Palm Desert

EXHIBITIONS        ARTWORK ON VIEW     RELATED NEWS     SERVICES

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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 through Friday 9-5

Exhibitions

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Florals for Spring, Groundbreaking
CURRENT

Florals for Spring, Groundbreaking

May 8 - November 30, 2023
First Circle: Circles in Art
CURRENT

First Circle: Circles in Art

February 14 - August 31, 2023
Pop Art: Can't Buy My Love
CURRENT

Pop Art: Can't Buy My Love

January 26 - July 31, 2023
Your Heart’s Blood: Intersections of Art and Literature
CURRENT

Your Heart’s Blood: Intersections of Art and Literature

September 12, 2022 - September 30, 2023
More to Life: Impressionist Dialogues from Monet and Beyond
CURRENT

More to Life: Impressionist Dialogues from Monet and Beyond

August 17, 2022 - May 31, 2023
Alexander Calder: A Universe of Painting
CURRENT

Alexander Calder: A Universe of Painting

August 10, 2022 - May 31, 2023
Paper Cut: Unique Works on Paper
CURRENT

Paper Cut: Unique Works on Paper

April 27, 2022 - October 31, 2023
Andy Warhol Polaroids: Wicked Wonders
CURRENT

Andy Warhol Polaroids: Wicked Wonders

December 13, 2021 - September 30, 2023
Andy Warhol: Glamour at the Edge
CURRENT

Andy Warhol: Glamour at the Edge

October 27, 2021 - September 30, 2023
California Here We Come: The California Impressionists
CURRENT

California Here We Come: The California Impressionists

July 12, 2021 - September 30, 2023
A Beautiful Time: American Art in the Gilded Age
CURRENT

A Beautiful Time: American Art in the Gilded Age

June 24, 2021 - May 31, 2023
It Was Acceptable in the 80s
CURRENT

It Was Acceptable in the 80s

April 27, 2021 - May 31, 2023
Pattern and Decoration: Feminism and Friendship
CURRENT

Pattern and Decoration: Feminism and Friendship

September 14, 2020 - September 30, 2023
Jae Kon Park: Life and Root
CURRENT

Jae Kon Park: Life and Root

March 12, 2020 - September 30, 2023
Irving Norman: Dark Matter
CURRENT

Irving Norman: Dark Matter

November 27, 2019 - September 30, 2023
Meeting Life: N.C. Wyeth and the MetLife Murals
ARCHIVE

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

July 18, 2022 - April 25, 2023
N.C. Wyeth: A Decade of Painting
ARCHIVE

N.C. Wyeth: A Decade of Painting

September 29, 2022 - March 31, 2023
Paul Jenkins: Coloring the Phenomenal
ARCHIVE

Paul Jenkins: Coloring the Phenomenal

December 27, 2019 - March 31, 2023
Herb Alpert: Whispered Conversations
ARCHIVE

Herb Alpert: Whispered Conversations

March 7 - March 13, 2023
Georgia O’Keeffe and Marsden Hartley: Modern Minds
ARCHIVE

Georgia O’Keeffe and Marsden Hartley: Modern Minds

February 1, 2022 - February 28, 2023
Sculpture for the Senses: Outdoor Sculpture
ARCHIVE

Sculpture for the Senses: Outdoor Sculpture

August 4, 2021 - February 28, 2023
Norman Zammitt: The Progression of Color
ARCHIVE

Norman Zammitt: The Progression of Color

March 19, 2020 - February 28, 2023
Figurative Masters of the Americas
ARCHIVE

Figurative Masters of the Americas

January 4 - February 12, 2023
Everyone Needs a Fantasy: Pop Art in America
ARCHIVE

Everyone Needs a Fantasy: Pop Art in America

June 7, 2021 - January 31, 2023
James Rosenquist: Potent Pop
ARCHIVE

James Rosenquist: Potent Pop

June 7, 2021 - January 31, 2023
Abstract Expressionism: Transcending the Radical
ARCHIVE

Abstract Expressionism: Transcending the Radical

January 12, 2022 - January 31, 2023
A Sparkling Holiday: Art for Everyone
ARCHIVE

A Sparkling Holiday: Art for Everyone

December 15, 2022 - January 7, 2023
The Gift of Art
ARCHIVE

The Gift of Art

November 24, 2022 - January 7, 2023
My Own Skin: Frida Kahlo and Diego Rivera
ARCHIVE

My Own Skin: Frida Kahlo and Diego Rivera

June 16 - December 31, 2022
Black Abstraction: Felandus Thames, Rodney McMillian, Sam Gilliam, and Theaster Gates
ARCHIVE

Black Abstraction: Felandus Thames, Rodney McMillian, Sam Gilliam, and Theaster Gates

May 2020 - December 2022
Josef Albers: The Heart of Painting
ARCHIVE

Josef Albers: The Heart of Painting

May 12 - November 30, 2022
Abstract Expressionism: The Persistent Women
ARCHIVE

Abstract Expressionism: The Persistent Women

November 1, 2021 - August 31, 2022
Subtle Opulence
ARCHIVE

Subtle Opulence

September 8, 2021 - August 31, 2022
Alexander Calder: Painting the Cosmos
ARCHIVE

Alexander Calder: Painting the Cosmos

March 2 - August 12, 2022
An Invisible State: Asian American Artists and Abstraction
ARCHIVE

An Invisible State: Asian American Artists and Abstraction

April 23, 2020 - June 30, 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
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Mercedes Matter: A Miraculous Quality

March 22, 2021 - 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
Andy Warhol Polaroids: Ars Longa
ARCHIVE

Andy Warhol Polaroids: Ars Longa

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: All That Glitters
ARCHIVE

Andy Warhol Polaroids: All That Glitters

December 10, 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
Maurice Golubov
ARCHIVE

Maurice Golubov

October 1, 2020 - December 31, 2021
American Eye: Selections from the Pardee Collection
ARCHIVE

American Eye: Selections from the Pardee Collection

February 28 - December 31, 2021
The Cool School
ARCHIVE

The Cool School

March 30, 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
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Our Most Viewed Art for the Month

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

March 16, 2020 - October 31, 2021
Modern Prints
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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
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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
On the Dominant Divide: American Landscapes from John Philip Falter to Barbara Kruger
ARCHIVE

On the Dominant Divide: American Landscapes from John Philip Falter to Barbara Kruger

September 5 - November 2, 2019
Anselm Kiefer
ARCHIVE

Anselm Kiefer

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

Paul Jenkins: Phenomenal

July 1 - August 31, 2019
Peter Shelton: A Thing You Bump Into
ARCHIVE

Peter Shelton: A Thing You Bump Into

July 16 - 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
Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian
ARCHIVE

Material and Abstraction: Theaster Gates, Sam Gilliam, and Rodney McMillian

July 25 - 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
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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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

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

WILLEM DE KOONING

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

ALFRED SISLEY

EMIL NOLDE - Sonnenblumen, Abend II - oil on canvas - 26 1/2 x 35 3/8 in.

EMIL NOLDE

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

N.C. WYETH

During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip painted the summer of 1872. Among the many other paintings inspired by the region, Girl Standing in the Wheatfield is rich in sentiment, but not over sentimentalized. It directly relates to an 1866 study painted in France entitled, In the Wheatfields, and another, painted the following year after he returned to America. But Homer would have undoubtedly been most proud of this one. It is a portrait, a costume study, a genre painting in the great tradition of European pastoral painting, and a dramatically backlit, atmospheric tour de force steeped in the quickly fading gloaming hour light buoyed with lambent, flowery notes and wheat spike touches. In 1874, Homer sent four paintings to the National Academy of Design exhibition. One was titled, “Girl”. Might it not be this one?

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

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

SEAN SCULLY

The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky.

MARC CHAGALL

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

TOM WESSELMANN

Théo van Rysselberghe’s Portrait de Sylvie Lacombe, painted in 1906, is a classic masterwork by one of the most refined and consistent portrait painters of his time. The color is harmonious, the brushwork vigorous and tailored to its material task, her body and countenance true and revealing. The sitter is the daughter of his good friend, the painter Georges Lacombe, who shared a close association with Gauguin, and was a member of Les Nabis with artists Bonnard, Denis, and Vuillard, among others. We now know about Sylvie Lacombe because Van Rysselberghe is so skilled at rendering subtle facial expressions and through careful observation and attention to detail, provided insights into her inner world. He has chosen a direct gaze, her eyes to yours, an inescapable covenant between subject and viewer regardless of our physical relationship to the painting. Van Rysselberghe had largely abandoned the Pointillist technique when he painted this portrait. But he continued to apply color theory guidelines by using tints of red — pinks and mauves — against greens to create a harmonious ameliorated palette of complementary colors to which he added a strong accent to draw the eye – an intensely saturated, red bow asymmetrically laid to the side of her head.

THÉO VAN RYSSELBERGHE

It is not difficult to grasp how Robert Indiana’s brilliant two-row arrangement of four letters came to help empower a movement during the 1960s. Its origin emerged from deeply felt exposure to religion and from friend and mentor Ellsworth Kelly, whose hard-edged style and sensuous, unaccented color made a lasting impression. But as Indiana exclaimed, it was a moment of kismet that just happened when “LOVE bit me!” and the design came to him sharp and focused. Indiana, of course, put the design through many paces, and then the logo began to sprout up everywhere. The message, best conveyed in sculpture, stands in cities worldwide and has been translated into several languages, not least of which, is its Italian iteration, “Amor” with its fortuitous “O” also tilted to the right. But rather than being kicked by the foot of the “L”, this version lends a beautifully staged teetering effect to the “A” above. It gives a new, but no less profound, impression of love and its emotionally charged nature. In either case, Love’s tilted “O” imparts instability to an otherwise stable design, a profound projection of Indiana’s implicit critique of “the often-hollow sentimentality associated with the word, metaphorically suggesting unrequited longing and disappointment rather than saccharine affection” (Robert Indiana’s Best: A Mini Retrospective, New York Times, May 24, 2018). Repetition, of course has a nasty habit of dampening our appreciation for the genius of simplicity and, groundbreaking design. Late in life, Indiana lamented that “it was a marvelous idea, but also terrible mistake. It became too popular. And there are people who don’t like popularity.” But we, denizens of a world fraught with divisiveness and caught in turmoil, thank you. “Love” and its many versions are strong reminders of our capacity for love, and that is our best everlasting hope for a better future.

ROBERT INDIANA

An undisputed master of the booming Belgian Neo-Impressionist movement from 1887 onward, Théo van Rysselberghe painted this portrait of his wife, Maria (née Monnom) during the first decade of the twentieth century. He had pressed onward from the influence of Whistler’s Tonalism, Impressionism, and the Pointillism of Seurat to perfect a highly refined understanding of color, its harmonic resonances, and a meticulous rendering of formal elements. An exemplary draftsman, optical impressions based on color interactions remained a principal concern for Van Rysselberghe. Here, short strokes of color replaced the small dots of a Pointillist, and the color scheme is not the homogenized, harmonious one for which the artist has a well-deserved reputation. Rather, this portrait advances color theory in an entirely different manner. Its visual interest rests with the dynamic contrasts of his wife’s silvered coiffure, her platinum-hued dress, and the stark-white fireplace mantle — all staged within the optical vibrancy of the surround dominated by complementary reds and greens. It is a visually stimulating demonstration by a painter who understood the dynamic impact of this unusual color scheme and who arranged the sitter with a strong accent on a diagonal and executed the formula with the craft and agility of a painter in full control of his painterly assets.

THÉO VAN RYSSELBERGHE

SERGIO DE CAMARGO - Relief Opus 194 - painted wood - 22 3/4 x 14 1/4 x 2 3/4 in.

SERGIO DE CAMARGO

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. <br> <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

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

JAMES ROSENQUIST

Over his six-decade career, David Hockney reinvigorated the role of the representational artist by continually responding to his surroundings and embracing new forms of picture making. He was an early adaptor of technological advances such as Polaroid film, color photocopiers, and fax machines. He has also been the painter capable of reading the brushstrokes of Vermeer, Caravaggio, Velázquez, and Ingres and assert confidently that they too, relied upon instruments such as the camera obscura to trace out their pictures.  <br> <br>Beginning in 2009, Hockney exploited the drawing and painting applications of an iPad. Using its range of digital brushstrokes, color effects, and working with textures, dots, lines, and scribbles. his idiosyncratic perception of the natural world had never been more fully realized. Nor has he been more popular or credible in providing the blissful if guilty pleasure we feel in the presence of these works. When the Metropolitan Museum hosted his 2017 retrospective, visually stunning iPad paintings were chosen as the grand finale for one of their most memorable exhibitions in recent history. <br> <br>Yosemite II, October 16th, 2011, is a monumental work and among the largest of the “Yosemite Suite” of some two dozen iPad ‘paintings’ that extends our appreciation of the breadth of Hockney’s fascination with the American West. He is the artist who made sun-splashed swimming pools de rigueur symbols of California culture. That he dared join the ranks of artists such as Albert Bierstadt and Ansel Adams, known for their dramatic lighting, atmospheric effects, and Yosemite’s awe-inspiring scale is a measure of Hockney’s self-professed certainly that this art is now, and forever woven into the fabric of art history. Nothing makes this claim more valid than his rejection of a single vanishing point perspective that has dominated Western art since the Renaissance. Hockney has often cited Meindert Hobbema’s painting The Avenue at Middelbarnis of 1689 as an apt demonstration of the dynamic impact of contrasting vanishing points: the first, a road that recedes to a vanishing point, and another in the sky, where the eye is led upward because of the verticality of the trees. Yosemite II, October 16th, 2011 presents as a similarly immersive experience for the viewer, no longer the passive observer, but instead, the active participant impelled to consciously and simultaneously connect with multiple perspectives – the second of which presents as the white granite face of El Capitan.

DAVID HOCKNEY

ANSEL ADAMS - Thunderstorm, Yosemite Valley, CA - gelatin silver print - 40 1/2 x 30 3/4 in.

ANSEL ADAMS

The figures of Nues are freely developed around a central odalisque figure in a manner that suggests a theme that occupied Picasso as early as 1906 that of female indulgences within a harem setting. In describing his late drawings, Picasso noted that, “one never knows what’s going to come out, but as soon as the drawing gets underway, a story or an idea is born… I spend hour after hour while I draw, observing my creatures and thinking about the mad things they’re up to… It’s great fun, believe me.” Nues is evocative of that appraisal, a freewheeling frolic as only Picasso can achieve. Among the many poses, the abbreviated figure swimming in the pool is particularly charming.

PABLO PICASSO

DAMIEN HIRST - Forgotten Thoughts - butterflies and household gloss on canvas - 68 x 68 x 1 3/8 in. (point-to-point)

DAMIEN HIRST

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

FRANK STELLA

FERNANDO BOTERO - Ballerina - bronze - 41 x 24 x 24 in.

FERNANDO BOTERO

PIERRE BONNARD - Soleil Couchant - oil on canvas - 14 1/2 x 22 1/2 in.

PIERRE BONNARD

Ruldof Bauer’s reputation as a forebear of non-objective abstraction is most often coupled with that of Wassily Kandinsky. That hallowed place within the greatest abstract artists is well deserved. But for better and worse, Bauer’s place in art history is inextricably linked to the ill-fated contract he signed with Soloman R. Guggenheim with the guidance of his former lover, Hilla Rebay. Presto 10 was created in 1917 when Bauer was a fixture at Galerie Der Sturm, the Berlin gallery and likely exhibited at one of the artist’s solo exhibitions in 1917, 1918, and 1920. It was also among the paintings chosen by Bauer and Hilla Rebay to be included at the New York World’s Fair “Art of Tomorrow” exhibition that opened 1 June 1939. It is listed in the fifth catalogue of the Solomon R. Guggenheim collection of non-objective paintings.

RUDOLF BAUER

JEAN ARP - Sculpture Mythique - bronze - 25 x 9 1/2 x 12 in.

JEAN ARP

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. <br> <br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C.

LARRY RIVERS

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

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

LEROY NEIMAN - Carnival in Venice - oil on board - 48 x 96 in.

LEROY NEIMAN

ALFRED SISLEY - Vaches au paturage sur les bords de la Seine - pastel on paper - 11 1/4 x 15 1/2 in.

ALFRED SISLEY

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence. <br> <br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

MEL RAMOS

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - pastel on paper laid down on board - 10 3/8 x 14 3/4 in.

CAMILLE PISSARRO

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

HERB ALPERT

The crafted twists and curves and sense of fluidity and movement of Herb Albert’s many bronze sculptures have been described as resembling ‘cast frozen smoke.’ They have been called ‘spirit totems,’ and the moniker is particularly apt for Freedom, a towering seventeen-foot bronze sculpture that is Albert’s tribute to Native American values and beliefs in living in harmony with nature. Full of aviary references, the idea for Freedom came to Albert as he sat on a beach in Ipanema, Brazil, captivated by a flock of birds effortlessly floating on the air currents. A cast of Freedom has been dedicated to the city of Malibu and placed alongside Pacific Coast Highway at the intersection East Rambla Vista Road.

HERB ALPERT

PABLO PICASSO - Peintre et modèle - pen and India ink on paper - 9 3/8 x 12 5/8 in.

PABLO PICASSO

As a member of the legendary Gutai Art Association that flourished between 1954 and 1972, Sadamasa Motonaga emerged when post-atomic surrealist existentialism was at the forefront of artistic development in Japan. Yet he chose a different path. He turned his back on the destruction wrought by the war and created work that was fresh, jubilant, and playful. “Untitled” of 1966 is in his classic style, which developed concurrently with Morris Louis’ so-called ‘Veil’ paintings. It might suggest the brightly lit comb, eye and mottled plumage of a gallinaceous bird, but any such associations are probably arbitrary and unintended. Instead, it is a brilliantly successful display of Motonaga’s avant-garde take on traditional Japanese Tarashikomi — the technique that involves tilting the canvas at different angles to allow mixtures of resin and enamel to flow upon one another before the paint is fully dry.

SADAMASA MOTONAGA

JOSEPH STELLA - Reclining Nude - oil on canvas - 50 x 52 1/2 in.

JOSEPH STELLA

FERNANDO BOTERO - Autoretrato a la manera de Velázquez - sanguine and crayon 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

Well known for his candor and pragmatic sensibility, Alexander Calder was as direct, ingenious, and straight to the point in life as he was in his art. “Personnages”, for example, is unabashedly dynamic, a work that recalls his early love of the action of the circus as well as his insights into human nature. The character of “Personnages” suggests a spontaneous drawing-in-space, recalling his radical wire sculptures of the 1920s. <br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

Of Herb Albert’s many bronze cast, silky-black patinated spirit totems, few have the distinctively masculine feel of Warrior. Topped with a descending, serrated crown that could as easily refer to the crest of a bird of prey as the headdress of a Plains Indian chief the title “Warrior” is an apt description that addresses the attributes of strength, courage, and unbreakable spirit among others. Much like the work of Henry Moore, those associations depend, in part, upon negative space to create the dynamic and strong impression this formidable sculpture makes.

HERB ALPERT

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

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

JOAN MIRO

HELIO OITICICA - Metaesquema 69 - gouache on paper - 17 5/8 x 21 1/8 in.

HELIO OITICICA

WILLIAM B. EGGLESTON - Untitled (Blue Car, From Dust Bells, Vol. 11) - archival pigment print - 31 1/2 x 48 in.

WILLIAM B. EGGLESTON

WILLIAM B. EGGLESTON - Untitled (From Democratic Forest) - archival pigment print - 31 1/2 x 48 in.

WILLIAM B. EGGLESTON

WILLIAM B. EGGLESTON - Untitled (From Election Eve) - archival pigment print - 32 1/2 x 48 1/4 in.

WILLIAM B. EGGLESTON

Andy Warhol is synonymous with American art in the second half of the 20th century and is known for his iconic portraits and consumer products, mixing popular culture and fine art, redefining what art could be and how we approach art. While many of Warhol’s works may not represent famed individuals, his depictions of inanimate objects elevate his subjects to a level of celebrity. Warhol first depicted shoes early in his career when he worked as a fashion illustrator and returned to the theme in the 1980s, combining his fascination with consumerism and glamour. With his constant desire to fuse high and low culture, Warhol chose to highlight something that is so ubiquitous as shoes. The subject can denote poverty or wealth, function, or fashion. Warhol glamorizes the pile of footwear, covering them with a patina of glitzy diamond dust, further blurring the meaning between utilitarian need and stylized statement piece.

ANDY WARHOL

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

LE PHO - Flowers - oil on canvas - 28 3/4 x 21 1/4 in.

LE PHO

RODOLFO MORALES - Untitled - oil on canvas - 37 1/4 x 39 1/4 in.

RODOLFO MORALES

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

ALEXANDER CALDER

IRVING NORMAN - Farewell - oil on canvas - 90 x 100 in.

IRVING NORMAN

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

ED RUSCHA

ANSEL ADAMS - Winter Sunrise, Sierra Nevada from Lone Pine - gelatin silver print - 18 3/4 x 22 3/4 in.

ANSEL ADAMS

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

IRVING NORMAN

Celebrated for his vivid use of color, grand presentations of the female figure, and skillful work in multiple media, Tom Wesselmann was one of the most influential artists to emerge from the Pop art movement during the 1960s. Originally planning a career as a cartoonist, Wesselmann quickly established himself as one of the driving forces of contemporary art in New York. Since 1983, Tom Wesselmann used enamel on cut-out steel to depict his loose and energetic, yet meticulous, sketches in the third dimension. Ranging in scale, the sculptural works are an innovative part of the artist’s oeuvre. <br> <br>Wesselmann's work is included in museum collections worldwide, including the Whitney Museum of American Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the Albright-Knox Art Gallery, the Museum of Modern Art in New York, the Walker Art Center, and the National Galerie, Berlin, among many others. <br> <br>"Partial Monica with Hat and Beads" is from the collection of Gloria Luria, a pioneer of the art scene in Miami as an art dealer and collector. She introduced into the region artists that are today considered icons of art history: Pat Steir, David Hockney, Andy Warhol, Arakawa, Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, James Rosenquist, Larry Rivers, Claes Oldenburg, and many more. Luria has dedicated her life to fostering a thriving culture in the region from being a founding member and president of the Art Dealers Association of South Florida to helping bring the art fair, Art Miami, to the Miami Beach Convention Center. Her philanthropic generosity also extends to the performing arts, helping support Tanglewood and the Boston Symphony Orchestra, and the Adrienne Arsht Center for the Performing Arts and the New World Symphony.

TOM WESSELMANN

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

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. <br> <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

HERB ALPERT - Inspired - bronze - 100 x 20 x 12 in.

HERB ALPERT

HERB ALPERT - Concert Master - bronze - 93 x 14 in.

HERB ALPERT

As a member of the legendary Gutai Art Association that flourished between 1954 and 1972, Sadamasa Motonaga emerged when post-atomic surrealist existentialism was at the forefront of artistic development in Japan. Yet he chose a different path. He turned his back on the destruction wrought by the war and created work that was fresh, jubilant, and playful. “Untitled” from 1969 is in his classic style, which developed concurrently with Morris Louis’ so-called ‘Veil’ paintings. It is a brilliantly successful display of Motonaga’s avant-garde take on traditional Japanese Tarashikomi — the technique that involves tilting the canvas at different angles to allow mixtures of resin and enamel to flow upon one another before the paint is fully dry.

SADAMASA MOTONAGA

A veteran of the battle of Verdun, Fernand Leger witnessed the horror and staggering loss of over 1 Million of his fellow countrymen during World War I. This horrific experience of fighting in the trenches of Europe left an indelible mark on the artist. The modern and mechanized aspects of this new form of warfare, with tanks, modern artillery, and gruesome tactics, inspired Leger to create some of his greatest masterpieces. <br> <br>The Present drawing, executed in 1930, is a relic from the decade following the First World War. Untitled (1930) was purchased from the Katherine Kuh galley in Chicago- and has been impeccably preserved by the family of the original purchaser. It is exceedingly rare to find drawings like Untitled outside of Museum collections.

FERNAND LEGER

"Ray Gun became a catch title for all sorts of things. Looking down on the street, I would find this angle in the shape of a ray gun everywhere. And I would collect the ray guns. They became quite an obsession." <br>-Claes Oldenburg <br> <br>"Two Ray Guns" (1964) was initially sold through the venerable Sidney Janis Gallery. The work draws upon Oldenburg's keen observational sense and fascination with science fiction and popular American culture. The fascination with Ray Guns became a conceptual art practice for Oldenburg; he would not construct them in the traditional sense but instead, find objects that could be reduced into the form. Ray Gun Examples exist in plastic, bronze, plaster, and many different media. <br> <br>Our example from the Ray Gun series has been in the same important American collection for many years. Several examples from this series are in prominent museum collections worldwide, including the Museum of Modern Art, New York.

CLAES OLDENBURG

ANSEL ADAMS - Aspens, Northern New Mexico - gelatin silver print - 15 1/4 x 19 1/4 in.

ANSEL ADAMS

CHUCK CLOSE - Self Portrait - suite of 4 glass holograms - 14 x 11 in. ea.

CHUCK CLOSE

ELAINE DE KOONING - The Matador - gouache on paper - 7 3/4 x 9 1/2 in.

ELAINE DE KOONING

"Bouquets de Fleurs" (1901) is a glowing Post-Impressionist still life. As the revolutionary wave of Impressionism receded from its apex, artists such as Henri Manguin, Henri Matisse, Kees van Dongen, Louis Valtat, and others emerged as part of the new avant-garde in Europe. These “Fauves,” or roughly translated “wild beasts,” would attack their canvases with a bold and vibrant new palette. This completely new way of painting was not initially celebrated by critics, or the artistic elite, but is today recognized among the most innovative and original artistic movements of the 20th Century. <br> <br>The present work, painted just before the revolution of Fauvism took hold, demonstrates a critical transitionary period in Modern Art. The subject is depicted with a masterful compositional sense and attention to spatial relationships. Manguin’s competency in composition would allow him to experiment freely with color during the first decade of the 20th Century. The slightly later but comparable Manguin still life “Flowers” (1915) is in the permanent collection of the Hermitage Museum, St. Petersburg, Russia.

HENRI MANGUIN

PABLO PICASSO - Fumeur a la Cigarette Blanche - aquatint on paper - 21 1/4 x 15 1/4 in.

PABLO PICASSO

FRANCIS CELENTANO - Elliptical Kinetic Painting - acrylic on masonite - 48 x 48 x 6 1/2 in.

FRANCIS CELENTANO

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. <br> <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

DAMIEN HIRST - Hagia Sophia (Cathedral Series) - screenprint with glazes and diamond dust - 47 1/4 x 47 1/4 in.

DAMIEN HIRST

ROBERTO MATTA - L'epreuve - oil on canvas - 29 1/2 x 25 1/2 in.

ROBERTO MATTA

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

SETH KAUFMAN

WILLIAM WENDT - California Landscape - oil on canvas - 23 1/2 x 31 3/4 in.

WILLIAM WENDT

"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

ANDY WARHOL - The Shadow (from Myths) - color screenprint with diamond dust on paper - 37 1/2 x 37 1/2 in.

ANDY WARHOL

FRANCISCO TOLEDO - Untitled - mixed media on paper - 8 x 10 1/4 in.

FRANCISCO TOLEDO

LEON AUGUSTIN L'HERMITTE - Etude de vieille femme - pastel and crayon on cardboard - 25 1/2 x 20 1/4 in.

LEON AUGUSTIN L'HERMITTE

LEROY NEIMAN - Equestrian Horseman - mixed media on paper - 22 x 28 in.

LEROY NEIMAN

IMOGEN CUNNINGHAM - The Unmade Bed - silver gelatin print - 10 1/4 x 13 1/2 in.

IMOGEN CUNNINGHAM

WILLEM DE KOONING - Untitled - Graphite on paper - 8 x 10 1/2 in.

WILLEM DE KOONING

HERB ALPERT - Counter Balance - bronze - 28 x 28 in.

HERB ALPERT

HERB ALPERT - Human Nature - bronze - 44 x 10 x 7 in.

HERB ALPERT

AI WEIWEI - "Fairytale" Chairs - wood - 49 x 45 x 17 1/2 in.

AI WEIWEI

ABEL GEORGE WARSHAWSKY - Trees in Brittany - oil on canvas - 25 1/2 x 32 in.

ABEL GEORGE WARSHAWSKY

ROSS BLECKNER - Untitled - oil on photographic paper - 37 1/2 x 24 3/4 in.

ROSS BLECKNER

HERB ALPERT - Golden Dreams - acrylic on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Spellbound - acrylic on canvas - 72 x 48 in.

HERB ALPERT

HERB ALPERT - Silent Snow - acrylic on canvas - 72 x 48 in.

HERB ALPERT

HERB ALPERT - Soft Spoken - acrylic on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Falling for You - acrylic on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Now Hear This - acrylic on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Jive Talk - acrylic on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Against the Wind - acrylic on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Silent Spring - acrylic on canvas - 48 x 72 in.

HERB ALPERT

EDWARD WESTON - Charis, Santa Monica - gelatin silver print - 9 1/2 x 7 1/2 in.

EDWARD WESTON

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

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

IRVING NORMAN

LOUISE BOURGEOIS - Untitled - glass hologram (single hologram from set 23) - 10 3/4 x 13 3/4 in.

LOUISE BOURGEOIS

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

ANDY WARHOL

HERB ALPERT - Brasilian Moon - acrylic on canvas - 36 x 72 in.

HERB ALPERT

HERB ALPERT - Brasilian Mist - acrylic on canvas - 36 x 72 in.

HERB ALPERT

HERB ALPERT - Isolation - acrylic on canvas - 36 x 60 in.

HERB ALPERT

HERB ALPERT - Fractured Memories - acrylic on canvas - 60 x 36 in.

HERB ALPERT

HERB ALPERT - Just a Dream Away - acrylic on canvas - 60 x 36 in.

HERB ALPERT

HERB ALPERT - The Observer - acrylic on canvas - 60 x 36 in.

HERB ALPERT

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

MICAELA AMATO

JEAN MANNHEIM - Before the Storm - oil on panel - 12 x 15 1/2 in.

JEAN MANNHEIM

WILLEM DE KOONING - For Lisa - lithograph - 17 1/2 x 23 1/4 in.

WILLEM DE KOONING

HERB ALPERT - At the Ballet - acrylic on canvas - 48 x 48 in.

HERB ALPERT

HERB ALPERT - Connection - acrylic on canvas - 36 x 48 in.

HERB ALPERT

CARLOS LUNA - Sin titulo - mixed media on paper - 22 1/2 x 30 1/4 in.

CARLOS LUNA

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

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 10 x 12 3/8 in. ea.

JOSEF ALBERS

GEORGE ORTMAN - Ten Works X Ten Painters - screenprint - 24 x 20 in.

GEORGE ORTMAN

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 - 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

IN THE NEWS

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The Art Market March 2023

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Van Gogh loans to the Detroit Institute of Arts

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Heather James loans major Van Gogh to “Van Gogh in America”

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Fine Art is listed among the best bets for 2022. See our in depth analysis of art as an asset in your portfolio. More...

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Luxury Home Installation

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May 2022 Art Auction Season Recap with Jim Carona

Heather James Fine Art owner James Carona in conversation with Fine Art Assistant Jenna Grotelueschen discussing the May 2022 Art Auction Season More...

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Curator Chip Tom Helps Inside the Desert Oasis Show House

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Iconic Life profiles the HJFA curated Desert Oasis Show House

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Celebrity interior designer Chris Barrett shares the inside scoop on her latest project, artwork provided by Heather James Fine Art.
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Chip Tom Guest Judge

March, 25, 2022
Senior Curator, Chip Tom, judges Coachella Valley Watercolor Society's (CVWS) return to in-person exhibition for its 32nd annual Members’ Art Show.
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Getting to Know Heather James Fine Art

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Celebrating 25 Years of Heather James Fine Art

In 2021, Heather James Fine Art celebrated 25 years in business. In that time, we have placed over 6,500 works of art with collectors More...

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Breck Kling at Art Basel Miami Beach

Palm Beach Fine Art Consultant, Breck Kling, visited Art Basel Miami Beach, meeting with clients in the area, here are key takeaways. More...

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Heather James Asia

Heather James Fine Art is looking for Fine Art Consultants to join our sales team and assist our expansion into the Asian Market. More...

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Heather James Opens London Consultancy

HJFA has operated internationally since founding 25 years ago. Our London consultancy, led by Emma Barnes, represents an exciting new chapter that allows us to serve clients more directly in More...

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Palm Desert Gallery Walkthrough – Post-War and Contemporary Art

For our 25th anniversary, we are excited to continue presenting rare blue-chip artworks by esteemed artists like Elaine de Kooning, Adolph Gottlieb, Agnes Martin, and Joan Miro. More...

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Revolutions in Modern Art

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Heather James Fine Art – About Us

Heather James Fine Art has been in business for over 25 years, presenting important works spanning time periods and genres including Contemporary, Modern, Impressionist, American, Latin American, and Old Masters. More...

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Yvel Jewelry Showcase 2.19.20 Palm Desert

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Mesa Modern

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Mesa Modern

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FEATURED ART

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

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

WILLEM DE KOONING

Having unwittingly inserted himself into the Pop Art conversation with his Great American Nude series, Tom Wesselmann spent the rest of his career explaining that his motivation was not to focus excessively on a subject matter or to generate social commentary but instead, to give form to what titillated him most as beautiful and exciting. His disembodied Mouth series of 1965 established that an image did not have to rely on extraneous elements to communicate meaning. But it was his follow-up performances with the Smoker series and its seductive, fetish allure that raised his standing among true sybarites everywhere. Apart from perceiving smoking as cool and chic, a painting such as Smoker #21 is the consummate celebration of Wesselmann’s abilities as a painter. Enticed by the undulating smoke, Wesselmann took great pains to accurately depict its sinuous movements and observe the momentary pauses that heightened his appreciation of its sensual nature. Like all of Wesselmann’s prodigious scaled artworks, Smoker #21 has the commanding presence of an altarpiece. It was produced during long hours in his impressive Manhattan studio in Cooper Square, and the result is one of sultry dynamism — evocative, sensual, alluring, sleek, luscious, and perhaps, even sinister — a painting that flaunts his graphic supremacy and potent realism varnished with his patented sex appeal flair. <br> <br>Tom Wesselmann expanded upon the success of his Great American Nudes by focusing on singular features of his subjects and began painting his Mouth series in 1965. In 1967, Wesselmann’s friend Peggy Sarno paused for a cigarette while modeling for Wesselmann’s Mouth series, inspiring his Smoker paintings. The whisps of smoke were challenging to paint and required Wesselmann to utilize photographs as source material to capture the smoke’s ephemeral nature properly. The images here show Wesselmann photographing his friend, the screenwriter Danièle Thompson, as she posed for some of Wesselmann’s source images.

TOM WESSELMANN

When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved. <br> <br>Viewed from the perspective of a bird or a plane, The Riverhouse is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water. <br> <br>The Riverhouse is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, The Riverhouse is a heady concoction of vibrant pigment and rich impasto; one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting. <br> <br>As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as The Riverhouse rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.

WAYNE THIEBAUD

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

ALFRED SISLEY

EMIL NOLDE - Sonnenblumen, Abend II - oil on canvas - 26 1/2 x 35 3/8 in.

EMIL NOLDE

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

ALEXANDER CALDER

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

N.C. WYETH

During the early 1870s, Winslow Homer frequently painted scenes of country living near a small farm hamlet renowned for generations for its remarkable stands of wheat, situated between the Hudson River and the Catskills in New York state. Today Hurley is far more famous for inspiring one of Homer’s greatest works, Snap the Whip painted the summer of 1872. Among the many other paintings inspired by the region, Girl Standing in the Wheatfield is rich in sentiment, but not over sentimentalized. It directly relates to an 1866 study painted in France entitled, In the Wheatfields, and another, painted the following year after he returned to America. But Homer would have undoubtedly been most proud of this one. It is a portrait, a costume study, a genre painting in the great tradition of European pastoral painting, and a dramatically backlit, atmospheric tour de force steeped in the quickly fading gloaming hour light buoyed with lambent, flowery notes and wheat spike touches. In 1874, Homer sent four paintings to the National Academy of Design exhibition. One was titled, “Girl”. Might it not be this one?

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

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

SEAN SCULLY

The world of Marc Chagall cannot be contained or limited by the labels we attach to it. It is a world of images and meanings which form their own splendidly mystical discourse. Les Mariés sous le baldaquin (The Bride and Groom under the Canopy) was begun as the artist entered his 90th year, a man who had known tragedy and strife, but who never forgot life’s moments of rapturous pleasure. Here, the dreamy delights of a Russian village wedding with its arrangements of well-worn attendees are brought to us with such happy wit and cheerful innocence that there is no resisting its charm. Using a golden toned emulsion combining oil and opaque, water-based gouache, the warmth, happiness, and optimism of Chagall’s usual positivism is wrapped in a luminous radiance suggesting the influence of gold-leaf religious icons or early Renaissance painting that sought to impart the impression of divine light or spiritual enlightenment. Using a combination of oil and gouache can be challenging. But here, in Les Mariés sous le baldaquin, Chagall employs it to give the scene an otherworldly quality, almost as if it has just materialized out of his mind’s eye. Its textural delicacy creates the impression that light is emanating from the work itself and gives a spectral quality to the figures floating the sky.

MARC CHAGALL

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

ANISH KAPOOR

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

TOM WESSELMANN

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

Pablo Picasso was not only the greatest painter and most innovative sculptor of the twentieth century, but he was also its foremost printmaker. He produced a staggering number of prints in every conceivable medium. Yet Picasso’s crowning printmaking achievement may be the linocut, a relief print of such a low technical barrier that it is accessible to almost anyone. If you have ever made a block print and experienced the carving and removing of portions so that a succession of colors can be preserved on the resulting print, it is a thrill to feel in your hand how Picasso created the image. <br> <br>Buste de Femme au Chapeau was created in 1962 when Picasso was eighty years of age. Boldly designed and simply conceived, it remains today as a testament to his ever-restless nature and genius for expanding his repertoire. Printed in five vibrant opaque colors – yellow, blue, green, red – and black assembled on the strength of his unmatched graphic skill, it is a portrait inspired by his wife Jacqueline Roque. The assertive layering of color carries a visual impact similar to his paintings in oil. Considered by many collectors as his most important linocut, it was printed and published in an edition of 50. The colors of this particular print — an artist’s proof — are exceptionally fresh and strong.

PABLO PICASSO

Théo van Rysselberghe’s Portrait de Sylvie Lacombe, painted in 1906, is a classic masterwork by one of the most refined and consistent portrait painters of his time. The color is harmonious, the brushwork vigorous and tailored to its material task, her body and countenance true and revealing. The sitter is the daughter of his good friend, the painter Georges Lacombe, who shared a close association with Gauguin, and was a member of Les Nabis with artists Bonnard, Denis, and Vuillard, among others. We now know about Sylvie Lacombe because Van Rysselberghe is so skilled at rendering subtle facial expressions and through careful observation and attention to detail, provided insights into her inner world. He has chosen a direct gaze, her eyes to yours, an inescapable covenant between subject and viewer regardless of our physical relationship to the painting. Van Rysselberghe had largely abandoned the Pointillist technique when he painted this portrait. But he continued to apply color theory guidelines by using tints of red — pinks and mauves — against greens to create a harmonious ameliorated palette of complementary colors to which he added a strong accent to draw the eye – an intensely saturated, red bow asymmetrically laid to the side of her head.

THÉO VAN RYSSELBERGHE

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

It is not difficult to grasp how Robert Indiana’s brilliant two-row arrangement of four letters came to help empower a movement during the 1960s. Its origin emerged from deeply felt exposure to religion and from friend and mentor Ellsworth Kelly, whose hard-edged style and sensuous, unaccented color made a lasting impression. But as Indiana exclaimed, it was a moment of kismet that just happened when “LOVE bit me!” and the design came to him sharp and focused. Indiana, of course, put the design through many paces, and then the logo began to sprout up everywhere. The message, best conveyed in sculpture, stands in cities worldwide and has been translated into several languages, not least of which, is its Italian iteration, “Amor” with its fortuitous “O” also tilted to the right. But rather than being kicked by the foot of the “L”, this version lends a beautifully staged teetering effect to the “A” above. It gives a new, but no less profound, impression of love and its emotionally charged nature. In either case, Love’s tilted “O” imparts instability to an otherwise stable design, a profound projection of Indiana’s implicit critique of “the often-hollow sentimentality associated with the word, metaphorically suggesting unrequited longing and disappointment rather than saccharine affection” (Robert Indiana’s Best: A Mini Retrospective, New York Times, May 24, 2018). Repetition, of course has a nasty habit of dampening our appreciation for the genius of simplicity and, groundbreaking design. Late in life, Indiana lamented that “it was a marvelous idea, but also terrible mistake. It became too popular. And there are people who don’t like popularity.” But we, denizens of a world fraught with divisiveness and caught in turmoil, thank you. “Love” and its many versions are strong reminders of our capacity for love, and that is our best everlasting hope for a better future.

ROBERT INDIANA

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

ADOLPH GOTTLIEB

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

FRANK STELLA

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

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

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

JOAN MIRO

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