Jasper Johns Between the Clock and the Bed, 1989
From an edition of 32
Hand-signed, dated and numbered in pencil
29 ¼ x 41 ¾ inches (74.3 x 106 cm)
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Jasper Johns is one of the most influential American artists of the postwar era, whose work helped reshape the course of contemporary art by bridging Abstract Expressionism with the emergence of Pop Art, Minimalism, and Conceptual Art. Best known for transforming familiar symbols such as flags, targets, numbers, and maps into complex investigations of perception and meaning, Johns has also maintained a remarkably important printmaking practice throughout his career. Working with Universal Limited Art Editions beginning in 1960, he treated printmaking not simply as a means of reproducing existing imagery, but as an essential part of his artistic process—reworking and revisiting motifs across different media and over extended periods of time.
*Between the Clock and the Bed*, 1989, belongs to one of Johns’s most significant bodies of work centered on his distinctive crosshatch motif. Its title and composition reference Edvard Munch’s late self-portrait *Between the Clock and the Bed* (1940–43), particularly the patterned bedspread that Johns transformed into an intricate field of overlapping marks, color, and repetition. The imagery reflects Johns’s longstanding interest in memory, appropriation, and the transformation of existing visual material, while the reference to Munch introduces underlying associations with time, mortality, and the artist’s own history. This original lithograph in 14 colors was printed on John Koller HMP paper and published by Universal Limited Art Editions in an edition of just 32. Measuring 29 ¼ × 41 ¾ inches (74.3 × 106 cm), it is hand-signed, dated, and numbered in pencil and is catalogued as ULAE 245.
