Jasper Johns, ‘Untitled (Red, Yellow, Blue)’, 1998, David Tunick, Inc.

Signature: Signed and dated in graphite, “J. Johns / ‘98” lower right; signed, dated, and inscribed in graphite "Acrylic Paint Over Etching J.Johns '98" lower right verso

Max Protech Gallery, New York, “Bring Home a Dancer,”
May 5, 1998 - ? (not illustrated)

Pepe Karmel, “Jasper Johns: Drawing Over,” New York, Leo Castelli Gallery, 2010 (exhibition catalogue), ill. p. 67

The artist; 1998 or 1999 to
Bill T. Jones (a dancer close friend of the artist), New York;
Matthew Marks Gallery, New York; 1999 to
Private collection, New York

About Jasper Johns

Jasper Johns's ongoing stylistic and technical experimentation place him at the forefront of American art. His richly textured paintings of maps, flags, numbers, and targets laid the groundwork for Pop art, Minimalism, and Conceptual art. In New York in the 1950s, Johns was part of a community of artists, including Robert Rauschenberg, seeking an alternative to the emotional nature of Abstract Expressionism. Influenced by Marcel Duchamp, Johns's early work paired the concerns of craft with familiar concrete imagery. His interest in process also led to innovations in lithography, screen-printing, etching and woodblock, using such materials as pencil, pen, brush, crayon, wax, and plaster to constantly challenge the technical possibilities of printmaking.

American, b. 1930, Augusta, Georgia, based in New York, New York