Our gallery in Palm Desert is centrally located in the Palm Springs area of California, adjacent to the popular shopping and dining area of El Paseo. Our clientele appreciates our selection of Post War, Modern, and Contemporary art. The gorgeous weather during the winter months draws visitors from all over the world to see our beautiful desert, and stop by our gallery. The mountainous desert landscape outside provides the perfect scenic backdrop to the visual feast that awaits inside.

45188 Portola Avenue
Palm Desert, CA 92260
(760) 346-8926

Hours:
Currently open by appointment only

Exhibitions

Abstract Expressionist Women
CURRENT

Abstract Expressionist Women

May 22 - June 30, 2020
The Rest So Beautiful: Contemporary Art and China
CURRENT

The Rest So Beautiful: Contemporary Art and China

May 12 - October 31, 2020
The Radical Line
CURRENT

The Radical Line

April 11 - September 30, 2020
Still Life, Still
CURRENT

Still Life, Still

April 10 - September 30, 2020
Cool Britannia: The Young British Artists
CURRENT

Cool Britannia: The Young British Artists

April 2 - September 30, 2020
The Cool School
CURRENT

The Cool School

March 30 - September 30, 2020
Pop Figures: Mel Ramos and Tom Wesselmann
CURRENT

Pop Figures: Mel Ramos and Tom Wesselmann

March 26 - September 30, 2020
Norman Zammitt: The Progression of Color
CURRENT

Norman Zammitt: The Progression of Color

March 19 - June 30, 2020
The Gloria Luria Collection
CURRENT

The Gloria Luria Collection

March 16 - August 31, 2020
Jae Kon Park: Life and Root
CURRENT

Jae Kon Park: Life and Root

March 12 - June 30, 2020
Jewels of Impressionism and Modern Art
CURRENT

Jewels of Impressionism and Modern Art

February 19 - June 30, 2020
Paul Jenkins: Coloring the Phenomenal
CURRENT

Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - June 30, 2020
Irving Norman: Dark Matter
CURRENT

Irving Norman: Dark Matter

November 27, 2019 - June 30, 2020
Hassel Smith: The Measured Paintings
ARCHIVE

Hassel Smith: The Measured Paintings

February 12 - April 20, 2020
Mesa Modern
ARCHIVE

Mesa Modern

February 13 - February 29, 2020
The Californians
ARCHIVE

The Californians

November 1, 2019 - February 14, 2020
Opulent Minimalism
ARCHIVE

Opulent Minimalism

December 3, 2019 - January 31, 2020
Paul Jenkins and Robert Natkin
ARCHIVE

Paul Jenkins and Robert Natkin

November 1 - December 27, 2019
Morris Louis - The Early Paintings
ARCHIVE

Morris Louis - The Early Paintings

October 11 - November 30, 2019
Anselm Kiefer
ARCHIVE

Anselm Kiefer

August 15 - September 30, 2019
Mel Ramos and Tom Wesselmann
ARCHIVE

Mel Ramos and Tom Wesselmann

July 12 - August 31, 2019
Peter Shelton: A Thing You Bump Into
ARCHIVE

Peter Shelton: A Thing You Bump Into

July 16 - August 31, 2019
Paul Jenkins: Phenomenal
ARCHIVE

Paul Jenkins: Phenomenal

July 1 - August 31, 2019
Alexander Calder: Cosmic Abstraction
ARCHIVE

Alexander Calder: Cosmic Abstraction

June 21 - August 30, 2019
Julian Schnabel
ARCHIVE

Julian Schnabel

June 4 - July 31, 2019
Hassel Smith
ARCHIVE

Hassel Smith

May 6 - June 30, 2019
Luc Bernard: Unconventional Borders
ARCHIVE

Luc Bernard: Unconventional Borders

May 3 - May 31, 2019
Sam Francis: From Dusk to Dawn
ARCHIVE

Sam Francis: From Dusk to Dawn

November 15, 2018 - April 29, 2019
Architectural Landscapes
ARCHIVE

Architectural Landscapes

December 1, 2018 - January 31, 2019
Herb Alpert: A Visual Melody
ARCHIVE

Herb Alpert: A Visual Melody

February 17 - May 31, 2018
N.C. Wyeth: Paintings and Illustrations
ARCHIVE

N.C. Wyeth: Paintings and Illustrations

February 1 - May 31, 2018
Gregory Sumida: Americana
ARCHIVE

Gregory Sumida: Americana

April 5 - May 31, 2018
Sublime Abstraction
ARCHIVE

Sublime Abstraction

November 25, 2017 - May 31, 2018
The Paintings of Sir Winston Churchill
ARCHIVE

The Paintings of Sir Winston Churchill

March 21 - May 30, 2018
Wojciech Fangor
ARCHIVE

Wojciech Fangor

November 25, 2017 - March 17, 2018
Edward S. Curtis
ARCHIVE

Edward S. Curtis

February 3 - March 17, 2018
Ferrari and Futurists: An Italian Look at Speed
ARCHIVE

Ferrari and Futurists: An Italian Look at Speed

November 21, 2016 - January 30, 2017
Alexander Calder
ARCHIVE

Alexander Calder

November 21, 2015 - May 28, 2016
Max Pellegrini: A Retrospective Exhibition
ARCHIVE

Max Pellegrini: A Retrospective Exhibition

November 27, 2015 - March 27, 2016
Masters of California Impressionism
ARCHIVE

Masters of California Impressionism

November 22, 2014 - May 23, 2015
Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s
ARCHIVE

Lawrence Schiller: Marilyn Monroe and Great Moments from the 60s

November 23, 2012 - January 31, 2013
Painterly Abstraction: Spheres of AbEx
ARCHIVE

Painterly Abstraction: Spheres of AbEx

November 25, 2011 - May 31, 2012
Washi Tales: Works by Kyoko Ibe
ARCHIVE

Washi Tales: Works by Kyoko Ibe

December 11, 2011 - January 28, 2012
Masters of Impressionism and Modern Art
ARCHIVE

Masters of Impressionism and Modern Art

November 20, 2010 - September 25, 2011
Picasso
ARCHIVE

Picasso

November 20, 2009 - May 25, 2010

ARTWORK ON VIEW

The Wildenstein Catalogue Raisonné of Monet paintings offers a note on this painting: “During his second stay in Pourville-Varengeville, Monet painted the customs’ officer’s cottage several times and from various angles. This general view shows it overhanging the Gorge du petit Ailly." Monet spent six months in this part of Normandy in 1882, and the cabin in this painting was one of his favorite motifs to revisit. It appears in eighteen paintings from that year, and another dozen from a later trip to the area in 1897. His fixation with this house on the hill later became a habit of working serially – each canvas a singularity registering a unique guise yet set sequentially and in direct relationship to other works within the series. Monet circumambulated and painted the cabin from so many angles that as a group, the paintings are not as clearly recognizable as a series as the celebrated grain-stacks, Rouen cathedral, or poplar series. Still, it is a fixed and iconic element that reappears in many of Monet’s paintings from this period.
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<br>Japanese woodblock prints were a life-long source of inspiration for Monet, and this piece in particular draws upon Hiroshige's "Utsu Mountain, Okabe," c. 1833. This print is part of a series called “The Fifty-three Stations of the Tōkaidō,” which documented scenic views from the major road that linked the shōgun’s capital, Edo, to the imperial one Kyōto. Monet amassed an extensive collection of woodblock prints – many of which are still on view at Giverny.

CLAUDE MONET

Gustave Caillebotte’s paintings of his country home at Yerres display soft brushwork and a pastel palette typical of the Impressionists. Although closely associated with that movement, Caillebotte drew inspiration from other approaches as well, resulting in a style closer to Realism than many of his contemporaries. He aimed to paint the world as he observed it, producing works that resisted theatricality in favor of a more grounded sense of reality. His noteworthy urban scenes employ flatter colors and dramatic perspectives inspired by Japanese wood block prints. One such example, created in the same year as the present work, is one of his best-known paintings, "Paris Street; Rainy Day" at the Art Institute of Chicago.
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<br>Caillebotte did not only contribute his painting to the Impressionist movement, but also became a crucial benefactor upon receiving a sizable inheritance. He helped to fund exhibitions, purchased works for his own collection, and even paid rent for Claude Monet’s studio. 
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<br>This canvas from 1877 belonged to the personal collection of American Impressionist Mary Cassatt until her death in 1926. Here, Caillebotte’s delicate paint handling compliments his measured use of color. Naturalistic hues of the artist’s garden and the valley beyond – a bed of cool green and blue that divide the canvas into contrasting swaths of heavy and light tones – underscore the details touched by light.

GUSTAVE CAILLEBOTTE

Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.

ANISH KAPOOR

Shortly after his major retrospective exhibition at the Museum of Modern Art in New York in 1941, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year, Les Yeux Fleuris, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Eyes appear in Dalí paintings, sculpture, and jewelry throughout his career — as late as the 1981 painting Argus and, most notably, in paintings Dalí made for the dream sequences of the film Spellbound directed by Alfred Hitchcock.

SALVADOR DALI

Combining sculptural elements on a canvas work, "Vanity Unfair for Gordon Matta Clark" evokes the experimental nature of the Pop Art movement. Created as a tribute to his close friend, Gordon Matta Clark, the present work is a layered creation, each element having significance and a deeper symbolic meaning.  
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<br>Starting as a commercial sign painter, Rosenquist learned the power of large-scale bold images. These large images, vibrant colors, and recognizable imagery would be the mainstay of Rosenquist's artistic output. "Much of the aesthetic of my work comes from doing commercial art," the artist once said. "I painted pieces of bread, Arrow shirts, movie stars. It was very interesting. Before I came to New York I wanted to paint the Sistine Chapel. I thought this is where the school of mural painting exists." 
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<br>Rosenquist's works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among many others.

JAMES ROSENQUIST

"San Loretto" (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again."
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<br>The painting shows Kiefer’s desire to create a self-contained world within the confines of the canvas; the winged form flies effortlessly across a vast, open landscape created using Kiefer’s favored thick-Impasto surface.  
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<br>Kiefer draws from a variety of sources for the subjects of his work, including Judeo-Christian themes, mythological subjects, and German history itself.  Kiefer can produce some of the most provocative and innovative works of our time using his automatic process. Much like the spontaneous working nature of Jackson Pollock before him, Kiefer is spiritually connected to the work during the creative process, letting his subject come through at the moment.    
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<br>In honor of Kiefer’s 70th birthday, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition for the artist in 2015.  The present work has been held in a private collection since its creation.

ANSELM KIEFER

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

TOM WESSELMANN

KURT SCHWITTERS - Ohne Titel (Merzbild Mit Schuhsohle) - oil and relief assemblage on plywood - 21 1/4 x 17 3/4 in.

KURT SCHWITTERS

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

JOHN MARIN

Irving Norman's masterpiece, "The Human Condition," from 1980, draws upon the artist's lifetime of acquired experiences and knowledge. Surviving as a volunteer fighter during the Spanish Civil War, the artist returned to the United States after the loyalist defeat. Upon his return, fervent studio practice in Half Moon Bay, California, would become his life's devotion.  
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<br>The present work, a nearly 16-foot-wide triptych, is reminiscent of Hieronymus Bosch's triptych, "The Garden of Earthly Delights," c. 1510.  The dystopian vision portrayed in 'The Human Condition" is a warning - a lesson from the European dictatorships Norman experienced firsthand during the 1930s.   Disturbing tableaus show the darkness of humanity and the evil that can rise to prominence when humanity is at its worst.  There is hope, however, in the experience of the viewer: Norman thought of his audience as the greatest hope for humankind.

IRVING NORMAN

Larry Rivers is considered by many to be the father of the Pop Art movement.  In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself.  
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<br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C.

LARRY RIVERS

This painting has remained in the same private collection since its creation.  Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.  
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<br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

This painting has remained in the same private collection since its creation.  Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.  
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<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

Carl Andre’s floor sculptures are typically made from glowing tiles of lead, zinc, or copper. They differ from most other minimalist artwork in their accessibility: they are meant to be walked on. Art historically, Andre places himself in the lineage of Constantin Brancusi and Henry Moore. Andre continues in their tradition of reducing the vocabulary of sculpture to its most vital and simple forms. The works also speak to Donald Judd’s idea of “specific objects,” which emphasized the phenomenological experience of the viewer and an exploration of structure and space.

CARL ANDRE

Andy Warhol, who famously said that, “In the future, everybody will be famous for 15 minutes,” was known for his portraits of influential and powerful celebrities, businesspeople, and socialites. He was obsessed with exploring hallmarks of a consumer society such as wealth and fame. From his renowned Factory studio in New York, Warhol became a pop culture icon, one of the most important artists of the 20th century, and a name synonymous with Pop art. 
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<br>Warhol's notable Death and Disaster series addresses depictions of death in the media, commenting on desensitization through repeated imagery. Often using photos from mass-circulated newspapers, magazines, and tabloids, Warhol took them out of the journalistic context and appropriated them in artwork. “Electric Chairs” (1971), based on an image of the electric chair at Sing Sing Prison, belongs to this series. Warhol first used this subject matter in 1963 and returned to the image for this 1971 set of prints, in which he put more prominence on the chair by cropping the image. Here, Warhol repeats the image ten times in different color combinations. Each screenprint is hand-signed and stamped on the verso.

ANDY WARHOL

Gabriel Orozco is one of the preeminent artists working today. A native Mexican, Orozco gained initial recognition in the 1990s through his artistic creations across a wide range of media, including sculpture, drawing, photography, and installation works. Orozco had a significant mid-career traveling retrospective that ended in 2011 at the Tate Modern. He is widely regarded as one of the most innovative artists of our time.
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<br>“Samurai Tree - Invariant Gold 2” (2005) is part of the “Samurai Tree” series, the genesis of which was an exploration into the geometry of the circle in drawings Orozco produced on graph paper before 2004.  
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<br>“I thought that by establishing some rules, I could build up a structure that behaves like a sculpture,” says the artist, “so it’s a flat mobile maybe, or it’s a diagram that’s rotating and moving. And behaving not like a painting, in a way.”

GABRIEL OROZCO

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum. 
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<br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”
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<br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.

DAMIEN HIRST

"Lions on the Dreyfus Fund, Inc." demonstrates Rivers's Pop Art aesthetic through its repetition of imagery and a well-known corporate brand of the time. The lion forms featured prominently in the painting were a logo for the Dreyfus fund, as well as art historical symbols in their own right. Rivers would have at least seen pictures of the ancient archetypes for such imagery as the "Ishtar Gate" from 575 B.C. in what is now the country of Iraq. Rivers's love of travel and exploration brought him to Africa for seven months, where he would have been able to study a diverse menagerie for his artwork firsthand.    
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<br>Another version of the painting, "Lions on the Dreyfus Fund III" (1964) is in the permanent collection of the Art Institute of Chicago.

LARRY RIVERS

Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.

DEBORAH BUTTERFIELD

EDWARD HOPPER - Old Ice Pond at Nyack - oil on canvas - 11 3/4 x 19 3/4 in.

EDWARD HOPPER

Kenny Scharf established his reputation working in 1980s New York as a street artist. His organic forms - as seen in “Kolorbz” - are instantly recognizable. Scharf now works from Los Angeles where he began his career. He has decorated the facades of several buildings across the metropolitan area, including a project at the former Pasadena Museum of California Art. Scharf is associated with the Lowbrow art movement, a term which he pioneered and used and which refers to a combination of Pop Art and Surrealism.
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<br>In March 2020, Scharf set a new auction record of $525,000 for a depiction of the Flinstones estimated to sell for 20-50k. As the prices for Scharf’s contemporaries continue to soar into the stratosphere, many collectors and institutions are re-evaluating the Scharf market to reflect his art historical importance. Acquired directly from the artist, "Kolorbz" is a signature Scharf work, full of personality and energy with a burst of vibrant color.

KENNY SCHARF

ANSELM KIEFER - Jericho - emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.

ANSELM KIEFER

SADAMASA MOTONAGA - Untitled - oil on canvas - 16 x 12 1/2 in.

SADAMASA MOTONAGA

Henri Matisse is one of the most influential artists of the twentieth century and whose oeuvre covers painting, drawing, sculpture, etchings, linocuts, lithographs, aquatints, paper cutouts, and book illustration. An early proponent of Fauvism with its outrageous colors and dynamic composition, Matisse would also move into abstraction, pioneering the use of color and form in each stage of his career. This drawing depicts Madame Monchaux and displays the incredible draftsmanship that often characterized his work. Striving to achieve “the art of balance, of purity and serenity”, his drawings appear effortless but are careful studies to unite line and form.

HENRI MATISSE

Paul Jenkins is renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew upon a wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” A combination of chance and control (Jenkins used a dull ivory knife to guide the paint) reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of phenomenal colors.
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<br>Jenkins primed his canvas so that unlike those of other Color Field artists, the paint did not soak in and instead, flowed and pooled – perhaps best exemplified in this large-scale painting with gem-like colors. Whether oil, acrylic, or watercolor, Jenkins displayed a mastery over these media so that both the process and the product are united.

PAUL JENKINS

TOM WESSELMANN - Partial Monica with Hat and Beads - enamel on laser-cut steel - 33 x 34 in.

TOM WESSELMANN

ALEXANDER CALDER - Card Players - gouache on paper - 29 x 42 in.

ALEXANDER CALDER

IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.

IRVING NORMAN

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

HERB ALPERT

HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.

HERB ALPERT

HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.

HERB ALPERT

IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.

IRVING NORMAN

JEAN-BAPTISTE GREUZE - Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length - oil on panel - 23 5/8 x 19 3/8 in.

JEAN-BAPTISTE GREUZE

American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.

ANTHONY CARO

IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.

IRVING NORMAN

IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.

IRVING NORMAN

Stanton Macdonald-Wright was a co-founder of the Synchromism movement, which combined abstraction and intense color. He was influenced by ideas that the qualities of color were connected to the qualities of music. He stopped painting this way in the 1920s, but his work experienced a revitalization in the 1950s, following a retrospective of his work at LACMA. Inspired by the renewed interest, Wright began producing works with increased passion; these works were considered Neo-Synchromism. La Gaîté is a phenomenal example of this period in Wright’s career, showcasing the brighter colors and larger canvases he favored during his personal renaissance.

STANTON MACDONALD-WRIGHT

One of the most prominent modernist artists, Roberto Matta created artworks brimming with color and surrealist forms. Born in Chile, Matta worked for two years in modern architect Le Corbusier’s studio in Paris. He also formed strong friendships with Salvador Dalí and Andre Breton, officially joining the surrealists in 1937.
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<br>This painting incorporates psychological responses to political and social concerns, hallmarks of Matta’s paintings influenced by the impact of World War II. The painting also contains his classic style of numerous, overlapping architectural planes. Matta deftly merges his surrealist background with the visual language of the Abstract Expressionists.

ROBERTO MATTA

CHARLES ARNOLDI - Construction - acrylic on plywood and found wooden sticks - 128 x 68 x 8 in.

CHARLES ARNOLDI

HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.

HERB ALPERT

HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.

HERB ALPERT

RAOUL DUFY - Intérieur de la Ménara - gouache and watercolor on paper - 19 1/2 x 25 1/8 in.

RAOUL DUFY

N.C. WYETH - Bringing in the Ears (Composition drawing) - charcoal on paper - 26 1/2 x 32 in.

N.C. WYETH

Afternoon Tea on the Terrace (1905-1906) was commissioned by Rodman Wanamaker as part of a mural for the Grand Deluxe Shelburn hotel in Atlantic City. The mural was later divided into seven pieces that were displayed in the hotel dining room. Frieseke’s earliest mural work was for his patron, Rodman Wanamaker. Other commissions included mural decorations that were installed in Wanamaer’s New York department store in 1904 and 1907, the Rodman Wanamaker Hotel in 1905, and the Amphitheater of Music in New York in 1908. Art historians credit Wanamaker’s constant commissions as being the sole reason Frieseke was able to devote himself to painting.

FREDERICK CARL FRIESEKE

IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.

IRVING NORMAN

IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.

IRVING NORMAN

RICHARD ANUSZKIEWICZ - Translumina - acrylic on wood - 48 x 48 in.

RICHARD ANUSZKIEWICZ

RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.

RICHARD ANUSZKIEWICZ

RON ARAD - Big Easy Volume 2 - stainless steel welded chair - 36 x 53 x 28 in.

RON ARAD

IRVING NORMAN - Totem of a Holy Family - oil on canvas - 90 x 19 3/4 in.

IRVING NORMAN

OSWALDO GUAYASAMIN - Atahualpa en Cajamarcas - oil on canvas - 28 x 19 1/2 in.

OSWALDO GUAYASAMIN

ARISTIDES DEMETRIOS - Embrace - stainless steel - 51 x 31 3/4 x 18 3/4 in.

ARISTIDES DEMETRIOS

ARISTIDES DEMETRIOS - Sempre Allegro - stainles steel - 101 1/4 x 35 1/2 x 37 in..

ARISTIDES DEMETRIOS

ARISTIDES DEMETRIOS - Joy of Being II - stainless steel - 72 x 21 1/2 x 14 in.

ARISTIDES DEMETRIOS

KARL BENJAMIN - #32 - oil on canvas - 31 x 62 in.

KARL BENJAMIN

NATHAN OLIVEIRA - Standing Figure #2 - bronze - 26 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

JAE KON PARK - Untitled - oil on canvas - 52 1/4 x 64 1/2 in.

JAE KON PARK

THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

THEASTER GATES

IRVING NORMAN - Homeless 2 - oil on canvas - 72 x 36 in.

IRVING NORMAN

JAE KON PARK - Untitled - oil on canvas - 38 x 51 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36  x 48 in.

WILLIAM THEOPHILUS BROWN

NORMAN ZAMMITT - Panel for Black to White - acrylic on canvas on pine board - 100 x 11 1/4 in.

NORMAN ZAMMITT

JAE KON PARK - Untitled - oil on canvas - 34 x 43 1/4 in..

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 36 x 45 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 35 1/4 x 46 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Untitled (Painting with Jumping Man and Snake) - acrylic on canvas - 38 x 42 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - Untitled - oil on canvas - 35 1/2 x 45 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 36 x 46 in.

JAE KON PARK

PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in

PAUL JENKINS

RICHARD ANUSZKIEWICZ - Arcade of Verdue - oil on canvas - 33 x 24 in.

RICHARD ANUSZKIEWICZ

WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - Untitled - oil on burlap - 39 1/2 x 35 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 35 x 33 7/8 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 28 1/2 x 35 1/2 in.

JAE KON PARK

NATHAN OLIVEIRA - Mask #6 (Red) - bronze and acrylic - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

JAE KON PARK - Untitled - oil on canvas - 31 3/4 x 27 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - resin and acrylic - 23 3/4 x 23 3/4 in.

JAE KON PARK

NATHAN OLIVEIRA - Mask #2 - bronze with custom patina - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Mask #7 - bronze - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

JAE KON PARK - Untitled - oil on canvas - 24 x 28 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 24 x 28 3/4  in.

JAE KON PARK

JAE KON PARK - Life and Roots - oil on canvas - 25 1/2 x 20 5/8 in.

JAE KON PARK

JAE KON PARK - Life and Roots - oil on canvas - 28 x 20 1/2 in.

JAE KON PARK

PAUL JENKINS - Phenomena D.H. Lawrence Gala - watercolor on paper - 43 1/8 x 31 1/4 in.

PAUL JENKINS

PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.

PAUL JENKINS

PAUL JENKINS - Untitled - watercolor on paper - 43 1/8 x 31 1/8 in. .

PAUL JENKINS

PAUL JENKINS - Untitled - watercolor on paper - 41 3/4 x 30 in.

PAUL JENKINS

WILLIAM THEOPHILUS BROWN - Untitled (Nudes with Tree) (Woman and Child) - acrylic on canvas - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Steps in Lafayette Park - acrylic and pencil on paper - 15 x 22 1/4 in.

PAUL WONNER

JAE KON PARK - Untitled - oil on painting - 18 x 21 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 18 x 21 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Untitled (Three Nudes One Seated) - acrylic on paper - 11 1/8 x 14 1/4 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Jamie Seated (Green Background) - acrylic and oil on canvas - 14 x 9 3/4 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Soldiers) - acrylic on canvas - 14 x 18 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Seated Figure) - charcoal and gouache on paper - 18 3/4 x 14 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Youth and Old Age - acrylic on paper - 14 1/2 x 16 5/8 in.

PAUL WONNER

PAUL WONNER - Artist and Model, Hands on Hips - acrylic and pencil on paper - 14 1/4 x 16 1/4 in.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Untitled (Landscape with Rocks) - oil on board - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (2 Male Nudes) - acrylic on paper - 14 x 9 3/4 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Bathers) - acrylic on paper - 10 3/4 x 13 3/4 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 13 7/8 x 9 7/8 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Youth and Old Age, Artist and Model - acrylic and pencil on paper - 13 1/4 x 15 in.

PAUL WONNER

PAUL WONNER - Park with Figures - acrylic and pencil on paper - 15 x 22 in.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 14 x 10 3/4 in.

WILLIAM THEOPHILUS BROWN

UTAGAWA HIROSHIGE - Okabe: Utsu Mountain - color woodblock print; oban
Color woodblock print; oban - 9 1/2 x 14 3/16 in.

UTAGAWA HIROSHIGE

WILLIAM THEOPHILUS BROWN - Up - acrylic on paper - 16 1/2 x 11 1/2 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Youth and Old Age: Artist, Model, Pots of Flowers - acrylic and pencil on paper - 14 1/4 x 12 1/4 in.

PAUL WONNER

PAUL WONNER - Landscape with Bathers - acrylic and pencil on paper - 14 7/8 x 22 1/8 in.

PAUL WONNER

PAUL WONNER - Landscape with Bathers After Cezanne - acrylic and pencil on paper - 14 7/8 x 22 1/2 in.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Untitled (Two Nudes) (Two Figures) - acrylic and charcoal on paper - 11 x 15 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Seated Female Nude) - charcoal, pencil and wash on paper - 25 1/2 x 19 1/2 in.

WILLIAM THEOPHILUS BROWN

LAWRENCE SCHILLER - Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963 - silver gelatin print - 16 x 20 in.

LAWRENCE SCHILLER

JAE KON PARK - About Ancient Korea - batik on fabric - 11 3/4 x 12 1/2 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Floor) - acrylic and charcoal on paper - 11 x 15 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Artist Drawing The Model - acrylic and pencil on paper - 12 x 10 1/4 in.

PAUL WONNER

PAUL WONNER - Trees and Rock on the Bay - acrylic and pencil on paper - 15 x 22 in.

PAUL WONNER

PAUL WONNER - In Lafayette Park VI - acrylic and pencil on paper - 13 5/8 x 20 5/8 in.

PAUL WONNER

JAE KON PARK - About Patterns - batik on fabric - 9 1/4 x 11 in.

JAE KON PARK

JAE KON PARK - Birds of Spring - batik on fabric - 10 3/4 x 12 1/4 in.

JAE KON PARK

JAE KON PARK - Twice-drawn Bird - batik on fabric - 10 1/2 x 12 in.

JAE KON PARK

JAE KON PARK - Life - batik on fabric - 9 1/2 x 10 3/4 in.

JAE KON PARK

JAE KON PARK - Twice-drawn Bird - batik on fabric - 10 1/2 x 12 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Split Rock, Cisco Grove - acrylic on canvas - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - At Mission Rock - acrylic and pencil on paper - 14 1/2 x 16 in.

PAUL WONNER

IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

WILLIAM THEOPHILUS BROWN - Untitled (Nude Male on Floor) - acrylic on paper - 11 3/4 x 9 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled Drawing - pencil and wash on paper - 15 x 11 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - The Mystery Series - ink on paper - 13 3/4 x 12 1/2 in.

JAE KON PARK

JAE KON PARK - America Series - ink on paper - 13 3/4 x 12 1/2 in.

JAE KON PARK

JAE KON PARK - Mystery of the Artic - ink on paper - 14 x 12 1/2 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Block) - pencil and wash on paper - 15 x 10 3/4 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - Untitled - ink on paper - 10 3/4 x 9 1/2 in.

JAE KON PARK

JAE KON PARK - The Incan Sun - ink on paper - 10 1/2 x 9 1/2 in.

JAE KON PARK

JAE KON PARK - The Incan Sun - ink on paper - 10 3/4 x 9 1/4 in.

JAE KON PARK

TSENG KWONG CHI - George Condo - c print - 16 x 20 in.

TSENG KWONG CHI

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Step) - pencil and wash on paper - 14 1/2 x 11 1/2 in.

WILLIAM THEOPHILUS BROWN

NATHAN OLIVEIRA - Small Figure #3 - bronze with unique patina - 6 1/4 x 4 x 2 3/4 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Small Figure #2 - bronze with unique patina - 6 1/4 x 4 x 2 3/4 in.

NATHAN OLIVEIRA

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Standing Nude, Arm on Head) - pencil and wash on paper - 15 x 11 1/4 in.

WILLIAM THEOPHILUS BROWN

EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.

EDWARD STEICHEN

WILLIAM THEOPHILUS BROWN - Self Portrait with Sketchbook - gouache - 8 1/2 x 6 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Two Cranes Take Flight (Into the Sunset) - gouache on paper - 11 x 14 1/2 in.

WILLIAM THEOPHILUS BROWN

DAVID MACH - Matchead - matchstick - 5 1/2 x 2 3/4 x 3 3/4 in.

DAVID MACH

DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.

DAVID MACH

WILLIAM THEOPHILUS BROWN - Self Portrait - gouache - 7 1/4 x 6 in.

WILLIAM THEOPHILUS BROWN

IRVING NORMAN - The Circus, Balancing Act 2 (a Study) - pencil on paper - 11 x 9 in.

IRVING NORMAN

IRVING NORMAN - The Circus, The Balancing Act 2a (a Study) - pencil on paper - 11 x 9 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony") - pencil on paper - 14 x 11  in.

IRVING NORMAN

IRVING NORMAN - From Work - lithograph on paper - 20 x 25 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Bodies in Crypt) - pencil on paper - 7 1/2 x 3 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (War Study) - graphite on paper - 6 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Bodies) - pencil on paper - 6 3/4 x 2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Smoking Man) - pen on paper - 8 7/8 x 6 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Man with Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Couple) - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "Celebration") - graphite on paper - 4 7/8 x 3 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Head with Fire) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Abstract Heads) - pen on paper - 8 7/8 x 6 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2) - graphite on paper - 14 x 11 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Four Heads) - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

PAUL JENKINS - Phenomena Coriolis Wedge - oil on canvas - 66 x 77 in.

PAUL JENKINS

PAUL JENKINS - Phenomena Zodiac Violet - watercolor on paper - 40 x 29 in.

PAUL JENKINS

PAUL JENKINS - Phenomena Yoshihara Sound - watercolor on paper - 30 x 40 1/2 in.

PAUL JENKINS

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