Sentences with phrase «maquettes for larger works»

With the pieces she particularly likes, Gordon will produce a mold and small edition, or use them as maquettes for her larger works.

Among the works that did well were Lot 140, «Model for T.W.U.,» a maquette for a larger work that was installed on West Broadway in SoHo in 1981 - 2 by Richard Serra (b. 1939), which sold for $ 123,500, more than twice its high estimate; Lot 181, an untitled 1984 work by Keith Haring (1958 - 1990) that sold for $ 101,500 and had had a high estimate of $ 70,000; Lots 119 and 120, both by Christopher Wool (b. 1955), that sold for $ 96,000 and $ 79,500, and which had both carried high estimates of $ 35,000; Lot 131, «Negativert,» a large interesting 1983 work by Sigmar Polke (b. 1941) that sold for $ 96,000, a bit over its high estimate of $ 90,000; Lot 132, «Abstract Painting 816 - 3,» a 22 by 20 1/8 oil on canvas that resembles a melted multi-colored metal red, white and blue flag by Gerhard Richter (b. 1932), that fetched $ 79,500 and had had a high estimate of $ 0,000; and Lot 134, «Dein Ashenes Haar Sulamith,» a very fine 1981 work by Anselm Kiefer (b. 1945), shown at the top of the article, that sold for $ 79,500 and had a high estimate of $ 70,000.

The maquette for the larger work in Darley Dale stone positioned in Battersea Park in 1948; the drapery and the apprehensive poses refer to Moore's «shelter drawings».

Not exact matches

Featured, are three maquettes each of which were created for seminal works: the maquette for Days on Blue, 1974 — the larger version resides in the collection of SFMOMA and is the largest sculpture Wilmarth ever completed; maquette for Gift of the Bridge, 1975 — the larger version resides in the collection of the Wadsworth Atheneum; and Maquette for Evers, 1974/1978 — the larger version resides in a private colmaquette for Days on Blue, 1974 — the larger version resides in the collection of SFMOMA and is the largest sculpture Wilmarth ever completed; maquette for Gift of the Bridge, 1975 — the larger version resides in the collection of the Wadsworth Atheneum; and Maquette for Evers, 1974/1978 — the larger version resides in a private colmaquette for Gift of the Bridge, 1975 — the larger version resides in the collection of the Wadsworth Atheneum; and Maquette for Evers, 1974/1978 — the larger version resides in a private colMaquette for Evers, 1974/1978 — the larger version resides in a private collection.

The works in Fecteau's MATRIX exhibition, though fully realized sculptures in their own right, suggest themselves as maquettes for much larger projects.

Also on view are maquettes used to develop Calder's large - scale works, including Cafritz Fountain [maquette](1966), a sheet metal and paint study for the iconic Gwenfritz (1968) currently at the Smithsonian's National Museum of America History.

Produced over a quarter of a century beginning in 1964, the maquettes offer a unique view into the sculptor's creative process: some illustrate the origins of compositions for monumental works, while others document ideas not realized ultimately in large scale or provide fascinating examples of early sculptural ideas that underwent significant transformation as they emerged as full - scale sculptures in the exhibition chronicle Arneson's evolution as an artist and the development of his freewheeling creativity and prodigious imagination.

All of the paintings in the exhibition began as small collage studies, which were utilized as maquettes for much larger works that were transferred onto canvas as a blueprint of the original, and then heavily embellished with multiple layers of paint.

These graceful, smaller gestures include the maquettes for large - scale works, and the easy, casual drawing studies for monumental pieces.

It is presented as a single installation featuring large scale photography, sculpture maquettes and installations of small - scale stones that often are the muse for Smyth's large scale public works.

The exhibition includes around six photographs from FAPE's collection and 22 prints from its Lee Kimche McGrath Original Print Collection plus drawings, photographs and maquettes for some of its large - scale site - specific works.

The later works are a Peter Doig snow scene from 2001 - 02; Whiteread's maquette for her Trafalgar Square commission in 2001 which was a resin cast of the plinth itself; the Hurvin Anderson oil painting Maracus 111 from 2004; a Conrad Shawcross maquette for his large - scale work Continuum, a three - metre - high sculpture commissioned by the National Maritime Museum; and George Shaw's Ash Wednesday, 8.30 am from 2004 - 05, one of a number of Humbrol enamel paintings the artist has made over the years of the Coventry housing estate where he grew up.

Two welcome exceptions — at Paul Kasmin, a stunning Lee Krasner (breaking her record to sell for $ 7m (# 5.2 m) and the exquisite lineup at Pace of maquettes for well - known large works by such as Louise Nevelson, Alexander Calder, Jean Dubuffet and Sol LeWitt that condensed their power to look newly relevant.