AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.


CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.


DIEGO RIVERA - Portrait of Enriqueta G. Dávila - oil on canvas - 79 1/8 x 48 3/8 in.


CAMILLE PISSARRO - Le Jardin des Tuileries, Apres-Midi, Soleil - oil on canvas - 26 x 36 1/2 in.


WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.


WILLEM DE KOONING - Woman in a Rowboat - oil on paper laid on masonite - 47 1/2 x 36 1/4 in.


AGNES MARTIN - Untitled #11 - acrylic and graphite on canvas - 60 x 60 in.


FRIDA KAHLO - Frida’s Plaster Corset with Hammer and Sickle (and unborn baby) - dry plaster and mixed media - 16 1/4 x 13 x 6 in.


FRANCIS PICABIA - Lunis - oil on canvas - 25 1/2 x 20 1/2 in. .


Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols.  Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme.
<br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906. 
<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.


VINCENT VAN GOGH - Uitzicht over Den Haag met de Nieuwe Kerk - watercolor, gouache, and pen and brown ink on
paper - 9 7/8 x 14 1/16 in.


By the 1970s, when "Cantilever" was created, Alexander Calder was at the height of artistic prowess. He created this piece with an informed eye, having been working for the better part of the century on identifying and expounding upon his unique creative vision. One of the most instantly recognizable artists of his time, Calder was referred to as an "Engineer of Beauty" by his close friend and neighbor Robert Osborn. "Cantilever" is a  bold experiment in balance, form, and color in the third dimension. 
<br>The work was exhibited at the Perls Gallery, Calder's primary dealer. Since that time, the work has remained in the same private collection.  It is registered in the archives of the Calder Foundation, New York, under application number A08148. 
<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."


"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.


CAMILLE PISSARRO - Le Quai de Pothuis a Pontoise - oil on canvas - 18 1/8 x 21 7/8 in.


Alexander Calder's "The Palm Tree" (1947) has an understated beauty and brings to life Calder's mastery of the oil paint medium. The present work is  registered in the archives of the Calder Foundation, New York, under application number #A08381. This painting was acquired by the current owner directly from Perls Galleries in New York in 1974. Perls was one of the primary dealers of Calder's work. The painting has never been to auction and has remained in the same private collection since 1974.


FERNAND LEGER - Etude Pour La Grande Parade - gouache, watercolor, pencil and ink on paper - 29 1/4 x 35 in.


An exemplary work from Picasso’s Neo-Classical period, La communiante avec missel belongs to a rare series. Picasso revisited the theme of children receiving communion a few times and in a few styles, from this solemn classic version to the dynamic fragmentation of Cubism. A Neo-Classical example comparable to this piece is in the collection of the Musée Picasso in Paris.
<br>While this time period after World War I saw many artists looking to tradition, a return to order as a reaction against the destruction of war, Picasso’s Neo-classicism was not so much a refuge, but a vehicle by which he could explore new themes and ideas. In La communiante avec missel, we see certain hallmarks of Picasso: the visual weight that the girl carries and the statuesque features of her face. These elements are softened by the curved lines the artist has used for her body and dress. In Picasso’s hands, the painting is a meditation of youth and religion marking the rites of passage.


RICHARD PRINCE - Untitled (Cowboy) - c-print - 61 x 91 in.


ROBERT RAUSCHENBERG - Shuttle Buttle/ROCI USA (Wax Fire Works) - acrylic, fire wax, enamel, object on mirrored aluminum - 72 x 144 x 19 in.


Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life.
<br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.


ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.


TAKASHI MURAKAMI - Want to Hold You - acrylic on canvas - 59 x 59  in.


By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop.  "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre.  
<br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.


JAMES ROSENQUIST - Samba School - oil on canvas over panel - 78 x 132 in.