Details JASPER JOHNS (B. 1930)Decoyoil and brass grommet on canvas72 x 49 7/8 in. (182.9 x 126.7 cm.)Executed in 1971 Provenance Leo Castelli Gallery, New York.Victor and Sally Ganz, New York (1972);Estate sale; Christies, New York, 10 November 1997, lot 31.Acquired at the above sale by the late owner. Literature R.D. Herrmann, Johns the Pessimist, Artforum 16, no. 2, October 1977, pp. 26-33 (illustrated in color).T. Hess, Jasper Johns, Tell a Vision, New York Magazine, November 1977, pp. 109-111.Jasper Johns: Working Proofs, exh. cat., London, Tate Gallery, 1980, pp. 40-41 (illustrated).R. Francis, Jasper Johns, New York, 1984, pp. 68 and 74-76, fig. 76 (illustrated in color).R. Bernstein, Jasper Johns Paintings and Sculptures, 1954-1974: The Changing Focus of the Eye, Ann Arbor, 1985, pp. 125-128 (illustrated, pl. 53).Jasper Johns: The Seasons, exh. cat., New York, Leo Castelli Gallery, 1987.Dancers on a Plane: Cage, Cunningham, Johns, exh. cat., London, Anthony dOffay Gallery, 1989, p. 122, fig. 5 (illustrated).G. Boudaille, Jasper Johns, New York, 1989, p. 20 (illustrated in color, pl. 67).J. Elderfield, ed., American Art of the 1960s, New York, 1991, pp. 38-62, fig. 17 (illustrated in color).R. Bernstein, Jasper Johns, New York, 1992.Jasper Johns: Writings, Sketchbook Notes, Interviews, exh. cat., New York, The Museum of Modern Art, 1996, pp. 188, 191, 193, 200, 204, 211, 213 and 317.M. FitzGerald, ed., A Life of Collecting: Victor and Sally Ganz, New York, 1997, pp. 22 and 88-111 (illustrated in color and installation view illustrated).Jasper Johns: Regrets, exh. cat., New York, The Museum of Modern Art, 2014, p. 25, fig. 16 (illustrated in color).R. Bernstein, Jasper Johns: Catalogue Raisonné of Painting and Sculpture, Volume 3, Painting, 1971-2014, New Haven and London, 2016, pp. 8-9, no. P180 (illustrated in color). Exhibited New York, Whitney Museum of American Art, 1972 Annual Exhibition: Contemporary American Painting, January-March 1972, p. 9, no. 57.Hempstead, Emily Lowe Gallery at Hofstra University, Jasper Johns Decoy: The Print and the Painting, September-October 1972, n.p. (illustrated).New York, Whitney Museum of American Art; Cologne, Museum Ludwig in der Kunsthalle Koln; Paris, Musée National dArt Moderne; Tokyo, Seibu Museum of Art and San Francisco Museum of Modern Art, Jasper Johns, October 1977-December 1978, no. 146 (illustrated in color, New York), no. 112 (Cologne), no. 134 (London), no. 146 (Tokyo), no. 113 (San Francisco).New York, The Museum of Modern Art, Jasper Johns: A Print Retrospective, May-August 1986, p. 75 (illustrated in color).New York, The Museum of Modern Art, Jasper Johns: A Retrospective, October 1996-January 1997, p. 263, no. 144 (illustrated in color).London, Royal Academy of Arts and Los Angeles, The Broad, Jasper Johns, September 2017-May 2018, pp. 8, 17 and 193 (illustrated in color, pl. 108).New York, Whitney Museum of American Art, Jasper Johns: Mind/Mirror, September 2021-February 2022, pp. 171 and 191, no. 13 (illustrated in color). Special Notice On occasion, Christies has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. This is such a lot. Conditions of sale