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Mark Tansey Auction Price Results

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MARK TANSEY Secret of the Sphinx.

Lot 275: MARK TANSEY Secret of the Sphinx.

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Description: MARK TANSEY Secret of the Sphinx. Etching on wove paper, 1980. 78x88 mm; 3 1/8x3 1/2 inches, full margins. Signed, titled, dated and numbered 6/60 in pencil, lower margin. A very good impression with nice tonal effects. The work of Mark Tansey (b. 1949) explores the implications of perceptions, meaning and interpretation of art through carefully constructed visual allegories. Tansey states: "What a work of art is about unfolds in the eye-mind-hand-material process and is carried on in the viewer's reading. It's more a process of questioning and performing than capturing." He incorporates an exhuastive knowledge of art history, instilled in him by a family of art historians, and often manipulates the conventions and structures of the figurative, which results in compositions fraught with great conflict. What initially appears as ordinary can pass into something strangely out of context, thus creating conflict while still remaining visually coherent.

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MARK TANSEY

Lot 8: MARK TANSEY

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Description: MARK TANSEY B.1949 SHADES signed, titled and dated 2001 on the reverse oil on canvas 84 x 108 in. 214 x 275 cm.

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Mark Tansey (b. 1949)

Lot 8: Mark Tansey (b. 1949)

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Description: Source of the Loue signed, titled and dated "Source of the Loue" 1988' (on the reverse) oil on canvas 65 x 81 in. (165.1 x 205.7 cm.) Painted in 1988. PROVENANCE Donated by the artist and Curt Marcus Gallery, New York A Benefit Auction for the Supportive Care Program of St. Vincent's Hospital and Medical Center of New York, Sotheby's, New York, 2 May 1988, lot 13 Acquired from the above by the present owner LITERATURE A. C. Danto, Mark Tansey: Visions and Revisions, New York 1992, p.93 (illustrated in color). EXHIBITION Kunsthalle Basel, Mark Tansey, April-May 1990 (illustrated in color). Los Angeles County Museum of Art; Milwaukee Art Museum; Modern Art Museum of Fort Worth; Boston, Museum of Fine Arts; and The Montreal Museum of Fine Arts, Mark Tansey, June 1993- November 1994, p.58, no.23 (illustrated in color). NOTES Mark Tansey is an artist who makes pictures of pictures, and in the process recreates a completely fictional and metaphorical world. His narratives investigate different realities, mingling the conceptual with the formal. The artist's works initially seem deceivingly legible; he utilizes a flat, descriptive style and depicts primarily landscapes, naturalistic figures in arrested movement and domestic interiors. Monochromatic in palette, the paintings exude a flavor of the old-fashioned, drawing upon sepia-toned photographs, American plein-air paintings and grisaille painting of the 15th century. By nature the works are intellectural and somewhat disengaged, relying heavily on their content, while taking the viewer on an adventure into art historical references. Tansey once said, "A painted picture is a vehicle. You can sit in your driveway and take it apart or you can get in it and go somewhere" (J. Freeman, Mark Tansey, Los Angeles 1993, p.26). For Source of the Loue, Tansey's vehicle is the allegory of the cave. Caves are a prominent theme in the artist's work as they reference his interest in Plato's Allegory of the Cave. The inspiration for Source of the Loue however is a series of late landscape paintings by the French realist painter Gustave Courbet. The Loue River is located in a geological noteworthy area of the region of the Doubs, in the eastern part of the Franche-Comt‚ near Switzerland. This river flows out from the deep caves of limestone rock and runs through Courbet's hometown of Ornans. Courbet's painting is critically and art historically important as it represents a breakthrough in the representation of landscape. But in Source of the Loue, Tansey may have appropriated the subject matter from Courbet but he has deliberately rendered the dark and mysterious cave inaccessible. Essentially the artist has blocked off "the source", the symbol of creativity and of female sexuality by constructing a military like contraption with unbreakable walls and wire. The barbed wire in the foreground of the painting is reminiscent of the graffiti script commonly associated with the blackboard series of works by the artist Cy Twombly. Yet in choosing to reference the work of Courbet, Tansey reasserts his own link with the art of the past. "All of its theoretical rules and ideologies are represented here by the blockwall under construction, which obscures the open-ended explorations of the 19th century avant-garde, epitomized by Courbet's cave."( ibid, p.59).

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Lot 11: MARK TANSEY

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Description: FOUR FORBIDDEN SENSES (TASTE, SOUND, SMELL, TOUCH) signed, titled and dated 1982 on the reverse of each panel oil on canvas in four panels overall: 58 by 160 in. In Arthur C. Danto's Mark Tansey: Visions and Revisions, the author discusses Tansey's approach to painting and subject. "He employs a flat, descriptive, didactic style, suited to communicating visual information, like that used for medical illustrations, or the images in books of natural history...The paintings are monochrome and seem themselves to be dated and somewhat old-fashioned, resembling the plates of rotogravure of the kind I remember looking at in heavy volumes at my grandparents" house." (Arthur C. Danto, Mark Tansey: Vision and Revisions, New York, 1987, p.12). Explaining the artist's technique Danto writes, "His is a form of fingerpainting raised to its highest power. He begins with a layer of monochrome pigment that will dry in about six hours...The images are produced by wiping or pulling the paint away, and Tansey has various instruments for achieving the repertoire of textures this pulling away of pigment leaves behind. There is, no more than with fresco, much room for revision or retouching. Working from what I surmise is a middle tone, adding darks and wiping away to the lights constituted by the tone of the ground of the original canvas, the result has the quality of old master paintings, which worked in and out of the middle tones in this manner. The result of this largely subtractive process is that the images feel as if they simply emerged, the way they do on the photographic plate." (A. Danto p. 15). In Peter Frank's essay for Mark Tansey's exhibition at the Grace Borgenicht Gallery exhibition in 1982, the author offers an approach to interpreting Tansey's painting. "When I write I normally offer descriptions of the artwork in order to support, even set in motion, my discussion of substantial issues and overarching themes. Such description is conspicuous by it's absence in this consideration of Tansey's most recent pictures. Tansey's art is reduced by such -ITEM- description becomes tedious and beside the point, while defusing what is entertaining about the work. It's like explaining jokes. It defeats my purpose to describe what's going on in The Four Forbidden Senses; much of the work's function depends on your unraveling the clues. To unravel them for you would be like handing you a crossword puzzle with most of the words already written in. The initial attraction of Tansey's paintings and drawings is their fun-inflected mystery, and their communicating allure depends on the involvement of the viewer willing to play by thinking." (Peter Frank, "Mark Tansey Paintings", New York, 1982). Lynn Zelevansky in her review of the 1982 Grace Borgenicht for Flash Art ventures to describe various aspects of Four Forbidden Senses(Taste, Sound, Smell, Touch). "When Tansey's work communicates viscerally, it is because of it's emotional rather than intellectual content. One of four canvases titled, Four Senses, Smell, takes place in a kitchen where an adolescent daughter smokes while her mother sprays the room with air freshener. The immediacy of their animosity creates a sensory response in the viewer. In Touch, a man reaches into a grating for a woman who stands above him, only her feet visible in high heels. The dream-like symbolism has more powerfully sexual overtones than much overtly sexual neo-expressionism." (Lynn Zelevansky, "Mark Tansey" in Flash Art, January 1983, p. 65). The image in each panel also appeared in the 1982 painting, Seven Deadly Sins, which was done in seven smaller panels, each 20 by 15 inches. This painting has been requested for the exhibition of Mark Tansey's work which will be on view at the Los Angeles County Museum of Art (June-August 1993), and will travel to the Milwaukee Art Museum, the Modern Art Museum of Fort Worth, the Museum of Fine Arts in Boston, and the Montreal Museum of Fine Arts. This loan is not a condition of the sale. Provenance: Curt Marcus Gallery, New York Literature: House and Garden, September 1984, p. 204, illustrated "Ein Denker Maltkritik" in Art das Kunstmagazin, no. 4, April 1988, p. 50, illustrated Arthur C. Danto, Mark Tansey: Visions and Revisions, New York, 1992, pp. 40-41, illustrated in color.

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MARK TANSEY

Lot 21: MARK TANSEY

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Description: Library (of Babylon) Each signed, titled and dated ‘Tansey, 1994, Library (of Babylon)’ on the reverse.

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Mark Tansey (b. 1949)

Lot 27: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) Push/Pull signed 'Tansey' (center right); signed again, titled and dated 'Tansey 2003 Push-Pull' (on the reverse)oil on canvas 84 x 108¼ in. (213.4 x 275 cm.) Painted in 2003.

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Mark Tansey (b. 1949)

Lot 27: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) On Photography (Homage to Susan Sontag) signed, titled and dated 'Tansey 1982 "HOMAGE TO SUSAN SONTAG"' (on the reverse)oil on canvas 54 x 90 in. (137.2 x 228.6 cm.) Painted in 1982.

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Reader, 1990

Lot 38: Reader, 1990

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Description: Reader, 1990Oil on canvas. 77 x 49 ¾ in. (195.6 x 126.4 cm).  Signed, titled and dated “Tansey ‘READER’ 1990” on the reverse.

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Mark Tansey (B. 1949)

Lot 54: Mark Tansey (B. 1949)

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Description: Mont Sainte-Victoireoil on canvas100 x 155 in. (254 x 393.7 cm.)Painted in 1987.

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MARK TANSEY

Lot 58: MARK TANSEY

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Description: signedoil on canvasExecuted in 1984.

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Lot 60: TANSEY, MARK (1949)

Description: Action painting, 1981 Oil/canvas 36x78 inches (91.5x198.2 cm) Title SD Danto, p.43.

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Lot 65: TANSEY, MARK (1949)

Description: The Myth of Depth, 1984 Oil/canvas 39x89 inches (99.5x226 cm) Title SD.

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Lot 66a: TANSEY, MARK (1949)

Description: Study for Action Painting II, 1985 Oil/canvas 40x58 inches (101.6x147.3 cm).

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Mark Tansey (b. 1949)

Lot 70: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) Modern/Post-Modern signed, titled and dated 'Mark Tansey © 1981 "MODERN POST MODERN"' (on the reverse of each element)diptych--oil on canvas each: 40 1/8 x 40 1/8 in. (102.1 x 102.1 cm.); overall: 40 1/8 x 80 in. (102.1 x 203.2 cm.)Painted in 1981. (2)

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Mark Tansey (B. 1949)

Lot 78: Mark Tansey (B. 1949)

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Description: Archivetitled 'Archive' (lower left)oil on canvas77 x 54 1/2 in. (195.7 x 138.5 cm.)Painted in 1991.

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Mark Tansey (b. 1949)

Lot 81: Mark Tansey (b. 1949)

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Description: Garden Gamessigned, titled and dated 'Garden Games Tansey 86' (lower edge)oil on board6 1/4 x 8 1/8 in. (15.8 x 20.6 cm.)Painted in 1986.

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Mark Tansey (b. 1949)

Lot 96: Mark Tansey (b. 1949)

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Description: Cave Paintingsigned twice, titled and dated "'Cave Painting' Tansey 86' (lower edge) ; signed, titled and dated again 'Mark Tansey "Cave Painting" 1986' (on the reverse of the board backing)acrylic on paper board10 1/4 x 12 1/4 in. (26 x 31 cm.)Painted in 1986.

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Mark Tansey (b. 1949)

Lot 124: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) Eve signed, titled and dated '"Eve" Tansey 82' (lower edge) graphite on paper image: 5½ x 5¼ in. (13.9 x 13.3 cm.)sheet: 8 1/8 x 8 in. (20.6 x 20.3 cm.)Drawn in 1982.

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Lot 128: Mark Tansey (b. 1949)

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Description: End of Painting signed 'Tansey' (on the reverse) oil on canvas movie screen 80 x 54 in. (203.2 x 137.2 cm.) Painted in 1984 PROVENANCE Grace Borgenicht Gallery, New York. LITERATURE A.C. Danto, Mark Tansey: Vision and Revisions, New York, 1992, pp. 66-67 (illustrated). NOTES Mark Tansey has examined modernist notions of form and content with wit and dexterity for the better part of the last decade. In End of Painting, Tansey has painted an extremely complex "picture within a picture": a gunslinger, projected on a movie screen, destroys a reflection of himself seen in a mirror within the picture. By depicting a "picture within a picture" Tansey has deconstructed what he sees as the imperious dictates of Clement Greenberg's formalist theory: that is, that the ultimate destiny of painting is the elimination of any form or content not coextensive with the medium of painting itself. Tansey's cocky "anti-hero" might symbolize the artists of the 1980's who broke the superiority of orthodox modern practice and cracked the dictates of the formalist aesthetics that dominated the art scene of the 1970s, re-introducing metaphorical content and figuration where it had been banned in favor of a decade of formalist abstraction.

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MARK TANSEY

Lot 133: MARK TANSEY

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Description: Redeployment Signed, titled and dated “Tansey ‘Redeployment’ 1995” on the reverse.

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MARK TANSEY Reader, 1990 Oil on canvas. 77 x 49

Lot 146: MARK TANSEY Reader, 1990 Oil on canvas. 77 x 49

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Description: MARK TANSEY Reader, 1990 Oil on canvas. 77 x 49 3/4 in. (195.6 x 126.4 cm). Signed, titled, and dated "Tansey 'READER' 1990" on the reverse.

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Lot 149: TANSEY, MARK (1949)

Description: Pleasure of the text, 1986 Oil/canvas 15x12 inches (38.4x30.5 cm) Title SD.

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Lot 155: Mark Tansey

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Description: b. 1949 STRUCTURALIST IN ECSTACY signed and titled graphite on paper 83/4 by 111/8in. 22.2 by 28.3cm. Executed circa 1987.

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Lot 155: Mark Tansey

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Description: b. 1949 STRUCTURALIST IN ECSTACY signed and titled graphite on paper 83/4 by 111/8in. 22.2 by 28.3cm. Executed circa 1987.

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Renoir (Luncheon of the Boating Party)

Lot 172: Renoir (Luncheon of the Boating Party)

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Description: Signed "Renoir/Tansey" lower right.

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Lot 184: Mark Tansey

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Description: b.1949 SEARCH FOR THE SUBJECT signed and dated 96 oil on canvas 50" by 40"in. 127.6 by 102.2cm. Provenance Curt Marcus Gallery, New York Acquired by the present owner from the above.

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MARK TANSEY

Lot 199: MARK TANSEY

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Description: B. 1949GARDEN GAMESmeasurements6 1/8 by 8 1/8 in.alternate measurements15.6 by 20.6 cm.signed, titled and dated 86oil on cardCondition Note: This work is in excellent condition. There are small spot stains 1/8 in. from the top, and 1 1/2 in. from the left edge. Framed under glass.We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.PROVENANCECurt Marcus Gallery, New York

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Lot 200: Mark Tansey

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Description: b. 1949 STUDY FOR ACHILLES AND THE TORTOISE titled; signed and titled on the reverse oil and pencil on canvas 30 by 24in. 76.2 by 61cm. Painted in 1986. Provenance Pat Caporaso Gallery, New York Acquired by the present owner from the above.

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Lot 215: Mark Tansey (b. 1949)

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Description: Tansey, M. Young Girl lithograph in colors, circa 1970, on wove paper, signed in pencil, numbered 24/120, with margins, apparently in very good condition, not examined out of the frame, framed L. 24 x 18 in. (622 x 470 mm.).

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Lot 236: TANSEY, MARK (1949)

Description: Chess game, 1982 Graphite 12x14 inches (29.8x36.8 cm) Title SD.

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Lot 236: MARK TANSEY (B. 1949)

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Description: Chess Game signed, titled and dated Chess Game (Alfred Jarry, Marcel Duchamp and Poilu) Tansey 1982 lower edge - - graphite on board 11 3/4 x 14 1/2 in. (29.8 x 36.8 cm.) PROVENANCE Grace Borgenicht Gallery, New York LITERATURE A. Danto, Mark Tansey: Visions and Revision, New York 1992, p. 129 (illustrated).

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Lot 244: TANSEY, MARK (1949)

Description: Untitled, after Rubens, 1979 Oil/board 18x21 inches (44.5x53.7 cm) signed & dated -79 (Lower Right).

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MARK TANSEY (b. 1949): SEARCH FOR THE RIGHT

Lot 276: MARK TANSEY (b. 1949): SEARCH FOR THE RIGHT

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Description: MARK TANSEY (b. 1949): SEARCH FOR THE RIGHT ADDRESS Oil on canvas, 39 x 30 in., signed and dated 1996. Note: A similar work, "Search for the Subject" was sold At Sotheby's New York, November 18, 1999.

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Lot 296: TANSEY, Mark (1949)

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Description: Pleasure of the Text, 1986 Oil/canvas 15,0 x 120,1 inches (38.0 x 305.0cm) Title SD upper right Illustrated.

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Mark Tansey: Renoir (Luncheon of the Boating Party)

Lot 324: Mark Tansey: Renoir (Luncheon of the Boating Party)

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Description: Renoir (Luncheon of the Boating Party). . c. 1970-71. .

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MARK TANSEY B. 1949 TRANSITION TEAM

Lot 342: MARK TANSEY B. 1949 TRANSITION TEAM

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Description: signed, titled and dated 1993graphite on paperPROVENANCECurt Marcus Gallery, New YorkStefan T. Edlis Collection, ChicagoPrivate Collection, ChicagoAcquired by the present owner from the aboveCATALOGUE NOTEThe present lot is from a suite of drawings completed by Tansey for his 1993 exhibition at the Los Angeles County Museum of Art. Entitled Frameworks, this group was created to explore the concept of representational content as a matter of framing, or, as the artist explains, "art production as framing, frames as transformational edges and lines, frameworks as sites of representation, frames as substitutes for subject matter."In Transitional Team, we are shown a gathering of people around the edge of a massive theatrical frame. Ostensibly, the viewer is confronted with the physical presence of the frame in the composition. Yet, the physicality of this structure does not explain the presence of the figures or their actions. Some figures are putting on clothes, others are running in different directions, and one woman stands waiting gazing offstage.Ultimately, these allegorical figures inform the composition and the viewer is expected to decode each component. As Judi Freeman notes, Tansey expects his audience to expend "the maximum effort to decipher what are admittedly challenging tableaux... to find the tools to make his pictures meaningful." Indeed, "his is an infinite 'chain of solutions,' and he is the archeologist cum philosopher-painter."

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MARK TANSEY (b. 1949)

Lot 348: MARK TANSEY (b. 1949)

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Description: MARK TANSEY (b. 1949)Sightingsigned, titled and dated 1995 on the reverseoil on canvas44 1/4 by 36 in. 112.4 by 91.4 cm.PROVENANCEPrivate collection, CopenhagenEXHIBITEDCopenhagen, Galerie Faurschou, Mark Tansey: Borders, 1995, p. 23, illustrated

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MARK TANSEY (b. 1949)

Lot 350: MARK TANSEY (b. 1949)

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Description: MARK TANSEY (b. 1949)Cultivating a Lexical Lacunasigned, titled and dated 90graphite and toner on paper11 by 8 1/2 in. 27.9 by 21.6 cm.PROVENANCECurt Marcus Gallery, New YorkAcquired by the present owner from the aboveLITERATUREDrawings: Reaffirming the Media, University of Missouri-Kansas City Gallery of Art, Kansas City, 1994, illustrated

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MARK TANSEY (b. 1949)

Lot 351: MARK TANSEY (b. 1949)

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Description: MARK TANSEY (b. 1949)Cave Paintingsigned, titled and dated 86fingerpaint on rag board10 1/2 by 12 1/2 in. 26.7 by 31.8 cm.PROVENANCEBenefit Auction for Artist's Space, New York, October 1986Private collection, Philadelphia (acquired from the above)

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MARK TANSEY (b. 1949)

Lot 352: MARK TANSEY (b. 1949)

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Description: MARK TANSEY (b. 1949)Valley of Doubt (Study)signed, titled and dated 88; signed, titled and dated 1987-88 on the backingoil on gessoed rag board10 1/2 by 15 1/4 in. 26.7 by 38.7 cm.PROVENANCECurt Marcus Gallery, New YorkAcquired by the present owner from the aboveEXHIBITEDNew York, P.P.O.W., Broken Landscape, Discarded Object, January-February 1989LITERATUREArthur C. Danto, Mark Tansey: Visions and Revisions, New York, 1992, p. 127, illustrated

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MARK TANSEY (b. 1949)

Lot 353: MARK TANSEY (b. 1949)

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Description: MARK TANSEY (b. 1949)'Forward Retreat' Studysigned, titled and dated 85ink on gessoed rag board10 1/2 by 12 1/2 in. 26.7 by 31.8 cm.PROVENANCEBenefit Auction, December 1985Private collection, Philadelphia (acquired from the above)

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MARK TANSEY (b. 1949)

Lot 355: MARK TANSEY (b. 1949)

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Description: MARK TANSEY (b. 1949)Self-Portraitsignedgraphite and toner on paper11 by 8 1/2 in. 27.9 by 21.6 cm.Executed in 1989.PROVENANCECurt Marcus Gallery, New YorkAcquired by the present owner from the aboveLITERATUREMark Tansey: Art and Source, Seattle Art Museum, 1990, p. 39, illustrated (exhibition catalogue)

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Mark Tansey (b. 1949)

Lot 361: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) View from Mount Hermeneut signed, titled and dated 'View from Mount Hermeneut Tansey 90' (lower edge)graphite and toner on paper 11 x 8½ in. (27.9 x 21.5 cm.) Drawn in 1990.

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Mark Tansey (b. 1949)

Lot 369: Mark Tansey (b. 1949)

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Description: The Chess Players signed, titled and dated '"THE CHESS PLAYERS" (Duchamp, Jarry and Poilu) JULY, 1982 Mark Tansey' (on the reverse) oil on canvas 20 x 26 in. (50.8 x 66 cm.) Painted in 1982. PROVENANCE Alan E. Koppel/SAG Fine Art & Photography, Chicago Curt Marcus Gallery, New York LITERATURE A. C. Danto, Mark Tansey: Visions and Revisions, New York 1992, p. 49 (large version of the painting illustrated) NOTES Mark Tansey, the son of art historians, explores the concepts of critical art interpretation through the visual metaphors of his paintings. The artist's photographic style of painting synthesizes images found in travel brochures, newspapers and art magazines into monochromatic pictorial allegories that challenge art history. The viewer is taken on a surrealistic tour through the history of modern art. Tansey is able to bind these elements into realistic representations that ultimately contradict our expectations of reality. In Tansey's painting The Chess Players, 1982, the artist depicts Alfred Jarry, (the figure on the far left standing up), Marcel Duchamp, (figure directly to his right), and three French soldiers at the endgame of a chess match. Tansey has chosen to depict two Frenchmen, known for their provocative works that puncture conventional notions of the visual arts and theater. Jarry is the first prophet of the theatre of the "Absurd" and is famous for his "Ubu" plays which parody Shakespeare's MacBeth . Duchamp's work was grounded in his conceptual ideas about art that reject its basic premise as a retinal pleasure. The theme of the painting is ultimately about the revolutionary notion that arts primary arena is the realm of ideas not narration. Adding to the art historical riddle are the references to other works of the same subject by two French artists that were crucial to the advancement of painting, Cezanne's Les Joueurs de Cartes, 1890-92 and Duchamps Portrait de joueurs d‚checs, 1911. As Arthur C. Danto wrote, "Tansey has appropriated, virtually as an allegorical vocabulary, the looks that people and objects presented to one another as the visual currency of the times. His realities, then, look not only as if they could have happened but that they did happen, as a matter of historical truth" (A. C. Danto, Mark Tansey: Visions and Revisions, New York 1992, p. 16).

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                                        Mark Tansey (b. 1949)

Lot 392: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) Study for Columbus Discovers Spain signed, titled and dated 'Tansey 1995 "Columbus discovers Spain"' (on the reverse)oil on canvas 40 x 60 in. (101.6 x 152.4 cm.) Painted in 1995.

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MARK TANSEY

Lot 443: MARK TANSEY

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Description: MARK TANSEY B.1949 REPAIRING THE WHEEL signed, titled and dated 96 graphite on paper 20 1/2 by 16 1/4 in. 52.1 by 41.3 cm.

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Mark Tansey

Lot 446: Mark Tansey

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Description: signed, titled and dated 1987 on the reverse,oil on canvas,64 by 50 1/2 in. 162.6 by 128.3 cm.

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Mark Tansey (b. 1949)

Lot 452: Mark Tansey (b. 1949)

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Description: Study for the Shades of Mont Saint Victoiretitled 'Shades of Mont Saint Victoire'graphite and toner on two attached sheets of paper10 3/4 x 15 1/2 in. (27.3 x 39.4 cm.)Executed in 1989.

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MARK  TANSEY

Lot 460: MARK  TANSEY

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Description: B.1949 TRANSITION  TEAM signed,  titled  and  dated  1993 graphite  on  paper 27  3/8    by  22  1/8    in.      69.5  by  56.2  cm.

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Mark Tansey (b. 1949)

Lot 505: Mark Tansey (b. 1949)

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Description: Mark Tansey (b. 1949) >Study for Forward Retreat <br>signed, titled and dated 'Tansey 1986 "Study for Forward Retreat"' (on the reverse) >oil on canvas <br>42¼ x 54 in. (107.3 x 137.2 cm.) >Painted in 1986. <br>

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