#6 (After "Untitled 1975")
(ULAE 179), 1976

Color lithograph from 16 aluminum plates on Rives BFK paper
30 1/8 x 29 3/4 inches
Edition of 60 with 20 artist's proofs
Signed and dated in pencil "J Johns 76" lower right
Numbered in pencil lower left
With the Gemini G.E.L. blindstamp lower right
Printed by Serge Lozingot and Mark Stock
Published by Gemini G.E.L., 1976

Richard Field, The Prints of Jasper Johns 1960-1993: A Catalogue Raisonne, ULAE, New York, 1994, #6 (After "Untitled 1975"), 1976, Catalogue Reference ULAE 179, n.p., another impression reproduced in full-page color.

Riva Castleman, Jasper Johns A Print Retrospective, Museum of Modern Art, New York, 1986, #6 (After "Untitled 1975") (ULAE 179), 1976, another impression reproduced in full-page color on page 118.

Museum Collections
National Gallery of Art, Washington D.C.

Jasper Johns #6 After Untitled

Author and Project Director at the Wildenstein Institute Roberta Bernstein observes: "the crosshatchings are the first Jasper Johns paintings that can be properly called abstract, though they are more like drawings than the gestural abstractions of Jackson Pollock or Jack Tworkov, and they bristle with citations from Henri Matisse, Pablo Picasso, the Surrealists, and other early-twentieth-century figures."