Palm Desert

EXHIBITIONS        ARTWORK ON VIEW

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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:
Monday – Saturday 9am – 5pm

Exhibitions

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Paul Jenkins: Coloring the Phenomenal
CURRENT

Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - February 29, 2020
Opulent Minimalism
CURRENT

Opulent Minimalism

December 3, 2019 - January 31, 2020
Irving Norman: Dark Matter
CURRENT

Irving Norman: Dark Matter

November 27, 2019 - January 31, 2020
Theophilus Brown and Paul Wonner: Seen Through Different Lenses
CURRENT

Theophilus Brown and Paul Wonner: Seen Through Different Lenses

November 1, 2019 - February 29, 2020
The Californians
CURRENT

The Californians

November 1, 2019 - February 29, 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
Test
ARCHIVE

Test

November 5, 2019
Anselm Kiefer
ARCHIVE

Anselm Kiefer

August 15 - September 30, 2019
Paul Jenkins: Phenomenal
ARCHIVE

Paul Jenkins: Phenomenal

July 1 - August 31, 2019
Jae Kon Park: Life And Root
ARCHIVE

Jae Kon Park: Life And Root

July 24 - August 31, 2019
The Estate of Paul Wonner and William Theophilus Brown
ARCHIVE

The Estate of Paul Wonner and William Theophilus Brown

July 21 - August 31, 2019
Peter Shelton: A Thing You Bump Into
ARCHIVE

Peter Shelton: A Thing You Bump Into

July 16 - August 31, 2019
Mel Ramos and Tom Wesselmann
ARCHIVE

Mel Ramos and Tom Wesselmann

July 12 - 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
N.C. Wyeth: Paintings and Illustrations
ARCHIVE

N.C. Wyeth: Paintings and Illustrations

February 1 - May 31, 2018
Herb Alpert: A Visual Melody
ARCHIVE

Herb Alpert: A Visual Melody

February 17 - May 31, 2018
Sublime Abstraction
ARCHIVE

Sublime Abstraction

November 25, 2017 - May 31, 2018
Gregory Sumida: Americana
ARCHIVE

Gregory Sumida: Americana

April 5 - 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

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Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world. <br> <br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. <br> <br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career. <br> <br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15

KEITH HARING

GUSTAVE CAILLEBOTTE - Vue du Jardin de l’Artiste et de la Vallée de Yerres - oil on canvas - 19 1/8 x 25 1/2 in.

GUSTAVE CAILLEBOTTE

Created at a seminal point early in the artist’s career, Le Mont Riboudet a Rouen au Printemps by Claude Monet, depicts a beautiful landscape with flora, figures working in the fields, and haystacks. The aesthetic is comparable to that of Camille Pisarro and Alfred Sisley, Monet’s contemporaries also working en plein air at the time to capture nuances of the French countryside on canvas. The painting’s distinguished provenance includes Durand-Ruel and Gustave Caillebotte.

CLAUDE MONET

EDWARD HOPPER - Farm House at Essex - watercolor on paper - 14 x 19 15/16 in

EDWARD HOPPER

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

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

PIERRE-AUGUSTE RENOIR - Femme à Corsage à Rayures Jaune et Rouge Ecrivant - oil on canvas - 17 3/4 x 21 in.

PIERRE-AUGUSTE RENOIR

JAMES ROSENQUIST - Untitled - oil on canvas laid on panel - 101 3/4 x 85 in.

JAMES ROSENQUIST

IRVING NORMAN - The Human Condition - oil on canvas - 120 x 182 in.

IRVING NORMAN

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

Robert Motherwell is admired for his gestural contributions to Abstract Expressionism. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 demonstrates Motherwell’s intuitive approach to painting influenced by the automatic drawing of the Surrealists. His gestures in this painting are characterized by a suggestion of chance and accident: “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he said. “Thus painting, like music, tends to become its own content.”

ROBERT MOTHERWELL

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

CAMILLE PISSARRO - Les Gardeuses de Vaches - mixed media, gouache and watercolor with charcoal on paper - 11 1/2 x 8 1/2 in.

CAMILLE PISSARRO

DAMIEN HIRST - Overwhelming Love - household gloss, butterflies - 36 x 60 in

DAMIEN HIRST

LARRY RIVERS - Lions on the Dreyfus Fund, Inc. - pencil and oil on cut wood and canvas - 63 x 35 1/2 in.

LARRY RIVERS

GARY HUME - Seabird - gloss paint on aluminum in four panels - 87 x 48 1/2 x 1 1/4 in. ea.

GARY HUME

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

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

PETER HALLEY

PAUL JENKINS - Untitled - acrylic on canvas - 71 1/2 x 128 1/2 in.

PAUL JENKINS

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

IRVING NORMAN

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

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

HERB ALPERT

HERB ALPERT - Charity - bronze - 150 in.

HERB ALPERT

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

HERB ALPERT

HERB ALPERT - Gratitude - bronze - 206 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

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

GERT AND UWE TOBIAS - Untitled (GUT/2053) - colored woodcut on canvas - 78 3/4 x 118 1/4 in.

GERT AND UWE TOBIAS

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

HERB ALPERT

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

HERB ALPERT

HERB ALPERT - Warrior - bronze - 156 x 40 x 40 in.

HERB ALPERT

Untitled (Hologram Suite) by Louise Bourgeois contains eight individual glass holograms initially created by the artist in 1998 and fully realized in 2014. The imagery includes lovers, chairs, a bell jar, and enclosures. These elements reoccur in many of the artist's installations and are related to her interest in physical and emotional isolation and sexuality. The images recorded within these holograms were created from original Bourgeois sculptures. Encoded on glass and activated by light, the images appear only when illuminated at a particular angle, and they come to life with a red glow.

LOUISE BOURGEOIS

Spring, an unusually large-scale oil painting by William Wendt, depicts a huge expanse of blue, almost cloudless California sky over a wide, flat plain of verdant grass. The only other adornments to this landscape are stands of tall, thin trees that, in the forefront, seem to tower over the far distant snow-capped mountaintop. Wendt’s Impressionist style is evident in the detailed brushwork that makes up the sky. Using short dashes of blue upon blue, Wendt builds the varying color from dark at the top to lighter blue as it nears the mountain on the horizon. Looking closely, the sky almost appears to be a mosaic, but from further back, the colors and strokes blend seamlessly to create its soft, pastel look.

WILLIAM WENDT

IRVING NORMAN - War Wounded - oil on canvas - 70 x 60 in.

IRVING NORMAN

JOSEPH KLEITSCH - Mission Cloisters, San Juan Capistrano - oil on canvas - 22 1/8 x 27 in.

JOSEPH KLEITSCH

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

IRVING NORMAN

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

IRVING NORMAN

Pat Steir is a celebrated American painter and printmaker, best known for her Waterfall paintings of dripped, splashed, and poured paint. This large work on paper completed in 1985 is characterized by her usual sense of spontaneity and unpredictability, embracing nature as an active force in art. Recalling the explosive power of waves, the work on paper references the art historical tradition of 19th century artists Ando Hiroshige and Gustave Courbet, re-imagining their previous depictions of the irrepressible sea. This drawing was featured in the Museum of Modern Art’s 1985 exhibition, New Works on Paper 3. Steir’s large wave drawings comprise a distinct body of work from the mid 1980s, after which she began to experiment with the poured canvases that became waterfall paintings.

PAT STEIR

GENE DAVIS - Licorice Stick - acrylic on canvas - 80 3/4 x 32 3/4 in.

GENE DAVIS

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

IRVING NORMAN

Part of the post-war Abstract Expressionist movement, Paul Jenkins was renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew on wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy, and all of which inspired him to preface the titles of his works with the word “Phenomena,” followed by an evocative word or phrase. 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.” His combination of chance and control reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of colors, in other words, a phenomenon. Paul Jenkins was friends with Willem de Kooning and even took over de Kooning’s loft near Union Square in New York City.

PAUL JENKINS

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

HASSEL SMITH

GEORGE GARDNER SYMONS - White River Bank - oil on canvas - 25 1/4 x 30 in.

GEORGE GARDNER SYMONS

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

ROBERT NATKIN - Amethyst - oil on canvas - 71 x 100 1/8 in.

ROBERT NATKIN

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

THEASTER GATES

EVAN PENNY - No One In Particular (Old) - silicone, pigment, hair on aluminum - 40 x 32 x 7 1/2 in.

EVAN PENNY

In this portrait by Joseph Kleitsch, the sitter is unknown, the painting titled only Woman in Pink. She is wearing a pink dress with white lace sleeves trailing down and into in her lap. She is holding a bit of the lace in her hands, almost absent-mindedly as she tilts her head toward the painter and gives him a small, amused smile. Her hair is swept into a modest updo, and the pink flushing her cheeks echoes the pink of her dress. Kleitsch’s technique in rendering the lace is fascinating, as he seems to have only fully painted the pattern of the lace and the rest is made up of a few light and minimal strokes of the brush, lending it a sheer quality.

JOSEPH KLEITSCH

"Interior" is one of Maurice Askenazy’s more modern compositions, calling to mind the work of Bonnard or Vuillard. The intimate scene shows a nude female model, dramatically seen in profile, posing for a painter in a sun-drenched studio. The door to the room is open, giving the impression that the viewer is stealing a glimpse of a private interaction between artist and model. A cleverly placed mirror on the back of the open door reveals the reflection of the painter, who we are meant to take as Askenazy himself, at work. Askenazy takes great care to depict the details of the room, from the patterned ottoman to the framed paintings on the walls, each a mosaic of Impressionistic color.

MAURICE ASKENAZY

"Loading Supplies" is a scene of harbor workers stocking small boats with supplies, perhaps en route to load a larger steamer. In the foreground, a singular female figure stands before the cluster of men with her back to the viewer, while a group of anchored boats float on the motionless water in the background. The brightly painted boats and the fisherman dressed in their blue or orange slickers make for a colorful scene. The simple composition parallels the simplicity of the subject: a glimpse of everyday life and work in a coastal community.

GEORGE BRANDRIFF

Alson Clark painted "From the Ramparts" from atop Quebec City's Citadel, looking down upon the famous toboggan slide and boardwalk- the St. Lawrence River is in view as is the famous Chateau Frontenac Hotel. The snow-capped buildings line the river below, a perspectival choice perhaps influenced by his service as an aerial photographer in the US army during World War I. Clark masterfully uses the dynamic sweep of the slide from the lower right hand corner to draw the viewer into the center of the composition. In the immediate foreground, a pair of female walkers head towards the viewer on the path adjacent to the slide, the details of their faces and winter coats just barely suggested.

ALSON CLARK

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

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

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

PAUL LAURITZ - Tree Shadowed Road - oil on canvas - 40 1/8 x 50 1/4 in.

PAUL LAURITZ

FELIPE CASTANEDA - Mujer Hincada - Black Onyx - 15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA

FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA

FELIPE CASTANEDA - Pensando - Marble - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

FELIPE CASTANEDA - Mujer con Guitarra - marble - 16 1/2 x 10 1/2 x 10 in.

FELIPE CASTANEDA

META GEHRING CRESSEY - Segovia Girl in Fiesta Costume, La Montera - oil on canvas - 24 x 20 in.

META GEHRING CRESSEY

FELIPE CASTANEDA - Provinciana - white carrera marble - 20 7/8 x 13 1/4 x 10 1/4 in.

FELIPE CASTANEDA

RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.

RICHARD ARTSCHWAGER

RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.

RICHARD ARTSCHWAGER

FELIPE CASTANEDA - Mujer en Reposo - bronze - 14 x 9 x 15 3/4 in.

FELIPE CASTANEDA

FELIPE CASTANEDA - Mujer Peinandose - Bronze - 16 1/4 x 11 3/4 x 11 in.

FELIPE CASTANEDA

MATTEO SANDONA - Gertrude and Boots - oil on canvas - 56 1/2 x 40 1/2 in.

MATTEO SANDONA

HELENA ADELE DUNLAP - The Fruit Server - oil on canvas - 40 x 36 in.

HELENA ADELE DUNLAP

JOHN HUBBARD RICH - Portrait of Tyrone Power's Sister - oil on canvas on panel - 12 5/8 x 10 3/8 in.

JOHN HUBBARD RICH

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

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

HENRY RICHTER - Seascape - oil on canvas - 29 x 39 in.

HENRY RICHTER

GENEVE RIXFORD SARGEANT - Gypsy Woman - oil on canvas - 24 1/4 x 18 1/4 in.

GENEVE RIXFORD SARGEANT

JESSIE ARMS BOTKE - Untitled - charcoal on paper - 17 1/4 x 13 1/4 in.

JESSIE ARMS BOTKE

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

JOHN CHRISTOPHER SMITH - Fisherman's Wharf, Monterey - oil on canvas - 26 x 34 in.

JOHN CHRISTOPHER SMITH

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

MAX WIECZOREK - Girl in Mantilla - charcoal and pastel on board - 25 1/4 x 18 1/4 in.

MAX WIECZOREK

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

WILLIAM THEOPHILUS BROWN

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

ALEXANDER CALDER - Quilt - color lithograph - 22 x 29 1/2 in.

ALEXANDER CALDER

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

TSENG KWONG CHI - London, England - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

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

LAWRENCE SCHILLER

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

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

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

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

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

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

ROBERT NATKIN - Untitled - lithograph on paper - 30 x 39 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 29 1/2 x 39 1/2 in.

ROBERT NATKIN

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