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Martin Puryear Auction Price Results

Martin Puryear (1941)  Please Register/Login to access your Invaluable Alerts

Show Lots:
MARTIN PURYEAR, (AMERICAN B. 1941), UNTITLED

Lot 42: MARTIN PURYEAR, (AMERICAN B. 1941), UNTITLED

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Description: MARTIN PURYEAR (american b. 1941) UNTITLED 1999, pencil signed and numbered 5/40 (there were also 13 artist's proofs), with full margins. Etching and chine collé on wove paper. image: 17 3/4 x 23 7/8 in. (45.2 x 60.4cm) sheet: 26 7/8 x 31 3/4 in. (68.3 x 80.7cm) provenance: Barbara Krakow Gallery, Boston, Massachusetts. Lehman Brothers and Neuberger Berman Collections.

Condition Report: There is a ring shaped blindstamp in the lower sheet corner. Professionally matted and framed, the full sheet viewable under Plexiglas, with margins, a clean, crisp impression with blindstamp lower right corner, as issued, excellent overall condition Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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MARTIN PURYEAR, (AMERICAN B. 1941),

Lot 171: MARTIN PURYEAR, (AMERICAN B. 1941), "SHOULDERS (STATE 2)"

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Description: MARTIN PURYEAR (american b. 1941) "SHOULDERS (STATE 2)" 2005, pencil signed and numbered 2/40 (there were also 10 artist's proofs). With full margins, Paulson Bott Press, Berkeley, California, publisher. Softground and drypoint etching with Gampi and chine collé. image: 17 3/4 x 23 3/4 in. (45.1 x 60.4cm) sheet: 29 x 34 in. (73.6 x 86.5cm) provenance: Barbara Krakow Gallery, Boston, Massachusetts. Lehman Brothers and Neuberger Berman Collections.

Condition Report: Professionally matted and framed, the full sheet viewable under Plexiglas, with margins, a clean, crisp impression with blindstamp lower right corner, as issued; excellent overall condition; slight undulations to part of sheet Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid, prior to placing a bid. All transactions are governed by Freeman's Conditions of Sale.

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Martin Puryear, (American, b. 1941), Three Holes

Lot 1180: Martin Puryear, (American, b. 1941), Three Holes

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Description: Martin Puryear (American, b. 1941) Three Holes spitbite aquatint edition 40/40, signed M. Puryear (lower right) 17 3/4 x 23 3/4 inches.

Condition Report: three handling dents along upper and lower edges; float mounted; clean sheet; not examined out of frame. Sheet: 29 1/4 x 33 1/2 inches. Framed: 31 3/4 x 36 1/2 inches.

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l - MARTIN PURYEAR

Lot 3: l - MARTIN PURYEAR

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Description: ARTIST'S DATESb. 1941

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l - MARTIN PURYEAR

Lot 8: l - MARTIN PURYEAR

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Description: ARTIST'S DATESb. 1941

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Lot 11: Martin Puryear  b. 1941

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Description: ENDGAME painted pine overall: 65 by 62 by 4 in. 165.1 by 157.5 by 10.2 cm. Executed in 1985. Provenance Donald Young Gallery, Chicago Acquired by the present owner from the above in 1986 Exhibited Cambridge, Massachusetts Institute of Technology, List Visual Arts Center, Natural Forms and Forces: Abstract Images in American Sculpture/Precedents and Contemporary Explorations, 1986, cat. no. 3, p. 47, illustrated Buffalo, Abright-Knox Art Gallery, Structure to Resemblance: Work by Eight American Sculptors, 1987, cat. no. 4, p. 43, illustrated Art Institute of Chicago; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Los Angeles, Museum of Contemporary Art; Philadelphia Museum of Art, Martin Puryear, 1992, cat. no. 24, p. 96, illustrated in color.

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Martin Puryear

Lot 17: Martin Puryear

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Description:

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Martin Puryear (b. 1941)

Lot 30: Martin Puryear (b. 1941)

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Description: Martin Puryear (b. 1941) Confessional wood, wire mesh and tar 77 1/8 x 97¼ x 45 in. (197.8 x 247 x 114.3 cm.) Executed in 1996-2000.

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Thylacine

Lot 31: Thylacine

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Description: Martin Puryear (b. 1941) Thylacine tinted pine and yellow cedar 61¾ x 58½ x 2 in. (156.8 x 148.6 x 5.1 cm.) Executed in 1982.

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MARTIN PURYEAR (b. 1941)

Lot 33: MARTIN PURYEAR (b. 1941)

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Description: MARTIN PURYEAR (b. 1941)BowerSitka spruce and Pine64 by 97 by 28in. 162.6 by 246.4 by 71.1cm.Executed in 1980.PROVENANCEYoung Hoffman Gallery, ChicagoAcquired by the present owner from the above in 1980EXHIBITEDChicago, Young Hoffman Gallery, Martin Puryear, May 1980Omaha, Joslyn Art Museum, I-80 Series: Martin Puryear, August-September 1980New York, Whitney Museum of American Art, 1981 Biennale Exhibition, January-April 1981. p. 91, illustratedAmherst, University of Massachusetts, University Gallery; Pittsfield, The Berkshire Museum; Boston, Museum of the National Center of Afro-American Artists; New York, The New Museum of Contemporary Art; La Jolla, Museum of Contemporary Art, Martin Puryear: Ten Year Survey, February-December 1984, p. 12, illustrated in colorChicago Public Library Cultural Center, Martin Puryear: Public and Personal, February-April 1987, p. 28, illustrated in colorPittsburgh, Carnegie Mellon University, Hewlett Art Gallery, Martin Puryear: Sculpture and Works on Paper, April-May 1987Chicago, Museum of Contemporary Art, Three Decades: The Oliver-Hoffmann Collection, December 1988-February 1989, p. 55, illustrated in colorSao Paulo, 20th International Sao Paulo Bienal 1989, Martin Puryear, October-December 1989, p. 15,illustrated in colorChicago, The Art Institute of Chicago; Washington D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution; Los Angeles, Museum of Contemporary Art; Philadelphia Museum of Art, Martin Puryear, November 1992-January 1993, cat. no. 12, p. 75, illustrated in color; frontispiece, illustrated (installation view at the La Jolla Museum of Contemporary Art, 1984)Puryear's evocative sculptures are a perfect union of craft and artistic sensibility, achieving a purity of form and an affinity for material that evokes the spiritual nature of art. He distilled disparate influences from manycultures into a body of work that embraces a pluralism of the creative spirit. Puryear believes that the work flows from an inner sense of the object and the material, without the constraints of aesthetic ego. The elegant sweep of Bower, with its exquisitely rendered latticework and lyrical patterning, is the epitome of an object of resonant presence. In the words of Soetsu Yanagi, a writer studied closely by Puryear, "the thing shines, not the maker". (S. Yanagi, The Unknown Craftsman, Tokyo and New York, 1972, p. 200)Puryear first encountered thisnon-Western attitude among native carpenters with the Peace Corps in Africa in the mid-1960s. He thenproceeded to Sweden in 1966, where he met James Krenov, a cabinetmaker with a profound commitment and sensitivity to his craft and hismaterials. By the time Puryear entered the graduate program at Yale University in 1969, his desire was to add a dimension of the heart and mind - of the artistic and intellectual - to the craft of object-making. "At a certain point, I just put the building and the art impulse together. I decided that building was a legitimate way to make sculpture, that it wasn't necessary to work in the traditional methods of carving and casting." (Hugh M. Davies and Helaine Posner, Martin Puryear, Amherst, 1984, p. 9)Puryear's time at Yale coincided with the moment when the doctrine of Minimalism was being challenged by Post-Minimalist artists interested in "process" and the bodily presence of the artist. Puryear rejected such adivision of attitudes, forging a personal definition of sculpture which combined a self-conscious choice of material, the dexterity of "process" and the subliminal presence of the human spirit in art. In his most powerful early works, such as Cedar Lodge (1977), Self (1978), and Bower, one senses an artist increasingly capable of projecting himself into his work without revealing himself in any explicit manner. Like Cedar Lodge, Bower is reminiscent of a structure - either a sloping lodge or the prow of a rising ship. It also calls to mind Puryear's installation, Where the Heart Is (Sleeping Mews) (1981 to 1990).In the form of a yurt, this structure suggests a surrogate spiritual space - evocative of nomadic mobility on the one hand, and the stability of home on the other.Unlike the covered form of Cedar Lodge and the presence of objects in Where the Heart Is (Sleeping Muse), Bower expresses a different relationship between an object and the space it inhabits. The softly curving form of Bower possesses a sweeping, airy silhouette yet it is strongly volumetric. The intricate latticework of Bower suggests both presence and absence, causing this golden-hued structure to seemingly float above the floor. At the same time, the strong linearcircumference maintains a taut contact with the floor. In its shape, Bower is a powerful counterpoint to the seminal work, Self from 1978 in the collection of the Joslyn Art Museum in Omaha. A solid, black form, Self "feelsmassive and heavy, as if to suggest the weight and solidity of stone planted firmly in the earth. Yet, this is an illusion, as Puryear built the form in thin layers over a hollow core. He has described the piece in the following terms, "...Self is all curve except when it meets the floor at an abrupt angle. It's meant to be a visual notion of the self, rather than any particular self - the self as a secret entity, as a secret hidden place."(Neal Benezra, Martin Puryear, Chicago, 1991, p. 25). Bower's play on presence is equally contradictory. With its open frets and slats, the viewer would assume that nothing is hidden in Bower's framework, yet the haunting human spirit and presence of this work is just as elusive.

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Lot 33: PURYEAR, Martin (1941-, American)

Description: Bound Cone, rope wood executed 1973 Sculpture (?x69x)?in.

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Martin Puryear (b. 1941)

Lot 45: Martin Puryear (b. 1941)

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Description: Untitled steel, wire mesh, tar and Douglas fir 61 x 82 1/2 x 44 in. (155 x 209.5 x 112 cm.) Executed in 1990.

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MARTIN PURYEAR

Lot 53: MARTIN PURYEAR

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Description: B. 1941NOATAK66 1/4 x 62 x 18 in. 168.3 x 158 x 45.7 cm.red cedarExecuted in 1989.PROVENANCEDonald Young Gallery, ChicagoAcquired from the above in August 1989EXHIBITEDChicago, Donald Young Gallery, New Sculpture: Tony Cragg, Richard Deacon, Martin Puryear, Susana Solano, May 1989Mexico City, Museo Rufino Tamayo, Algo con Qué Tropezar, 2001LITERATUREExh. Cat., Madrid, Sala de Expos, Ciones de la Fundacion "la Caixa", Martin Puryear, 1997, cat. no. 7, p. 23, illustrated in color and p. 6 (illustration of the work in the artist's studio) Exh. Cat., Chicago, Art Institute of Chicago, Martin Puryear, 1991, p. 152NOTE"Minimalism legitimized in my mind something I have always focused on--the power of the simple, single thing as opposed to a full-blown complex array of things." Martin PuryearThe exacting sculptures of Martin Puryear are the aesthetic fruition of purist Minimalist logic accented by a stylistic approach steeped in the tradition of woodcarving. Modest materials such as wood, tar and stone are thus fashioned by his simple, yet precise tools. While Puryear maintained the legacy of Minimalism by favoring simple, reductive forms, Puryear rejected the manufactured aesthetic associated with minimalists such as Donald Judd. Noatak, with its lusterous natural patina and organic form eschews the aforementioned manufactured sensibilities. Instead, it recalls the imprint that craft-oriented ancient societies, whose relationship with nature was fundamental and ritualistic, bears on Puryear's work. Bearing the namesake of the Noatak National Reserve and river in Alaska, which Puryear visited in 1978, the present lot exemplifies how Puryear's extensive travels serve as a mnemonic device in his work, and how his works seek to convey an essence rather than a mere representation.

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Lot 58: PURYEAR, Martin (1941-, American)

Description: Dowager, basswood metal wire rod tar mesh executed 1990 Sculpture (73x83x)83in.

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Lot 61: PURYEAR

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Description: Property of a Private New York Collection Martin Puryear b. 1941 UNTITLED painted ponderosa pine 58 by 58 by 9›in. 147.3 by 147.3 by 23.8cm. Executed in 1981-82. Provenance McIntosh/Drysdale Gallery, Washington D.C. Acquired by the present owner from the above in 1982 Exhibited Washington, D. C., McIntosh/Drysdale Gallery, Martin Puryear, 1982 Richmond, Institute of Contemporary Art of the Virginia Museum, American Abstraction, 1982, cat. no. 2 Chicago, Art Institute of Chicago; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Los Angeles, Museum of Contemporary Art, Martin Puryear, 1992-93, cat. no. 16, p. 82, illustrated in color Puryear's elegant sculptures are a perfect marriage of craft and artistic sensibility, achieving a purity of design and an affinity for material that evokes the spiritual nature of art. Puryear distilled disparate influences into a body of work that embraces a pluralism of the creative spirit. He believes that the work flows from an inner sense of the object and the material, without the constraints of aesthetic ego. In the words of Soetsu Yanagi, a writer studied by Puryear, "the thing shines, not the maker." (S. Yanagi, The Unknown Craftsman, Tokyo and New York, 1972, p. 200) Inspired by his interaction in the 1960s with African woodworkers and Swedish craftsmen, Puryear's sculpture is a matter of construction not carving, with an affinity for emphatic patterns and undulating lines. Yet his work is more art than craft in its celebration of abstracted form. In 1968, Puryear visited the Venice Biennale and was struck by the power of primary forms in Minimalist art. Untitled, 1981-82 is one of approximately forty sculptures referred to as "rings" that Puryear produced in the late 1970s and early 1980s. As opposed to his large floor sculptures and outdoor installations, the circles are a refined motif in a human scale. Vaguely symbolic, the circle resonates on the wall, whether constructed of laminated wood, or bent saplings. Puryear's technical skill in these intimate works takes on a variety of permutations, from open-ended forms to intertwined saplings to the faceted, angled hoop of Untitled, 1981-82. The linear complexity of the cast shadow and the painting of alternating stripes in Untitled, 1981-82 renders a deceptively simple motif into an object charged with a subtle power and presence.

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MARTIN PURYEAR

Lot 77: MARTIN PURYEAR

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Description: Untitled V Signed, dated and annotated 'AP 12' in pencil (an artist's proof, the edition was 40), published by Paulson Press, Berkeley, California (with their blindstamp), unframed.

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MARTIN PURYEAR-(b. 1941)-Hand-, 1993

Lot 86: MARTIN PURYEAR-(b. 1941)-Hand-, 1993

Description: Hand , 1993 signed, dedicated and dated 'to Leo Holub from Martin Puryear 1993' (on the reverse) birdseye maple wood 8 3/8 x 6 x 1/4in. (21.3 x 15.2 x .6cm)

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Lot 115: PURYEAR, MARTIN (1941)

Description: Untitled, 1987 Relief 18x14x10 inches (45.7x35.5x25.4 cm) No.2/5.

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Lot 170: PURYEAR, Martin (1941-, American)

Description: Boy's toys 13, painted wood executed 1984 Sculpture (10x29x)29in.

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Lot 172: PURYEAR, Martin (1941-, American)

Description: Untitled, init.d.1994 chl dr Works on paper (23x29in).

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Martin Puryear , b. 1941 Untitled Alaskan yellow cedar and Ash wood

Lot 173: Martin Puryear , b. 1941 Untitled Alaskan yellow cedar and Ash wood

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Description: signed and dated 1994 on the reverse of the vertical element Alaskan yellow cedar and Ash wood

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MARTIN PURYEAR (B. 1941)

Lot 176: MARTIN PURYEAR (B. 1941)

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Description: Jane Toomer, Cane, San Francisco, Arion Press, 2000the complete set of ten woodcuts, hors-texte, title page, text, table of contents and justification (attached to the interior back cover), the text pages on Biblio mould-made, the prints on Kitakata Japon, signed by Puryear on the justification, copy 363 of 400 (there were also 26 hors commerce lettered A-Z and an additional suite edition of 50 with seven prints plus 5 artist's proofs and 5 publisher's proofs), with full margins, bound (as issued), in excellent condition, original tan linen covers with black title on front and spine. 298 x 358 mm.album

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MARTIN PURYEAR (B. 1941)

Lot 176: MARTIN PURYEAR (B. 1941)

Description: MARTIN PURYEAR (B. 1941) Cane, Arion Press, San Francisco, 2000 the complete set of 10 woodcuts, comprising title page, text by Jane Toomer, table of contents and justification, the prints on Kitakata Japon paper, signed by the artist on the justification, copy number 249 of 400, bound (as issued), in very good condition, in original tan linen covers with brown cloth ties, with black title on front and spine Overall: 11 1/2 13 3/4 in. (295 x 350 mm.)

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Chicago Pier, 1995

Lot 209: Chicago Pier, 1995

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Description: Chicago Pier, 1995Lithograph in colors, on wove paper, the full sheet, S. 35 3/8 x 27 in. (89.9 x 68.6 cm)  signed and numbered 27/100 in pencil, published by the Chicago Art Fair, a crease at the lower left corner, otherwise in very good condition, unframed.

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Martin Puryear

Lot 209: Martin Puryear

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Description: red cedar and pine,98 by 44 by 97 in. 248.9 by 111.8 by 246.4 cm.,Executed in 1993-1995.

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                                        Martin Puryear (b. 1941)

Lot 258: Martin Puryear (b. 1941)

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Description: Martin Puryear (b. 1941) His Eminence red cedar and pine 98 x 44¾ x 97 in. (248.9 x 113.6 x 246.3 cm.) Executed in 1993-1995.

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                                        Martin Puryear (b. 1941)

Lot 271: Martin Puryear (b. 1941)

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Description: Martin Puryear (b. 1941) Untitled incised with signature, number and date 'Puryear 1/3 2009' (on the underside)bronze 8¾ x 6 x 7½ in. (22.2 x 15.2 x 19 cm.) Executed in 2009. This work is number one from an edition of three.

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Property from the art collection of Heller Ehrman LLP

Lot 282: Property from the art collection of Heller Ehrman LLP

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Description: Shoulders (State 2), 2005Hard-ground and soft-ground etching with chine collé and Gampi? on wove paper, signed in pencil, dated and numbered 18/40, with the blindstamp of the publisher, Paulson Press, Berkeley, with full margins, in very good condition aside from pale stain in right margin, framed.18 x 23 3/4insheet 28 1/2 x 34in

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Property from the art collection of Heller Ehrman LLP

Lot 283: Property from the art collection of Heller Ehrman LLP

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Description: Untitled V, 2005Hard-ground etching and aquatint with colors on wove Paper, signed in pencil, dated and numbered 26/40, with the blindstamp of the publisher, Paulson Press, Berkeley, with full margins, in very good condition aside from a 3/8in surface rub in lower margin, framed.17 1/2 x 23 1/2insheet 28 3/4 x 33 5/8in

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MARTIN PURYEAR (B. 1941)

Lot 311: MARTIN PURYEAR (B. 1941)

Description: MARTIN PURYEAR (B. 1941) Untitled etching and aquatint, 1999, on Chine collé to wove paper, signed in pencil, numbered 11/40, apparently in very good condition, not examined out of the frame Image: 18 x 23 3/4 in. (455 x 605 mm.) Sheet: 27 x 32 in. (685 x 810 mm.)

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                                        Martin Puryear (b. 1941)

Lot 317: Martin Puryear (b. 1941)

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Description: Martin Puryear (b. 1941) Untitled signed and dated 'Puryear 1969' (on the underside) red cedar 28 x 13 x 7½ in. (71.1 x 33 x 19 cm.) Executed in 1969.

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                                        Martin Puryear (b. 1941)

Lot 318: Martin Puryear (b. 1941)

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Description: Martin Puryear (b. 1941) Niche signed 'Martin Puryear' (lower right) ink and graphite on paper 84 5/8 x 51 in. (214.9 x 129.5 cm.) Painted in 1999.

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Lot 369a: PURYEAR, Martin (1941-, American)

Description: Own, s.d.79 painted basswood Sculpture (47x47x)47in.

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l - MARTIN PURYEAR

Lot 437: l - MARTIN PURYEAR

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Description: The book of prose and poetry by Jean Toomer, comprising ten woodcuts hors-texte by Martin Puryear, and the additional suite of seven signed and numbered woodcuts, on Kitikata handmade paper, signed in pencil by the artist on the justification page and numbered 2 of 400 (total edition includes 5 artist's proofs; only the first 50 copies include the additional suite), published by the Arion Press, San Francisco, 2000, the full sheets, in good condition, the book bound in leather-covered boards and contained in a wooden box created by the artist, the extra suite contained in linen-covered boards

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MARTIN PURYEAR (B. 1941)

Lot 484: MARTIN PURYEAR (B. 1941)

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Description: Untitledlithograph in colors, 1985, on wove paper, signed in pencil, numbered 21/100, published by the Chicago Art Fair, Chicago, the full sheet (printed to three sides), a few soft handling creases, otherwise in very good conditionS. 35 1/8 x 27 in. (892 x 686 mm.)

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Martin Puryear (American, b. 1941) Mile of

Lot 580: Martin Puryear (American, b. 1941) Mile of

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Description: Martin Puryear (American, b. 1941) Mile of Sculpture, 1985; Lithograph in colors; Signed and numbered 40/100; 35 1/4'' x 27'' (sheet); Printer: Four Brothers Press, Chicago; Provenance: Private Collection, New York Note: Created for the 1985 Mile of Sculpture on Navy Pier in conjunction with the Chicago International Art Exposition.

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Martin Puryear, (American, b. 1941), Dark Loop, 1982

Lot 1081: Martin Puryear, (American, b. 1941), Dark Loop, 1982

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Description: Martin Puryear (American, b. 1941) Dark Loop, 1982 woodblock edition 22/35, signed M. Puryear and dated (lower right) 20 1/2 x 27 1/2 inches.

Condition Report: mounted along top edge in three places, slight mat burn, otherwise appears to be in overall good condition.

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Martin Puryear (American, b. 1941) Becky from

Lot 1253: Martin Puryear (American, b. 1941) Becky from

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Description: Martin Puryear (American, b. 1941) Becky from Toomer's Cane, 2000; Woodcut (framed); Signed, titled and numbered ''trial proof''; 12'' x 13 3/4'' (sight); Provenance: Private Collection, New York

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PURYEAR, MARTIN (American, b.1941).

Lot 5105: PURYEAR, MARTIN (American, b.1941).

Description: Cane. By Jean Toomer. San Francisco: Arion Press, 2000. With 8 full-page woodcuts on handmade Japanese paper and 2 smaller woodcuts. Oblong 4to (292 x 352 mm). Publisher's full linen with linen ties. Prospectus included.No 382 of 400 copies plus 26 hors-commerce. Signed by the artist on the colophon.

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