Six Lithographs Series (After Untitled 1975), 1976. The complete set of six lithographs in colors, on Rives BFK newsprint gray paper, with full margins, all I. 29 x 28 5/8 in (73.7 x 72.7 cm);all S. 30 x 29 3/4 in (76.2 x 75.6 cm) all signed, dated `76' and numbered 28/60 in pencil (there were also 13, 15, 11, 13, 13 and 20 artist's proofs respectively), published by Gemini G.E.L., Los Angeles (with their blindstamps), all in excellent condition, all framed.

Gemini G.E.L. 740-745
Including: #1 (after 'Untitled 1975'), 1976; #2 (after 'Untitled 1975'), 1976; #3 (after 'Untitled 1975'), 1976; #4 (after 'Untitled 1975'), 1976; #5 (after 'Untitled 1975'), 1976; and #6 (after 'Untitled 1975'), 1976 Where patches of Johns’s strokes abut, attention is concentrated wholeheartedly on the kind of painter’s ‘problem’ that is one of the lasting features of old-type painting—deciding how to close off one form as it gives way to another. The emblematic patterns of Johns’s classic works controlled this situation by supplying strokes with one arbitrary but fixed terminal edge. In the less graphic (more “abstract”) paintings of the last few years this returns; Johns sets himself internal, regularized and wholly non-referential boundaries to paint up to or to set out from. Still, if the patches of strokes and intervals share the counterpoint of a rectilinear grid, they also lend granular solidity to the surface—like some magnified mineral infrastructure. In this way the surface avoids being merely decorated with a pattern, for the elusiveness of a hinted system and the visible mutual interruption of symmetrical and asymmetrical arrangements both preclude the formation of a continuous overall or interlocking “diaper” pattern. Joseph Masheck ‘Jasper Johns Returns’, Art In America March-April 1976 (Cover story) pp 65-67