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Masterpieces: The Private Collection of S.I. Newhouse
JASPER JOHNS (B. 1930)
Alley Oop
Details
JASPER JOHNS (B. 1930)
Alley Oop
oil and printed paper collage on cardboard mounted on Masonite
23 ¼ x 18 in. (59.1 x 45.7 cm.)
Executed in 1958
Alley Oop
oil and printed paper collage on cardboard mounted on Masonite
23 ¼ x 18 in. (59.1 x 45.7 cm.)
Executed in 1958
Provenance
Robert Rauschenberg, New York and Captiva, Florida (gift from the artist, 1958).
Gagosian, New York (on consignment from the above).
Acquired from the above by the late owner, 13 October 1988.
Gagosian, New York (on consignment from the above).
Acquired from the above by the late owner, 13 October 1988.
Literature
B. Rose, “Dada Then and Now” in Art International, vol. 7, no. 1, 25 January 1963, p. 24.
L.R. Lippard, Pop Art, New York, 1966, p. 72.
M. Kozloff, Jasper Johns, New York, 1967 (illustrated, pl. 22).
L. Alloway, “Jasper Johns and Robert Rauschenberg” in Art since Mid-Century: The New Internationalism, vol. 2, 1971, p. 204 (illustrated, p. 205, pl. 207).
R. Bernstein, Jasper Johns’ Paintings and Sculptures, 1954-1974: “The Changing Focus of the Eye,” Ann Arbor, 1985, p. 38.
K. McShine, ed., Andy Warhol: A Retrospective, exh. cat., The Museum of Modern Art, New York, 1989, pp. 14-15 (illustrated, p. 15, pl. 4).
F. Orton, “On Being Bent ‘Blue’ (Second State): An Introduction to Jacques Derrida/A Footnote on Jasper Johns*" in Oxford Art Journal, vol. 12, no. 1, 1989, p. 43 (illustrated, fig. 9).
M. Livingstone, Pop Art: A Continuing History, New York, 1990, p. 29.
Rauschenberg Overseas Culture Interchange, exh. cat., National Gallery of Art, Washington, D.C., 1991, p. 156.
R. Shiff, “Jasper Johns, Alley Oop, 1958” in Artforum, vol. 34, no. 7, March 1996, p. 89 (illustrated in color, p. 88).
J. Katz, “Lovers and Divers: Interpictorial Dialog in the Work of Jasper Johns and Robert Rauschenberg” in Frauen, Kunst, Wissenschaft, vol. 25, June 1998, pp. 26-27.
J. Rondeau and D. Druick, Jasper Johns: Gray, exh. cat., The Art Institute of Chicago, 2007, p. 144 (illustrated in color, p. 145, fig. 4).
J. Katz, “‘Committing the Perfect Crime’: Sexuality, Assemblage, and the Postmodern Turn in American Art” in Art Journal, vol. 67, no. 1, Spring 2008, p. 48 (illustrated in color).
A. Molotiu, ed., Abstract Comics: The Anthology, 1967-2009, Seattle, 2009 (illustrated in color, fig. 6).
M. Corris, Art, Word and Image: Two Thousand Years of Visual/Textual Interaction, London, 2010, p. 260 (illustrated in color, fig. 55).
R. Storr, Selections from the Private Collection of Robert Rauschenberg, exh. cat., Gagosian Gallery, New York, 2012, p. 176 (illustrated in color, p. 177).
R. Bernstein, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Painting, 1954-1970, New Haven and London, 2016, vol. 2, p. 110, no. P55 (illustrated in color, p. 111 and vol. 5, p. 112).
L.R. Lippard, Pop Art, New York, 1966, p. 72.
M. Kozloff, Jasper Johns, New York, 1967 (illustrated, pl. 22).
L. Alloway, “Jasper Johns and Robert Rauschenberg” in Art since Mid-Century: The New Internationalism, vol. 2, 1971, p. 204 (illustrated, p. 205, pl. 207).
R. Bernstein, Jasper Johns’ Paintings and Sculptures, 1954-1974: “The Changing Focus of the Eye,” Ann Arbor, 1985, p. 38.
K. McShine, ed., Andy Warhol: A Retrospective, exh. cat., The Museum of Modern Art, New York, 1989, pp. 14-15 (illustrated, p. 15, pl. 4).
F. Orton, “On Being Bent ‘Blue’ (Second State): An Introduction to Jacques Derrida/A Footnote on Jasper Johns*" in Oxford Art Journal, vol. 12, no. 1, 1989, p. 43 (illustrated, fig. 9).
M. Livingstone, Pop Art: A Continuing History, New York, 1990, p. 29.
Rauschenberg Overseas Culture Interchange, exh. cat., National Gallery of Art, Washington, D.C., 1991, p. 156.
R. Shiff, “Jasper Johns, Alley Oop, 1958” in Artforum, vol. 34, no. 7, March 1996, p. 89 (illustrated in color, p. 88).
J. Katz, “Lovers and Divers: Interpictorial Dialog in the Work of Jasper Johns and Robert Rauschenberg” in Frauen, Kunst, Wissenschaft, vol. 25, June 1998, pp. 26-27.
J. Rondeau and D. Druick, Jasper Johns: Gray, exh. cat., The Art Institute of Chicago, 2007, p. 144 (illustrated in color, p. 145, fig. 4).
J. Katz, “‘Committing the Perfect Crime’: Sexuality, Assemblage, and the Postmodern Turn in American Art” in Art Journal, vol. 67, no. 1, Spring 2008, p. 48 (illustrated in color).
A. Molotiu, ed., Abstract Comics: The Anthology, 1967-2009, Seattle, 2009 (illustrated in color, fig. 6).
M. Corris, Art, Word and Image: Two Thousand Years of Visual/Textual Interaction, London, 2010, p. 260 (illustrated in color, fig. 55).
R. Storr, Selections from the Private Collection of Robert Rauschenberg, exh. cat., Gagosian Gallery, New York, 2012, p. 176 (illustrated in color, p. 177).
R. Bernstein, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Painting, 1954-1970, New Haven and London, 2016, vol. 2, p. 110, no. P55 (illustrated in color, p. 111 and vol. 5, p. 112).
Exhibited
New York, Jewish Museum, Jasper Johns, February-April 1964, p. 13, no. 27.
London, Whitechapel Gallery, Jasper Johns: Painting, Drawings and Sculpture, 1954-1964, December 1964, no. 15.
Pasadena Art Museum, Jasper Johns, January-February 1965, no. 26.
New York, Whitney Museum of American Art, American Pop Art, April-June 1974, p. IX, no. 30 (illustrated, fig. 48).
New York, Whitney Museum of American Art; Cologne, Museum Ludwig in der Kunsthalle Köln; Paris, Musée national d'art moderne, Centre Georges Pompidou; London, Hayward Gallery; Tokyo, Seibu Museum of Art and San Francisco Museum of Modern Art, Jasper Johns, October 1977-December 1978, p. 34 (illustrated, p. 35, pl. 33).
New York, Whitney Museum of American Art, The Comic Art Show: Cartoons in Painting and Popular Culture, July-August 1983, p. 57 (illustrated).
Sydney, Art Gallery of New South Wales; South Brisbane, Queensland Art Gallery and Melbourne, National Gallery of Victoria, Pop Art, 1955-70, February-August 1985, p. 38 (illustrated in color).
London, Institute of Contemporary Art; Dublin, Douglas Hyde Gallery and Manchester, Cornerhouse Gallery, Comic Iconoclasm, June 1987-February 1988, p. 30 (illustrated in color).
New York, The Museum of Modern Art; The Art Institute of Chicago and Museum of Contemporary Art, Los Angeles, High & Low: Modern Art and Popular Culture, October 1990-September 1991, p. 188 (illustrated in color, fig. 61).
New York, The Museum of Modern Art and Cologne, Museum Ludwig, Jasper Johns: A Retrospective, October 1996-June 1997, p. 151, no. 31 (illustrated in color).
London, Royal Academy of Arts, Jasper Johns, September-December 2017, pp. 23 and 34, no. 61 (illustrated in color, p. 129).
New York, Whitney Museum of American Art, Jasper Johns: Mind/Mirror, September 2021-February 2022, pp. 30-31 (illustrated in color, p. 46, no. 11).
London, Whitechapel Gallery, Jasper Johns: Painting, Drawings and Sculpture, 1954-1964, December 1964, no. 15.
Pasadena Art Museum, Jasper Johns, January-February 1965, no. 26.
New York, Whitney Museum of American Art, American Pop Art, April-June 1974, p. IX, no. 30 (illustrated, fig. 48).
New York, Whitney Museum of American Art; Cologne, Museum Ludwig in der Kunsthalle Köln; Paris, Musée national d'art moderne, Centre Georges Pompidou; London, Hayward Gallery; Tokyo, Seibu Museum of Art and San Francisco Museum of Modern Art, Jasper Johns, October 1977-December 1978, p. 34 (illustrated, p. 35, pl. 33).
New York, Whitney Museum of American Art, The Comic Art Show: Cartoons in Painting and Popular Culture, July-August 1983, p. 57 (illustrated).
Sydney, Art Gallery of New South Wales; South Brisbane, Queensland Art Gallery and Melbourne, National Gallery of Victoria, Pop Art, 1955-70, February-August 1985, p. 38 (illustrated in color).
London, Institute of Contemporary Art; Dublin, Douglas Hyde Gallery and Manchester, Cornerhouse Gallery, Comic Iconoclasm, June 1987-February 1988, p. 30 (illustrated in color).
New York, The Museum of Modern Art; The Art Institute of Chicago and Museum of Contemporary Art, Los Angeles, High & Low: Modern Art and Popular Culture, October 1990-September 1991, p. 188 (illustrated in color, fig. 61).
New York, The Museum of Modern Art and Cologne, Museum Ludwig, Jasper Johns: A Retrospective, October 1996-June 1997, p. 151, no. 31 (illustrated in color).
London, Royal Academy of Arts, Jasper Johns, September-December 2017, pp. 23 and 34, no. 61 (illustrated in color, p. 129).
New York, Whitney Museum of American Art, Jasper Johns: Mind/Mirror, September 2021-February 2022, pp. 30-31 (illustrated in color, p. 46, no. 11).
Brought to you by
Rachael White Young
Senior Vice President, Senior Specialist, Co-Head of 20th Century Evening Sale
