Duane Hanson (1925-1996) American, Signed Touring Exhibition Poster. Depicts two of the artist's stunningly lifelike figures as bored tourists in a tropical paradise. Signed along bottom of image: "Best Wishes from Duane Hanson 2/29/92." Lists five different shows at bottom between September of 1989 and November of 1990. Condition: Very minor fading, overall great. Overall Size: 20 1/4 x 28 3/4 in. Sight Size: 18 x 27 1/4 in. Duane Elwood Hanson was born on January 17th, 1925 in Alexandria, Minnesota. After attendance at Luther College and the University of Washington, he graduated from Macalester College in 1946. Following a period where he taught high school art, he received a Master of Fine Arts degree from the Cranbrook Academy of Art in Bloomfield Hills in 1951. Around 1966 Hanson moved to South Florida and began making figural casts using fiberglass and vinyl, which brought him instant notoriety for their often extreme and highly realistic subjects. Many showed figures grouped in tableaux, some depicting brutal and violent acts, such as Abortion (1966) depicting an illicit backroom procedure, and Accident (1967) showed a motorcycle crash. Race Riot (1969-1971) was one of his largest works and generated controversy for showing a white policeman terrorizing an African American man while being attacked by another. The sculptures were always cast from actual people, and painted to make the revealed skin look realistic, replete with veins and blemishes. Hanson would then clothe the figures with garments from second-hand stores or even from the person who modeled for him. Few of Hanson’s early sculptures survive because he later destroyed many of them, preferring to be known for his more mature style. Around 1970, Hanson abandoned gut-wrenching scenes for more subtle, though still very vivid, ones, such as the Supermarket Shopper, Hardhat, and Tourists. Unlike the earlier works these were single or paired figures, and almost always displayed a listless, bored look, disengaged from their surroundings. In 1969 Hanson moved to Manhattan to be closer to the major art scene, but grew tired of the winters and moved to Davie, Florida in 1973, remaining there the rest of his life. Hanson died of Non Hodgkins’ lymphoma in a hospital in Boca Raton on January 6th, 1996, with his entire estate being represented from then on by Gagosian Gallery. His works are considered foundational in the fields of both hyperrealism and photorealism, and are on permanent display in the Whitney Museum of American Art, The San Francisco Museum of Modern Art, and The Smithsonian, among others.
DUANE HANSON 1925 Alexandria, USA - 1996 Boca Raton, USA 'TOURISTS' Colour serigraph on light cardboard. Sheet size 78.2 x 58.1 cm. Signed by hand 'Duane Hanson' lower right and numbered '8/110' lower left. Verso inscribed by an unknown hand. Part. very slightly stained, slight handling marks, crease marks at upper right corner. Provenance: Private collection North-Rhine Westphalia. DUANE HANSON 1925 Alexandria, USA - 1996 Boca Raton, USA 'TOURISTS' Farbserigrafie auf leichtem Karton. BM 78,2 x 58,1 cm. Unten rechts handsign. 'Duane Hanson' sowie unten links num. '8/110'. Verso: von fremder Hand mit Bleistift bez. Minimalst fleckig, leichte Griffspuren, oben rechts mit Knickspuren. Provenienz: Privatsammlung Nordrhein-Westfalen.Zeichen
DUANE HANSON 1925 Alexandria, USA - 1996 Boca Raton, USA 'TOURISTS' Colour serigraph on thin card. Sheet size 78.2 x 58.1 cm. Signed by hand 'Duane Hanson' lower right and numbered '70/110'. Verso inscribed in pencil by an unknown hand. Part. very slightly stained, part. handling marks, corners bumped. Provenance: Private collection North-Rhine Westphalia. DUANE HANSON 1925 Alexandria, USA - 1996 Boca Raton, USA 'TOURISTS' Farbserigrafie auf leichtem Karton. BM 78,2 x 58,1 cm. Unten rechts handsign. 'Duane Hanson' sowie unten links num. '70/110'. Verso: von fremder Hand mit Bleistift bez. Minimalst fleckig, part. Griffspuren, die Ecken best. Provenienz: Privatsammlung Nordrhein-Westfalen.Zeichen
DUANE HANSON (1925-1996) Lessender Man (Reading Man) polyester and fiberglass, polychromed in oil, mixed media, with accessories 64 1/2 x 21 x 24 in (163.8 x 53.3 x 61 cm) Executed in 1972
DUANE HANSON (1925-1996) Lessender Man (Reading Man), 1972 polyester and fiberglass, polychromed in oil, mixed media, with accessories 64 1/2 x 21 x 24 in. 163.8 x 53.3 x 61 cm.
Duane Hanson monograph 1976 bound printed paper 10.5 h x 7.25 w in (27 x 18 cm) Signed and inscribed to front endpaper 'To Anne Blair very best wishes Duane Hanson'. This work is from the edition published by Edwin A. Ulrich Museum of Art, Wichita State University, Wichita, KS. This work will ship from Chicago, Illinois.
Signed Duane Hanson Bus Stop Lady Exhibition Poster. Duane Hanson (American, 1925-1996) was known for his life-sized, realistic sculptures of people. This signed photo print is from Duane Hanson's 1984 exhibition at O.K. Harris in SoHo, and depicts his sculpture Bus Stop Lady, which was made of polyvinyl polychromed in oil, with mixed media accessories. The poster is signed at the bottom right of the photograph by Duane Hanson himself. In a white and gold frame. Dimensions are 39.5 in h x 31.5 in w x 2 in d. Condition is good with minor wear to the frame. Please call or email for a detailed condition report.
Artist: Duane Hanson, American (1925 - 1996) Title: Football Player Year: 1985 Medium: Poster on board Image Size: Size: 28 x 22 in. (71.12 x 55.88 cm)
Artist: Duane Hanson, American (1925 - 1996) Title: Football Player Year: 1985 Medium: Poster on board Image Size: Size: 28 x 22 in. (71.12 x 55.88 cm)
Signed Duane Hanson Bus Stop Lady Exhibition Poster. Duane Hanson (American, 1925-1996) was known for his life-sized, realistic sculptures of people. This signed photo print is from Duane Hanson's 1984 exhibition at O.K. Harris in SoHo, and depicts his sculpture Bus Stop Lady,  which was made of polyvinyl polychromed in oil, with mixed media accessories. The poster is signed at the bottom right of the photograph by Duane Hanson himself. It has a simple yet beautiful white and gold frame. From the collection of contemporary artist Cary Leibowitz. A great item for any fan of Hanson's work. Dimensions are 40 in h x 31.5 in w x 2 in d. Condition is good. There is surface wear to the frame, such as paint loss and worn edges. The paper backing has been removed. Please call or email for a detailed condition report.
Artist: Duane Hanson, American (1925 - 1996) Title: Football Player Year: 1985 Medium: Poster on board Image Size: Size: 28 x 22 in. (71.12 x 55.88 cm)
Duane HANSON (1925-1993) USA, 1990-1992 Ensemble de deux cartes postales L'une est signée et contresignée au dos, datée "19.08.1990" avec une dédicace La seconde est signée, datée "16.11.1992" et dédicacée au recto 15 x 12 cm (chaque) - encadrées A vendre sans prix de réserve
Artist: Duane Hanson, American (1925 - 1996) Title: Football Player Year: 1985 Medium: Poster on board Image Size: Size: 28 x 22 in. (71.12 x 55.88 cm)
Filzstift und Collage auf festem Velin. Ca. 30 x 21 cm. Signiert mittig. Stellenweise leicht angeschmutzt, im collagierten Bereich mit Papierabrieb sowie Rückstände von wohl verfärbtem Kleber. Oben mittig mit wegradierter kaum lesbarer Schrift, sonst gut erhalten.
Artist: Duane Hanson, American (1925 - 1996) Title: Football Player Portfolio: Year: 1985 Medium: Poster on board Edition: Image Size: Size: 28 x 22 in. (71.12 x 55.88 cm) Frame Size: Printer: Publisher: Reference:
HANSON, DUANE (1925-1996) [Study for Businessman Reading], 1983. Unique Kodak Instant print, 3 1/8 X 2 3/4 inches (92 x 68 mm), artist's estate sticker on verso. Unframed. An image by Hanson of his sculpture "Businessman reading." C The Patricia and Donald Oresman Collection
Duane Hanson (1925-1996) Baby in Carriage, 1983 Polyvinyl, polychromed in oil, mixed media and accessories 34-1/2 x 22 x 36 inches (87.6 x 55.9 x 91.4 cm) PROVENANCE: Helander Gallery, Palm Beach, Florida; Private collection, Los Angeles, acquired from the above in 1988. EXHIBITED: Hokin Gallery, Bay Harbor Islands, Florida, 1983. "My images don't get near what you see in real life. The world is so remarkable and astonishing and surprising that you don't need to exaggerate. What exists out-there is just mind-boggling." Shocking yet sincere, the Baby in Carriage lays asleep in an umbrella stroller. He wears a baggy sweatshirt and sweatpants in the same light blue hue, the sweatshirt inscribed with John 8:7: "He that is without sin among you, let him first cast the first stone." A large blue bag dangles from the handles, decorated with yellow flowers in a gingham print and "My Baby's Things" written in a chunky, white outlined font. Unlike Women with Child in Stroller, a work from 1985 that depicts a mother and her child, Baby in Carriage stands alone. Yet, it is one of Hanson's most intimate works as it was made after his son, Duane Hanson Jr. Duane Hanson began creating life-size, hyperrealistic sculptures in the 1960s, beginning with graphic scenes of police brutality. He eventually turned his attention to the middle class, capturing the averageness of American culture in the spirit of Norman Rockwell. "The subject matter that I like best deals with the familiar lower and middle class American types of today," Hanson explained. While he perfected the human skin by casting live models and then recreating them in synthetic resin, he went farther than skin-deep to expose the suffering and exhaustion of the working class. From tourists to blue-collar workers and housewives, Hanson shed an honest light on economic classes and confronted gallery and museum goers with reality. "My art is not about fooling people. It's the human attitudes I'm after-fatigue, a bit of frustration, rejection. To me, there is a kind of beauty in all this." Hanson was born in Alexandria, Minnesota in 1925 and died in Boca Raton, Florida in 1996. His work has been exhibited internationally at institutions and galleries such as the Whitney Museum of American Art, New York; Louisiana Museum of Modern Art, Denmark; Serpentine Gallery, London; Aperture Foundation, New York; Corcoran Gallery of Art, Washington, D.C.; Daimaru Museum of Art, Tokyo; Gagosian Gallery, New York and Paris. HID04901242017
An exhibtion poster from Duane Hanson. Signed by the artist in marker,. Circa 1983. Measuring 17" by 11", matted, unframed. Together with a soft cover book, "Duane Hanson" by Kirk Varnedoe, published 1985, isbn:0-8109-2293-2. Signed and inscribed on the front fly leaf in pen. (2 pcs) (Cond: good)
Two early sculptures by Duane Hanson (American, 1925-1996), together with an archive of related letters and photographs. All were given by Hanson to a former student who remained a lifelong friend. 1st item: "Man on a Flagpole," depicting a man, crosslegged male figure seated atop the finial of a blue flag pole. Figure - 16 1/2" H. Overall - 111 3/8" H. 2nd item: Porous terra-cotta colored ceramic sculpture of a female, seated with elbow on one knee and hand just below the other. 7" H. Archive contains nine photographs, including two of "Flagpole" with Hanson's handwriting, both verifying "I did this work around 1962 or before. -Duane Hanson March 1985 Davie FL" and one of the small figure, stating "I did this lousy work in the 1950s in Germany (I believe) - Duane Hanson Davie FL March 29, 1985." The other photos include four from an exhibit in Feb. 1978 in which the sculptor is seen posing with his work, and two dated April 1964 showing the artist in a doorway and one also picturing one of his more abstract sculptures (likely taken at Oglethorpe University, Atlanta). The archive also includes three postcards and four personal letters, 1969-1979, with mentions of growing success and Hanson's thoughts on art. Letter dated Feb. 24, 1969 mentions "Castell Gallery - New York's leading avant garde gallery wants to show my work next fall. Also will be in the big Whitney show next Nov. Ivan Karp at Castell Gallery will find me a studio so we will move to New York in August after a trip to Europe.." One letter dated March 29, 1985, (which enclosed the sculptures of these 2 pieces) notes that "we will not talk about these old sculptures but I am returning the photos... I'm doing a lot of bronzes now so I'm still branches (sic) out. There is so much I want to do so hope I will live long enough to get them completed... I showed in Japan - 250,000 visited the exhibit." Another, dated January 9, 1979, reads "...there's nothing much to be gained from the Europeans anymore. London has a dull art scene and the rest of Europe isn't much better. There is nothing like the home-land for inspiration, inventiveness, and exciting new works, especially New York." Duane Hanson is best known for his ultra realistic sculptures that comment on contemporary life. These two sculptures are among the few surviving examples of his early work, showing the influence of Abstract Expressionism. Hanson was born in Minnesota. He received his BA from Macalester College in 1946 and his MFA from the Cranbrook Academy of Art in Bloomfield Hills, Michigan in 1951. While at college, Hanson was introduced to the dominant artistic trends of the period, which were shifting away from Naturalism toward Abstraction. From 1962-1965, Hanson was an art professor at Oglethorpe University in Atlanta. While in Atlanta, he was commissioned to produce several large decorative sculptures for the exterior of buildings, including the Stormy Petrel at the Dorough Field House of Oglethorpe University. It was during his time at Oglethorpe that Hanson met the student to whom these sculptures were given; it was also during this time that he received a grant from the Ella Lyman Cabot Trust to develop his work with life-sized polyester resin and fiberglass sculpture. This work coincided with the Pop Art movement, and Hanson's lifelike sculptures of people engaged in everyday activities drew national and eventually international acclaim. From 1976-78, a major retrospective of his sculptures went on an extended museum tour throughout the United States. One solo exhibition in particular, at the Whitney Museum of American Art in New York City (1978), set all-time attendance records and was influential in establishing Hanson as one of the leading sculptors of the late twentieth century. He settled in Florida, where he lived the remainder of his life. Hanson was named Florida Ambassador of the Arts in 1983. (Biographical information from 1998 Hanson exhibit catalog introduction by James A. Findlay, Librarian, Bienes Center for the Literary Arts). Provenance: Private Collection of a Retired Sculptor and Art Patron, Middle Tennessee. Alternate spelling: Duane Hansen. (Additional high-resolution photos are available at www.caseantiques.com)
Polyvinyl USA, 1988 Duane Hanson (1925-1996) – American sculptor Signed, titled, inscribed and dated in market on the underside Accompanied by a copy of a letter and polaroids from the artist Dimensions: 9 ¼ x 10 x 5 ½ in. (23.5 x 25.4 x 14 cm.) Very good condition Estimate $20,000-$30,000 Provenance Gift from the artist to the present owner. Supremely devoted to the human form, Duane Hanson is best known for his hyperreal sculptures of middleclass America. Often using volunteers from his local art community in South Florida as models, Hanson also drew inspiration from his family members. Offered here is a rare study of his one-year old grandson, executed in 1988. The bust of his grandson demonstrates his pursuit and desire to capture a fleeting emotion or transient period of life through his hyperreal sculptures. The result is an immediate and uncanny evocation of a human being, with a purge of artistic effects to create a surrogate for reality. Duane Hanson (American, 1925-1996) Born in Alexandria, Minnesota, Duane Hanson received his MFA from Cranbrook Academy of Arts. Hanson is best known for his lifecast realistic works portraying working-class Americans, associating him with both the Pop Art movement and hyperrealism. His early works comprised life-sized tableaux, while his later sculptures shifted to satirical depictions of everyday people. A survey of Hanson’s work was recently exhibited at the Serpentine Sackler Gallery in London. His works can be found in the collections of numerous institutions, including the Smithsonian American Art Museum, Corcoran Gallery of Art, the Whitney Museum of American Art and the St. Louis Art Museum, among others. Condition Minor surface dirt and areas of paint loss. Otherwise in excellent condition. Shipping costs excl. statutory VAT and plus 2,5% (+VAT) shipping insurance.
bronze polychromed in oil, found clothing, hair, duffel bag and sleeping bag, wooden sticks and paper tickets,Figure: 32 by 47 by 27 in. 81.3 by 119.4 by 68.8 cm.,Installation Dimensions Variable,Executed in 1985-87, this work is number 3 from an edition of 4.
PROPERTY OF A DISTINGUISHED AMERICAN COLLECTION 1925 - 1996 BATON TWIRLER polyester resin and fiberglass, polychromed in oil and mixed media Overall: 88 1/2 by 36 by 40 in. 224.8 by 91.4 by 101.6 cm. Executed in 1971.
DUANE HANSON 1925 - 1996 SECURITY GUARD bronze, polychromed in oil, mixed media, with accessories 70 1/2 by 30 by 22 in. 179.1 by 76.2 by 55.9 cm. Executed in 1990.
Duane Hanson (1925-1996) Sunbather bronze, polychromed in oil, mixed media and accessories 34 x 67½ x 25in. (86¾ x 171.5 x 63.5cm.) Executed in 1987-1989, this work is number three from a series of three uniquely painted sculptures
DUANE HANSON Sketch Head. Polyvinyl sculpture, 1980. 330x206x228 mm; 13x8x9 inches. Ex-collection William Ray, California. After expressing interest in his work, Ray was invited by Hanson to his studio in Davie, Florida, in the early 1980s. The meeting forged an instant frienship that lasted until Hanson's death in 1996. The artist, described by Ray as being "accessible, friendly and generous to his students and other artists," gifted the Sketch Head to Ray during a visit to his studio in the early 1980s.
Duane Hanson (1925-1996) Policeman autobody filler, fiberglass and paint with accessories 72 x 18 x 15 in. (183 x 45.5 x 38 cm.) Executed in 1993. This work is from a series of three variants.
Duane Hanson (1925-1996) Beagle in a Basket signed twice, numbered and dated '#4 DUANE HANSON SEPT. 1990' (on the underside) polychromed bronze and polyester cushion with acrylic filling, dog toys and basket 7 x 22 x 16 in. (17.8 x 55.9 x 40.6 cm.) Executed in 1990.
1925-1996 JOGGER life size polyvinyl acetate & mixed media, polychromed in oil with accessories Executed in 1983-84. PROVENANCE Estate of the artist Acquired by the present owner from the above EXHIBITED Dijon, Centre d'art contemporain, Duane Hanson, March - April 1998 Washington, Bellevue Art Museum, Duane Hanson, June - September 2001 Zurich, Kunsthaus, Duane Hanson, March - July 2003 LITERATURE Martin H. Bush, Sculptures by Duane Hanson, Wichita, 1985, fig. no. 14, p. 107, illustrated Kirk Varnedoe, Duane Hanson, New York, 1985, p. 102, illustrated in color Thomas Buchsteiner & Otto Letze, Duane Hanson: More than Reality, New York, 2001, cat. no. 79, p. 122, illustrated in color
Flea Market Lady polychromed bronze, hair, glasses, fabric, magazines, books and metal folding chair life size Executed in 1990-1991. This work is number three from an edition of four variants.
Man with Crutch signed 'Duane Hanson' (on the cast) Polyvinyl polychromed in oil, clothes, crutches, paper cup and straw and chair 52 x 25 1/2 x 48 in. (132 x 64.7 x 122 cm.) Executed in 1980.
polyester resin and Fiberglas, polychromed in oil with clothes, table, chair and accessories Executed in 1971. PROVENANCE O. K. Harris Works of Art, New York Acquired by the present owner from the above on May 20, 1971 for $3,000 EXHIBITED Chicago, Museum of Contemporary Art, Radical Realism, May - June 1971, cat. no. 22 New York, O.K. Harris Works of Art, Duane Hanson, January - February 1972 Washington, D.C., Smithsonian Institution, on extended loan, 1975-1981 Wichita, Edwin A. Ulrich Museum of Art; Lincoln, University of Nebraska Galleries; Des Moines Art Center; Berkeley, University Art Museum; Portland Art Museum; Kansas City, William Rockhill Nelson Gallery and Atkins Museum of Fine Arts; Colorado Springs Fine Arts Center; Richmond, Virginia Museum of Fine Arts; Washington, D. C., Corcoran Gallery of Art; New York, Whitney Museum of American Art, Duane Hanson, October 1976 - April 1978, p. 3, illustrated (artist seated with sculpture) and p. 42, illustrated Madison, Wisconsin, Elvehjem Art Center, on extended loan, 1981-1984 Chicago, The David and Alfred Smart Gallery, University of Chicago, on extended loan, 1984-1994 Ottawa, National Gallery of Canada, on extended loan, 1994-2005 Montreal, Museum of Fine Arts; Fort Worth, Modern Art Museum of Fort Worth, Duane Hanson, February - October 1994, pl. 9, p. 53, illustrated in color LITERATURE AND REFERENCES Gerrit Henry, "The SoHo Snatcher: Duane Hanson", AA News, vol. 71, March 1972, pp. 50 - 51, illustrated in color In Domus, no. 525, August 1973, p. 13, illustrated in color Gregory Battcock, ed., Super Realism: A Critical Anthology, New York 1975, p. 209, illustrated Thomas Buchsteiner & Otto Letze, eds., Duane Hanson More Than Reality, Ostfildern-Ruit 2001, no. 16, p. 34, illustrated in color CATALOGUE NOTE Duane Hanson's greatest sculptures have a quiet contemplative mood in which a figure of fascinating literalism inhabits its own corner of reality. As the viewer gazes at the particulars of the figure's clothing, features, accessories and environment, one cannot help a feeling of invasiveness or intrusion, but at the same time, a sharp recognition of each quotidian element. Just as the artist was photographed seated with Woman Eating as if he were about to share her ice cream sundae, we could as easily slip into the figure's reality. Unlike other contemporaries who worked in three dimensional formats within the realm of The New Realism or of Pop Art in the 1960s and early 1970s, Hanson's illusion of literalism was all-encompassing from the props to the figure itself. Claes Oldenburg's sculptures of everyday objects are primarily singular subjects - a piece of food, a dress, a flag, a clothespin, or a mouse - presented to us outside of their context. The closely observed nudes of John de Andrea are fascinating in detail but are similarly figures without context. The work of George Segal is closest to Hanson's in its incorporation of real objects or environments, but his figures are rendered with the artifice of plaster and bronze, abandoning any sense of literalism. Hanson sought total integration within his work, blurring the boundaries between reality and illusion Hanson's earliest works of the late 1960s were more aggressive in subject matter, including works of social commentary, such as War (1969) and Race Riot (1969-71), or horrific incident such as Motorcycle Accident (1967). In the 1970s, Hanson's mature figurative work emerged. Implied movement was eliminated as figures are either seated or standing in repose or contemplation. Any overt signs of political commentary or social satire are eliminated or subsumed, and a more introspective, often sadder, mood of isolation predominates, similar to the glimpses of diners in Edward Hopper's Sunlight in Cafeteria. Hopper and Hanson also both opted for portraying "common people" as subjects, but in Hanson's case, the accessories and objects that accompany the figure are more overt signs of social class. From the wing-tipped glasses to her frayed and drab clothing, the Woman Eating is as clearly associated with a certain American milieu as the Supermarket Shopper (1970) with her hair in curlers and her cigarette dangling from her lips, and as the many workers depicted by Hanson from window washers, construction workers, and cleaning women. As Kirk Varnedoe commented, "It is decidedly not the America of mass-market advertising, being neither homey-folksy rural nor urbanely youthful. Hanson's [figures] have been predominantly middle- or lower-middle-class people, belonging to a world of blue-collar service jobs, small business, and diner eating." (Kirk Varnedoe, Duane Hanson, New York 1985, p. 11). In discussing his technique of body-casting for his sculptures, Hanson commented that he often chose heavy set people for their physical impact and presence, and then "I usually portray them as working class types having great dignity, or over-burdened with despair and fatigue due to the complexities of our time." (Ibid., p. 37) Hanson cast his figures from life and his technique became increasingly sophisticated. While body-casting may seem a straightforward and simplistic way to capture a realistic figure, elements of the process actually dictate a great deal of effort and artistry to maintain the sense of literalism. The process for the initial mold-making is not entirely comfortable for the sitter, so a slight sense of awkwardness or artificiality can enter into the pose. The initial molds, done in various sections rather than an entire body cast, are then used to form the vinyl casts which are mixed with tinted paints and paraffin to achieve a more flexible and flesh-like material. The individual parts are put together with hot vinyl and soldering irons, with seams and imperfections melted and smoothed. Careful color and pigmentation applications are a process of great and arduous subtlety, indicating a heightened degree of artistic effort that is mirrored in the careful choice of accessories. The realism of the figure in Woman Eating is mirrored in the infinite details of the crumpled napkin, chocolate covered spoons, crumpled shopping bag and TV Guide and newspaper tabloids.
Old Man Playing Solitaire polyester and fiberglass polychromed with oil, clothes, glasses, glasses case, wrist watch, pipe, card table, chair, coffee mug, plate, matches and cards 50 x 35 x 55 in. (127.1 x 88.9 x 139.7 cm.) Executed in 1973.
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