 1937, Southampton, United Kingdom