Provenance

Marlborough Gallery

Marlborough A.G.
Marlborough Graphics

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Twenty-one, free-standing, bronze sculptures of headless people are arranged under the green canopies of trees in this horizontal photograph. The earth-brown surfaces of the sculptures are rough. In this view, they cluster together at various distances from each other, and the bodies of all are angled to our right. They stand erect with their legs together and arms pressed tightly along their sides. From this angle, one person is positioned farther from the rest, to our left. Each person stands on a square base that sits on the ground, which appears to be fine mulch or pine needles. Six trees are spaced around the group, and together their canopies fill the top third of this photograph. Beyond the trees is a low, green hedge that encloses the whole group. Sunlight illuminates the front, right-hand surfaces of the sculptures.
Magdalena Abakanowicz, Puellae (Girls), 1992, bronze, Gift of The Morris and Gwendolyn Cafritz Foundation, 1998.148.1

Puellae (Girls)

Magdalena Abakanowicz · 1992 · bronze ·  Accession ID  1998.148.1

Orange-red and battleship-gray geometric forms are arranged in a loose grid in this vertical, abstract painting. Made entirely of vertical and horizontal lines, the forms are reminiscent of letters or hieroglyphs. Sometimes the red forms seem to float in front of a gray background, but then the contrast will flip so the gray comes forward, creating a subtle optical illusion.
Ad Reinhardt, Untitled (Red and Gray), 1950, oil on canvas, Robert and Jane Meyerhoff Collection, 1992.28.3

Untitled (Red and Gray)

Ad Reinhardt · 1950 · oil on canvas ·  Accession ID  1992.28.3

Ad Reinhardt, Untitled (Yellow and White), 1950, oil on canvas, Robert and Jane Meyerhoff Collection, 1992.28.2

Untitled (Yellow and White)

Ad Reinhardt · 1950 · oil on canvas ·  Accession ID  1992.28.2

This iron, freestanding sculpture consists of two wheels connected by an upward curving axle, an abstract, carriage-like structure, and five wavy lines standing upright along the top. The wheels each have six spokes and thin rims. In this photograph, the upside-down, U-shaped axle is bolted to the left end of a horizontal strip of iron, which ends to the right with an oval loop. That end of the strip is supported by a tall, narrow, wedge-shaped piece of iron. Five thin iron strips are spaced evenly across the horizontal bar. The top edges are rounded, and they curve in shallow, angular S shapes. The sculpture stands on a pale pink, polished marble floor against a wall with textured gray marble blocks. The scale of the space shows that the sculpture is at least as tall as an average person.
David Smith, Voltri VII, 1962, iron, Ailsa Mellon Bruce Fund, 1977.60.4

Voltri VII

David Smith · 1962 · iron ·  Accession ID  1977.60.4

Made with sheets of painted steel, a red ring stands upright on a narrow black base in this freestanding sculpture. A black strip and a white strip are affixed to the edges of the ring. An inward-facing cup-shaped lip at the bottom right side of the circle is lined with black along the inner edge and painted white where it encloses space on the otherwise red ring. The black rectangular strip, which would be about the same height as the ring if stood alongside it, is affixed to the left center of the face of the ring almost vertically. The longer white strip is affixed to the back side of the ring and angles from near the top of the black strip down and to the right. The sculpture is photographed near a wall clad with pale pinkish-gray marble and a similarly colored floor.
David Smith, Circle II, 1962, painted steel, Ailsa Mellon Bruce Fund, 1977.60.2

Circle II

David Smith · 1962 · painted steel ·  Accession ID  1977.60.2

David Smith, Circle III, 1962, painted steel, Ailsa Mellon Bruce Fund, 1977.60.3

Circle III

David Smith · 1962 · painted steel ·  Accession ID  1977.60.3

Made with sheets of painted steel, an orange ring stands upright on a narrow white base in this freestanding sculpture. A black strip and a gray strip are affixed to the edges of the ring. The black strip is horizontal across the top of the circle, attached to the back side of the ring, and the narrower but longer gray strip is angled across the top right quarter of the circle. The sculpture is photographed near a wall clad with pale pinkish-gray marble and a similarly colored floor.
David Smith, Circle I, 1962, painted steel, Ailsa Mellon Bruce Fund, 1977.60.1

Circle I

David Smith · 1962 · painted steel ·  Accession ID  1977.60.1

The artwork includes an irregular oval shape in varying shades of teal and green blending into a lighter border against a wooden brown background. The central shape resembles a shallow body of water with a textured surface resembling ripples or brushstrokes. Beige and cream hues form a transition between the central area and the wooden panel. The wood grain adds an organic texture to the piece.
Richard Estes, Shigemitsu Tsukaguchi, Marlborough Graphics, Study VI, New York Harbor [#21, gray-green], 1997, carved and inked woodblock, Gift of Marlborough Graphics, New York, 2000.50.14

Study VI, New York Harbor [#21, gray-green]

Richard Estes, Shigemitsu Tsukaguchi, Marlborough Graphics · 1997 · carved and inked woodblock ·  Accession ID  2000.50.14

The image shows a vessel on the water facing a city skyline. The horizon is high showing the meeting point of water and cityscape, with two tall twin towers standing out among buildings. The wake of the vessel is visible as it moves through the water towards the skyline. The artwork combines detailed reflections and textures in the water with precise brushstrokes. The color scheme includes blues and greens for the water, contrasting with warmer tones in the sky. The vessel's structure with a yellow wall and windows is on the right side, adding a sense of motion.
Richard Estes, Shigemitsu Tsukaguchi, Marlborough Graphics, Study VI, New York Harbor, 1997, color woodcut on Echizen-Kozo wove paper, Gift of Marlborough Graphics, New York, 2000.50.1

Study VI, New York Harbor

Richard Estes, Shigemitsu Tsukaguchi, Marlborough Graphics · 1997 · color woodcut on Echizen-Kozo wove paper ·  Accession ID  2000.50.1

The image displays a network of intersecting, overlapping lines, zigzags, and scribbles forming an abstract composition. The lines are interwoven, resembling the outline of a seated figure with crossed arms or clasped hands in their lap. The abstract lines suggest familiar objects like facial features and torso without fully defining them. The chaotic yet intentional linework conveys motion and form without complete representation.
Frank Auerbach, Ruth (II), 1994, etching and aquatint printed in black and gray from 2 plates on wove Somerset paper, Gift of the Collectors Committee, 1995.13.2

Ruth (II)

Frank Auerbach · 1994 · etching and aquatint printed in black and gray from 2 plates on wove Somerset paper ·  Accession ID  1995.13.2