Palm Desert

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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:
By Appointment

Exhibitions

Your Heart’s Blood: Intersections of Art and Literature
CURRENT

Your Heart’s Blood: Intersections of Art and Literature

September 12, 2022 - March 31, 2023
More to Life: Impressionist Dialogues from Monet and Beyond
CURRENT

More to Life: Impressionist Dialogues from Monet and Beyond

August 17, 2022 - February 28, 2023
Alexander Calder: A Universe of Painting
CURRENT

Alexander Calder: A Universe of Painting

August 10, 2022 - February 28, 2023
Meeting Life: N.C. Wyeth and the MetLife Murals
CURRENT

Meeting Life: N.C. Wyeth and the MetLife Murals

July 18, 2022 - January 31, 2023
Josef Albers: The Heart of Painting
CURRENT

Josef Albers: The Heart of Painting

May 12 - November 30, 2022
Paper Cut: Unique Works on Paper
CURRENT

Paper Cut: Unique Works on Paper

April 27, 2022 - April 30, 2023
Georgia O’Keeffe and Marsden Hartley: Modern Minds
CURRENT

Georgia O’Keeffe and Marsden Hartley: Modern Minds

February 1 - October 31, 2022
Abstract Expressionism: Transcending the Radical
CURRENT

Abstract Expressionism: Transcending the Radical

January 12 - October 31, 2022
Andy Warhol Polaroids: Wicked Wonders
CURRENT

Andy Warhol Polaroids: Wicked Wonders

December 13, 2021 - March 31, 2023
Andy Warhol: Glamour at the Edge
CURRENT

Andy Warhol: Glamour at the Edge

October 27, 2021 - December 31, 2022
Sculpture for the Senses: Outdoor Sculpture
CURRENT

Sculpture for the Senses: Outdoor Sculpture

August 4, 2021 - November 30, 2022
California Here We Come: The California Impressionists
CURRENT

California Here We Come: The California Impressionists

July 12, 2021 - December 31, 2022
A Beautiful Time: American Art in the Gilded Age
CURRENT

A Beautiful Time: American Art in the Gilded Age

June 24, 2021 - November 30, 2022
James Rosenquist: Potent Pop
CURRENT

James Rosenquist: Potent Pop

June 7, 2021 - October 31, 2022
Everyone Needs a Fantasy: Pop Art in America
CURRENT

Everyone Needs a Fantasy: Pop Art in America

June 7, 2021 - October 31, 2022
It Was Acceptable in the 80s
CURRENT

It Was Acceptable in the 80s

April 27, 2021 - November 30, 2022
Following Surrealism: Conceived with Fire
CURRENT

Following Surrealism: Conceived with Fire

March 2, 2021 - October 31, 2022
Pattern and Decoration: Feminism and Friendship
CURRENT

Pattern and Decoration: Feminism and Friendship

September 14, 2020 - December 31, 2022
Max Pellegrini: Silence and Fantasy
CURRENT

Max Pellegrini: Silence and Fantasy

July 30, 2020 - December 31, 2022
Norman Zammitt: The Progression of Color
CURRENT

Norman Zammitt: The Progression of Color

March 19, 2020 - November 30, 2022
Jae Kon Park: Life and Root
CURRENT

Jae Kon Park: Life and Root

March 12, 2020 - December 31, 2022
Paul Jenkins: Coloring the Phenomenal
CURRENT

Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - December 31, 2022
Irving Norman: Dark Matter
CURRENT

Irving Norman: Dark Matter

November 27, 2019 - December 31, 2022
Subtle Opulence
ARCHIVE

Subtle Opulence

September 8, 2021 - August 31, 2022
Abstract Expressionism: The Persistent Women
ARCHIVE

Abstract Expressionism: The Persistent Women

November 1, 2021 - August 31, 2022
Alexander Calder: Painting the Cosmos
ARCHIVE

Alexander Calder: Painting the Cosmos

March 2 - August 12, 2022
The Rest So Beautiful: Contemporary Art and China
ARCHIVE

The Rest So Beautiful: Contemporary Art and China

May 12, 2020 - June 30, 2022
Mercedes Matter: A Miraculous Quality
ARCHIVE

Mercedes Matter: A Miraculous Quality

March 22, 2021 - June 30, 2022
An Invisible State: Asian American Artists and Abstraction
ARCHIVE

An Invisible State: Asian American Artists and Abstraction

April 23, 2020 - June 30, 2022
Moore! Moore! Moore! Henry Moore and Sculpture
ARCHIVE

Moore! Moore! Moore! Henry Moore and Sculpture

March 3, 2021 - April 30, 2022
Still Life, Still
ARCHIVE

Still Life, Still

April 10, 2020 - April 30, 2022
Elaine and Willem de Kooning: Painting in the Light
ARCHIVE

Elaine and Willem de Kooning: Painting in the Light

August 3, 2021 - January 31, 2022
Maurice Golubov
ARCHIVE

Maurice Golubov

October 1, 2020 - December 31, 2021
Andy Warhol Polaroids: Bring It to the Runway
ARCHIVE

Andy Warhol Polaroids: Bring It to the Runway

December 10, 2020 - December 31, 2021
The Cool School
ARCHIVE

The Cool School

March 30, 2020 - December 31, 2021
American Eye: Selections from the Pardee Collection
ARCHIVE

American Eye: Selections from the Pardee Collection

February 28 - December 31, 2021
Andy Warhol Polaroids: All That Glitters
ARCHIVE

Andy Warhol Polaroids: All That Glitters

December 10, 2020 - December 31, 2021
Andy Warhol Polaroids: Me, Myself, & I
ARCHIVE

Andy Warhol Polaroids: Me, Myself, & I

December 10, 2020 - December 31, 2021
Andy Warhol Polaroids: Ars Longa
ARCHIVE

Andy Warhol Polaroids: Ars Longa

December 10, 2020 - December 31, 2021
Jewish Modernism Part 2: Figuration from Chagall to Norman
ARCHIVE

Jewish Modernism Part 2: Figuration from Chagall to Norman

April 30, 2020 - December 31, 2021
Our Most Viewed Art for the Month
ARCHIVE

Our Most Viewed Art for the Month

October 14 - November 14, 2021
The Gloria Luria Collection
ARCHIVE

The Gloria Luria Collection

March 16, 2020 - October 31, 2021
Modern Prints
ARCHIVE

Modern Prints

December 26, 2020 - June 19, 2021
Pop Figures: Mel Ramos and Tom Wesselmann
ARCHIVE

Pop Figures: Mel Ramos and Tom Wesselmann

March 26, 2020 - April 30, 2021
The Radical Line
ARCHIVE

The Radical Line

April 11, 2020 - January 31, 2021
Herb Alpert: Recent Works
ARCHIVE

Herb Alpert: Recent Works

September 28 - December 13, 2020
Jewels of Impressionism and Modern Art
ARCHIVE

Jewels of Impressionism and Modern Art

February 19 - October 31, 2020
Cool Britannia: The Young British Artists
ARCHIVE

Cool Britannia: The Young British Artists

April 2 - September 30, 2020
Weekly Opportunities
ARCHIVE

Weekly Opportunities

June 26 - August 31, 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
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
Gregory Sumida: Americana
ARCHIVE

Gregory Sumida: Americana

April 5 - May 31, 2018
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
The Paintings of Sir Winston Churchill
ARCHIVE

The Paintings of Sir Winston Churchill

March 21 - May 30, 2018
Edward S. Curtis
ARCHIVE

Edward S. Curtis

February 3 - March 17, 2018
Wojciech Fangor
ARCHIVE

Wojciech Fangor

November 25, 2017 - 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

TOM WESSELMANN - Bedroom Brunette with Irises - oil on cut-out aluminum - 105 3/4 x 164 5/8 in.

TOM WESSELMANN

FREDERICK CARL FRIESEKE - Afternoon at the Beach - oil on canvas - 60 x 178 in.

FREDERICK CARL FRIESEKE

JAMES ROSENQUIST - Television or the Cat's Cradle Supports Electronic Picture - acrylic on canvas over panel - 66 x 240 in.

JAMES ROSENQUIST

JAMES ROSENQUIST - Vanity Unfair for Gordon Matta Clark - oil on canvas - 62 3/4 x 43 x 2 3/4 in.

JAMES ROSENQUIST

RICHARD POUSETTE-DART - From the Mind of the Sea - oil on linen - 53 x 48 in.

RICHARD POUSETTE-DART

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

FRANK STELLA - The Musket - mixed media on aluminum - 74 1/2 x 77 1/2 x 33 in.

FRANK STELLA

FRANK STELLA - Untitled - three dimensional mixed media on board, mounted on wood - 43 x 128 x 12 in.

FRANK STELLA

ROBERT IRWIN - Untitled - acrylic - 118 1/4 x 24 1/4 x 24 1/4 in.

ROBERT IRWIN

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

RUDOLF BAUER - Presto 10 - oil on panel - 28 1/2 x 41 in.

RUDOLF BAUER

Jim Dine was an American Pop artist whose work meditated on objects with childlike appeal to find a universal and nostalgic language. Dine’s robes are among the most recognizable images to have emerged from his long and illustrious career. They were first shown at Sidney Janis gallery in the fall of 1964 – this is one such example. Double Silver Point Robes is a large-scale mixed media assemblage. The work is executed in silverpoint – a technique that utilizes a piece of silver as a drawing instrument over a specially prepared ground by which it oxidizes over a period of months to create a warm brown tone. The two joined canvases feature blocks of wood in place of where the heads should be and a hanging wood element that moves in response to air currents.

JIM DINE

Born on July 29, 1950, in Gallipolis, OH, Holzer received her BFA from Ohio University in 1972 and her MFA from the Rhode Island School of Design in 1975. The artist fully embraces sculpture and mixed media works, seamlessly shifting from her monumental "word displays" to more intimate works such as "Survival: Hide under water…" (1989).  
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<br>Holzer's use of the red granite medium reframes the conversation about works of art in stone, a medium traditionally associated with antiquity and classical sculpture. The inclusion of typography and wordplay in this medium recalls a theme in Holzer's oeuvre, such as her renowned "Truisms" series, and expands the potential of language in art. Holzer is included in countless museum collections worldwide, including the Museum of Modern Art,  New York, where her "Granite Bench" (1986) is featured prominently in their sculpture garden.

JENNY HOLZER

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

HERB ALPERT

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

HERB ALPERT

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

FERNANDO BOTERO - Dibujo a la manera de Velasquez - charcoal and pastel on cardboard - 60 1/2 x 47 1/2 in.

FERNANDO BOTERO

MARC QUINN - Lovebomb - photo laminate on aluminum - 108 1/4 x 71 3/4 x 37 3/4 in.

MARC QUINN

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

HERB ALPERT

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

ALEXANDER CALDER

Marc Newson is widely recognized as one of the most influential designers of our time.  His subjects range from seemingly ordinary objects such as bicycles to groundbreaking designs in furniture and airplanes.  The Philadelphia Museum of Art's 2013-2014 exhibition "Marc Newson: At Home" exposed a new American audience to Newson's futuristic aesthetic in a traditional museum setting.  
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<br>"Micarta Table" (2007) uses contemporary materials, including plastic composites, to create the illusion of a traditional wood veneer surface.  This blending of old and new is a hallmark of Newson's work.  Examples of Newson's work can be found in museum collections worldwide, including the Museum of Modern Art, New York, The San Francisco Museum of Modern Art, and the Cooper Hewitt Smithsonian Design Museum, New York City.

MARC NEWSON

IRVING NORMAN - Totems - oil on canvas - 72 x 110 in.

IRVING NORMAN

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

IRVING NORMAN - Prison - oil on canvas - 56 x 46 in.

IRVING NORMAN

IRVING NORMAN - Cityscape - oil on canvas - 74 1/8 x 37 1/2 in.

IRVING NORMAN

ANDY WARHOL - Jean-Michel Basquiat Six Polaroids - Polaroid, Polacolor - 4 1/4 x 3 1/2 in. ea.

ANDY WARHOL

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

IRVING NORMAN

North Wall was exhibited at the Getty Museum in the Pacific Standard Time exhibition tracing the history of art in L.A. from 1945 to 1980, which reignited interest in Light and Space and brought fresh eyes to the work of Norman Zammitt. For this piece, the artist measured the width of each band and created parabolic graphs to calculate the exacting color progression — not only for aesthetic precision, but also for emotional and spiritual effect. The colors seem to radiate as they shift from dark bands of black and blue to fiery yellows, oranges and reds. The hard edges of these bands bring to mind the school of L.A. artists who worked in geometric abstraction during the same period, predominantly the 1960s and ’70s, particularly Karl Benjamin's classic stripe paintings. But Zammitt’s ethereal pictures defy any such classification. His edges appear seamless — a moment in space frozen in time. The expanse evokes a sky in its full coastal California drama, although that was not necessarily the artist’s intention. Rather, he might have used these as an approach to the sublime — portal to a mystical realm. His late, longtime dealer, Joni Gordon of Newspace, suggested the exacting bands of brilliant color relate to Native Indian sand paintings.

NORMAN ZAMMITT

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus. 
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<br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

MAX PELLEGRINI

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.  
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<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

Contemporary artist Daniel Sprick works in the realist tradition. His photo-like oil paintings depict still lifes and portraiture reminiscent of the old master tradition. Intense observation and drawing are the foundation of Sprick's life-like compositions; there are no shortcuts taken or corners cut in these immaculate ephemeral studies.  
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<br>Museum shows of his work include the Museum of Outdoor Art in Englewood, Colorado; the Hunter Museum of Art, Chattanooga, Tennessee; the Evansville Museum of Art and Science, Indiana; and the Denver Art Museum.

DANIEL SPRICK

Chicago native Robert Natkin was a leading abstract painter in the 20th century. Influenced by the colors and forms of Willem de Kooning, Pierre Bonnard, and Paul Klee, Natkin developed his own style of rich color and texture. This large-scale, jewel-toned canvas is a wonderful and rare early painting from a crucial period in American art, the 1950s. 
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<br>Associated with Abstract expressionism, Color field painting, and Lyrical Abstraction, Natkin's work threads throughout many major American art movements and cities. He received a retrospective exhibition in 1969 at the San Francisco Museum of Art (now SFMOMA), and completed a mural in New York at 1211 Avenue of the Americas, a corner of the Rockefeller Center, in 1992. Natkin is represented in over 24 museum collections worldwide, including the Art Institute of Chicago, the Smithsonian American Art Museum, the Solomon R. Guggenheim Museum in New York, and the Centre Pompidou in Paris.

ROBERT NATKIN

IRVING NORMAN - Rural Family - oil on canvas - 36 x 72 in.

IRVING NORMAN

SETH KAUFMAN - Lignum Spire - bronze with green patina - 103 1/2 x 22 x 17 in.

SETH KAUFMAN

Robert Natkin was a Chicago native that rose to prominence as a leading American painter in the 20th Century. Aklthough influenced by Abstract Expressionist artists such as Willem de Kooning, Natkin developed his own distinct style characterized by luscious color and texture. “Amethyst” (1960) is a strong representation of the artist’s work and was originally purchased directly from the artist’s studio in the 1960s.
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<br>Natkin's 1969 retrospective exhibition at the San Francisco Museum of Art was an early acknowledgment of the artist’s importance. He is represented in over 24 museum collections worldwide, including the Art Institute of Chicago and the Smithsonian American Art Museum.

ROBERT NATKIN

CINDY SHERMAN - Untitled No. 110 - c-print - 45 x 30 in.

CINDY SHERMAN

"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

ROBERT RAUSCHENBERG - Sling Shots Lit #1 - lithograph and assemblage - 84 1/2 x 39 1/4 x 12 3/8 in.

ROBERT RAUSCHENBERG

FRANCIS PICABIA - Trois personnages nus - black conte crayon on buff paper - 11 1/2 x 8 in.

FRANCIS PICABIA

Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory. 
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<br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014

MAX PELLEGRINI

A young man and woman embrace one another, a woman holds a child, a sleeping baby holds a black and red thread, another young woman undresses, and an angel spreads its wings in this collage like composition. Together, these characters create a narrative in which young love, fate, and life are intertwined: the sleeping baby holds a red thread and black thread, reminiscent of the mythological three Fates, who spun life and death on their loom. These threads are physically connected to the young lovers, who embrace each other, wholly unaware of the hold that the infant has on them. A woman holding a child watches over the love of the youthful boy and girl, just as Mary and Jesus watch over and defend mankind. The merging of narratives and symbols is a common element in Pellegrini’s oeuvre, and is masterfully expressed here.

MAX PELLEGRINI

IRVING NORMAN - Slum Youth - oil on canvas - 44 1/4 x 20 1/4 in.

IRVING NORMAN

From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”
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<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

MAX PELLEGRINI

Mirror images of a cloaked figure embrace a bare-chested and bearded man, who is almost child-like in his relative stature. Their embrace mirrors that of Michelangelo’s Pieta, and the many similar depictions of Christ and the Madonna. A dark shade of blue casts a shadow over the composition, assuredly a temporal indicator, but possibly a reference to Picasso’s blue period as well, a major influencer on Pellegrini’s artwork. The wall panels behind the figures depict religious scenes, and remind the viewer of stained glass walls in churches and chapels. Light shines from windows in the city below, also illuminated by a full moon peaking over mountainous scenery.

MAX PELLEGRINI

NORMAN ZAMMITT - East Wall - acrylic on canvas - 78 x 132 in.

NORMAN ZAMMITT

Natkin’s Young Acrobat was a gift from the artist to his friend and noted art critic, Peter Fuller, upon the occasion of his wedding in 1984. Fuller literally wrote the book on Natkin, (Robert Natkin, 1981, published by Harry N. Abrams) and lived with him and his family at his Connecticut property during the '70s in order to better write the biography. The two developed quite the friendship, and this setting makes another appearance in Fuller’s own autobiography "Marches Past," detailing the significance of their relationship. "Young Acrobat" was the centerpiece of the lounge in Fuller’s home in Bath, Sommerset, where he and his wife entertained the titans of the art world during the '80s. Since Peter’s tragic and untimely passing, this has stayed with the family, as a cherished reminder of that golden period of their lives with Peter and Bob.

ROBERT NATKIN

PAUL MANES - Minotaur - oil on canvas - 79 x 96 in.

PAUL MANES

ANDY WARHOL - Any Warhol Self-Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

JOE ANDOE - Untitled (Oak Leaves) - oil on canvas - 70 x 84 in.

JOE ANDOE

ANDY WARHOL - Julian Schnabel 4 Polaroids - Polaroid, Polacolor - 4 1/2 x 3 1/2 in. ea.

ANDY WARHOL

ANDY WARHOL - Self Portrait with Mask - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol - gelatin silver print - 10 x 8 in.

ANDY WARHOL

DAVID MORRIS - The Matador - cast steel - 43 1/2 x 15 1/2 in.

DAVID MORRIS

ZENG JIANYONG - Discipline-Reading Boy - Ink and Watercolor on Handmade Paper - 56 1/2 x 28 1/4 in.

ZENG JIANYONG

ANDY WARHOL - Sao Schlumberger - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Paola Dominguin - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Absolute Vodka - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Jack Nicholson - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

KELTIE FERRIS - Untitled - oil, acrylic, oil pastel and spray paint on canvas - 30 1/4 x 30 1/4 in.

KELTIE FERRIS

IRVING NORMAN - Striptease - pencil and colored pencil on paper - 30 x 20 in.

IRVING NORMAN

RUEHL FREDERICK HECKMAN - Santa Barbara Mission - oil on canvas - 36 x 30 in.

RUEHL FREDERICK HECKMAN

ANDY WARHOL - Jean-Michel Basquiat in Soto Sculpture - silver gelatin print - 10 x 8 in.

ANDY WARHOL

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne III (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne II (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

CONSTANCE MALLINSON - Couple - oil on paper - 95 x 52 1/2 in.

CONSTANCE MALLINSON

ANDY WARHOL - Bruno Acampora - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Donald Baechler - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

HERB ALPERT - Two Heads Are Better Than One - bronze - 36 1/2  x 15 1/2 x 13 in.

HERB ALPERT

HERB ALPERT - Untitled - bronze - 44 1/8 x 10 1/2 x 10 in.

HERB ALPERT

ANDY WARHOL - Mother Goose - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Carolina Herrera - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol - gelatin silver print - 10 x 8 in. ea.

ANDY WARHOL

ANDY WARHOL - Paloma Picasso - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

IRVING NORMAN - Women Welders, The Ship - graphite on paper - 14 1/4 x 28 3/8 in.

IRVING NORMAN

ANDY WARHOL - George - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

RAY STANFORD STRONG - Spring, Black Mountain, Marin County - oil on canvas - 24 x 44 in.

RAY STANFORD STRONG

IRVING NORMAN - Wine Bottle - graphite on paper - 18 7/8 x 11 5/8 in.

IRVING NORMAN

MICAELA AMATO - Cameroon Girl - cast glass - 16 x 12  x 10 1/2 in.

MICAELA AMATO

ANDY WARHOL - Andy Warhol and Janice Dickenson - silver gelatin print - 10 x 8 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy and Barbi Benton - unique silver gelatin print - 8 x 10 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - unique Polacolor Type 108 print - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Ivan Karp - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

SALVADOR DALI - Le Couloir de Kathmandu - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

ANDY WARHOL - Candy Box - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

THOMAS MCGLYNN - California Landscape - oil on canvas - 25 x 30 in.

THOMAS MCGLYNN

ERIC JON HOLSWADE - Your Move - acrylic on cardboard on wood panel - 27 3/4 x 40 1/4 in.

ERIC JON HOLSWADE

KRISJANIS KAKTINS-GORSLINE - Dustr - oil on canvas - 60 x 64 in.

KRISJANIS KAKTINS-GORSLINE

PABLO PICASSO - Portrait de Famille, Six Personnages - lithograph - 18 1/4 x 25 3/4 in.

PABLO PICASSO

ANDREW TAYLOR - Outside: Prince - monotype 1 of 1, mixed media on acrylic - 81 x 47 in.

ANDREW TAYLOR

DAVID MORRIS - Horn Plenty 2 - nickel plated polymer on a cast stone base - 18 1/2 x 9 1/4 x 11 in.

DAVID MORRIS

ED DEAN - Aeire (Black) - powder coated steel - 23 x 19 x 13 in.

ED DEAN

KRISJANIS KAKTINS-GORSLINE - Cheaques - oil on canvas - 37 x  33 3/8 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Moutte - oil on canvas - 30 x 24 in.

KRISJANIS KAKTINS-GORSLINE

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

IRVING NORMAN

IRVING NORMAN - The Circus, Balancing Act 2 (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 - 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 (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 (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

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Heather James Fine Art provides a wide range of client-based services catered to your specific art collecting needs. Our Operations team includes professional art handlers, a full registrar department and logistical team with extensive experience in art transportation, installation, and collection management. With white glove service and personalized care, our team goes the extra mile to ensure exceptional art services for our clients.

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FEATURED ART

CLAUDE MONET - Coup de vent - oil on canvas - 32 1/8 x 25 5/8 in.

CLAUDE MONET

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

CLAUDE MONET

GEORGIA O'KEEFFE - Cottonwood Tree (Near Abiquiu), New Mexico - oil on canvas - 36 x 30 in.

GEORGIA O'KEEFFE

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

DIEGO RIVERA

CAMILLE PISSARRO - Le Jardin des Tuileries, apres-midi, soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

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

WILLEM DE KOONING

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

GUSTAVE CAILLEBOTTE

Andrew Wyeth & N. C. Wyeth - Puritan Cod Fishers - oil on canvas - 108 1/2 x 157 1/2 in.

Andrew Wyeth & N. C. Wyeth

ALFRED SISLEY - L'Église de Moret, le Soir - oil canvas - 31 1/4 x 39 1/2 in.

ALFRED SISLEY

ALEXANDER CALDER - The Cross - oil on canvas - 28 3/4 x 36 1/4 in.

ALEXANDER CALDER

ANISH KAPOOR - Halo - stainless steel - 120 x 120 x 27 in.

ANISH KAPOOR

N.C. WYETH - Summer. "Hush" - oil on canvas - 33 3/4 x 30 1/4 in.

N.C. WYETH

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

WINSLOW HOMER

FRIDA KAHLO - Hammer and Sickle (and unborn baby) - dry plaster and mixed media - 16 1/4 x 13 x 6 in.

FRIDA KAHLO

TOM WESSELMANN - Bedroom Brunette with Irises - oil on cut-out aluminum - 105 3/4 x 164 5/8 in.

TOM WESSELMANN

SEAN SCULLY - Grey Red - oil on aluminum - 85 x 75 in.

SEAN SCULLY

JAMES ROSENQUIST - Television or the Cat's Cradle Supports Electronic Picture - acrylic on canvas over panel - 66 x 240 in.

JAMES ROSENQUIST

MARSDEN HARTLEY - Bach Preludes et Fugues No. 1 (Musical Theme) - oil on canvas laid down on board - 28 1/2 x 21 in.

MARSDEN HARTLEY

JOSEF ALBERS - Homage to the Square: "In and Out" - oil on masonite - 40 x 40 in.

JOSEF ALBERS

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>
<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.

N.C. WYETH

FRANK STELLA - The Musket - mixed media on aluminum - 74 1/2 x 77 1/2 x 33 in.

FRANK STELLA

JAN JOSEPHSZOON VAN GOYEN - River Landscape with a Windmill and Chapel - oil on panel - 22 1/2 x 31 3/4 in.

JAN JOSEPHSZOON VAN GOYEN

SALOMON VAN RUYSDAEL - A Dune Landscape with Figures Resting and a Couple on Horseback, a View of Nijmegen Cathedral Beyond - oil on canvas - 26 1/2 x 41 1/2 in.

SALOMON VAN RUYSDAEL

JOAN MIRO - L'Oiseau - bronze and cinderblock - 23 7/8 x 20 x 16 1/8 in.

JOAN MIRO

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