Artwork on view at Palm Desert gallery

Artists Categories Price
The Wildenstein Catalogue Raisonné of Monet paintings offers a note on this painting: “During his second stay in Pourville-Varengeville, Monet painted the customs’ officer’s cottage several times and from various angles. This general view shows it overhanging the Gorge du petit Ailly." Monet spent six months in this part of Normandy in 1882, and the cabin in this painting was one of his favorite motifs to revisit. It appears in eighteen paintings from that year, and another dozen from a later trip to the area in 1897. His fixation with this house on the hill later became a habit of working serially – each canvas a singularity registering a unique guise yet set sequentially and in direct relationship to other works within the series. Monet circumambulated and painted the cabin from so many angles that as a group, the paintings are not as clearly recognizable as a series as the celebrated grain-stacks, Rouen cathedral, or poplar series. Still, it is a fixed and iconic element that reappears in many of Monet’s paintings from this period. <br> <br>Japanese woodblock prints were a life-long source of inspiration for Monet, and this piece in particular draws upon Hiroshige's "Utsu Mountain, Okabe," c. 1833. This print is part of a series called “The Fifty-three Stations of the Tōkaidō,” which documented scenic views from the major road that linked the shōgun’s capital, Edo, to the imperial one Kyōto. Monet amassed an extensive collection of woodblock prints – many of which are still on view at Giverny.
CLAUDE MONET
Le Chemin du Petit Ailly a Varengeville
1882
23 1/2 x 28 7/8 in.
oil on canvas
Gustave Caillebotte’s paintings of his country home at Yerres display soft brushwork and a pastel palette typical of the Impressionists. Although closely associated with that movement, Caillebotte drew inspiration from other approaches as well, resulting in a style closer to Realism than many of his contemporaries. He aimed to paint the world as he observed it, producing works that resisted theatricality in favor of a more grounded sense of reality. His noteworthy urban scenes employ flatter colors and dramatic perspectives inspired by Japanese wood block prints. One such example, created in the same year as the present work, is one of his best-known paintings, "Paris Street; Rainy Day" at the Art Institute of Chicago. <br> <br>Caillebotte did not only contribute his painting to the Impressionist movement, but also became a crucial benefactor upon receiving a sizable inheritance. He helped to fund exhibitions, purchased works for his own collection, and even paid rent for Claude Monet’s studio. <br> <br>This canvas from 1877 belonged to the personal collection of American Impressionist Mary Cassatt until her death in 1926. Here, Caillebotte’s delicate paint handling compliments his measured use of color. Naturalistic hues of the artist’s garden and the valley beyond – a bed of cool green and blue that divide the canvas into contrasting swaths of heavy and light tones – underscore the details touched by light.
GUSTAVE CAILLEBOTTE
Vue du Jardin de l’Artiste et de la Vallée de Yerres
1877
19 1/8 x 25 1/2 in.
oil on canvas
Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.
ANISH KAPOOR
Blood Cinema
2000
77 1/4 x 77 1/4 x 18 3/4 in.
acrylic and steel
Shortly after his major retrospective exhibition at the Museum of Modern Art in New York in 1941, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year, Les Yeux Fleuris, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Eyes appear in Dalí paintings, sculpture, and jewelry throughout his career — as late as the 1981 painting Argus and, most notably, in paintings Dalí made for the dream sequences of the film Spellbound directed by Alfred Hitchcock.
SALVADOR DALI
Les Yeux Fleuris
1944
27 x 19 3/8 in.
oil on canvas
"San Loretto" (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again." <br> <br>The painting shows Kiefer’s desire to create a self-contained world within the confines of the canvas; the winged form flies effortlessly across a vast, open landscape created using Kiefer’s favored thick-Impasto surface. <br> <br>Kiefer draws from a variety of sources for the subjects of his work, including Judeo-Christian themes, mythological subjects, and German history itself. Kiefer can produce some of the most provocative and innovative works of our time using his automatic process. Much like the spontaneous working nature of Jackson Pollock before him, Kiefer is spiritually connected to the work during the creative process, letting his subject come through at the moment. <br> <br>In honor of Kiefer’s 70th birthday, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition for the artist in 2015. The present work has been held in a private collection since its creation.
ANSELM KIEFER
San Loretto
2008
74 x 111 in.
mixed media on canvas
Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.
TOM WESSELMANN
1962 Plus 35 Nude Sketch II
1997
43 x 58 5/8 in.
alkyd oil on canvas
American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.
JOHN MARIN
Cape Split, Maine
1945
22 1/4 x 28 1/4 in.
oil on canvas
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
The Human Condition
1980-1981
120 x 182 in.
oil on canvas
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
Beyond Camel
1980
98 3/4 x 79 1/4 in.
acrylic on canvas
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
16 Ace Zinc Square
2007
16 x 16 x 1/4 in. ea./installed 64 x 64 x 1/4 in.
zinc
Gabriel Orozco is one of the preeminent artists working today. A native Mexican, Orozco gained initial recognition in the 1990s through his artistic creations across a wide range of media, including sculpture, drawing, photography, and installation works. Orozco had a significant mid-career traveling retrospective that ended in 2011 at the Tate Modern. He is widely regarded as one of the most innovative artists of our time. <br> <br>“Samurai Tree - Invariant Gold 2” (2005) is part of the “Samurai Tree” series, the genesis of which was an exploration into the geometry of the circle in drawings Orozco produced on graph paper before 2004. <br> <br>“I thought that by establishing some rules, I could build up a structure that behaves like a sculpture,” says the artist, “so it’s a flat mobile maybe, or it’s a diagram that’s rotating and moving. And behaving not like a painting, in a way.”
GABRIEL OROZCO
Samurai Tree - Invariant Gold 2
2005
47 1/4 x 47 1/4 in.
acrylic on canvas
A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum. <br> <br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.” <br> <br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.
DAMIEN HIRST
Overwhelming Love
2008
36 x 60 in
household gloss, butterflies
"Lions on the Dreyfus Fund, Inc." demonstrates Rivers's Pop Art aesthetic through its repetition of imagery and a well-known corporate brand of the time. The lion forms featured prominently in the painting were a logo for the Dreyfus fund, as well as art historical symbols in their own right. Rivers would have at least seen pictures of the ancient archetypes for such imagery as the "Ishtar Gate" from 575 B.C. in what is now the country of Iraq. Rivers's love of travel and exploration brought him to Africa for seven months, where he would have been able to study a diverse menagerie for his artwork firsthand. <br> <br>Another version of the painting, "Lions on the Dreyfus Fund III" (1964) is in the permanent collection of the Art Institute of Chicago.
LARRY RIVERS
Lions on the Dreyfus Fund, Inc.
1964
63 x 35 1/2 in.
pencil and oil on cut wood and canvas
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
Untitled (Horse)
1981
100 x 157 x 36 in.
sticks and paper on wire armature
Kenny Scharf established his reputation working in 1980s New York as a street artist. His organic forms - as seen in “Kolorbz” - are instantly recognizable. Scharf now works from Los Angeles where he began his career. He has decorated the facades of several buildings across the metropolitan area, including a project at the former Pasadena Museum of California Art. Scharf is associated with the Lowbrow art movement, a term which he pioneered and used and which refers to a combination of Pop Art and Surrealism. <br> <br>In March 2020, Scharf set a new auction record of $525,000 for a depiction of the Flinstones estimated to sell for 20-50k. As the prices for Scharf’s contemporaries continue to soar into the stratosphere, many collectors and institutions are re-evaluating the Scharf market to reflect his art historical importance. Acquired directly from the artist, "Kolorbz" is a signature Scharf work, full of personality and energy with a burst of vibrant color.
KENNY SCHARF
Kolorbz
2013
114 x 90 in.
oil and acrylic on canvas
ANSELM KIEFER - Jericho - emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.
ANSELM KIEFER
Jericho
2000
25 x 17 1/2 x 2.25 in.
emulsion, acrylic, sand, clay and photographic paper on cardboard
Henri Matisse is one of the most influential artists of the twentieth century and whose oeuvre covers painting, drawing, sculpture, etchings, linocuts, lithographs, aquatints, paper cutouts, and book illustration. An early proponent of Fauvism with its outrageous colors and dynamic composition, Matisse would also move into abstraction, pioneering the use of color and form in each stage of his career. This drawing depicts Madame Monchaux and displays the incredible draftsmanship that often characterized his work. Striving to achieve “the art of balance, of purity and serenity”, his drawings appear effortless but are careful studies to unite line and form.
HENRI MATISSE
Madame Monchaux
1916
13 x 9 1/2 in.
pencil on paper
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. <br> <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
Untitled
c. 1970
71 1/2 x 128 1/2 in.
acrylic on canvas
IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.
IRVING NORMAN
To Have and Have Not, Charity Gala
1979-1980
92 x 104 in.
oil on canvas
HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.
HERB ALPERT
Arrowhead
2015
201 x 48 x 48 in.
bronze
HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.
HERB ALPERT
Freedom
2008
201 x 48 x 48 in.
bronze
HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.
HERB ALPERT
Hope
2009
212 x 48 x 48 in.
bronze
IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.
IRVING NORMAN
The Academy
1975-1976
110 x 90 in.
oil on canvas
JEAN-BAPTISTE GREUZE - Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length - oil on panel - 23 5/8 x 19 3/8 in.
JEAN-BAPTISTE GREUZE
Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length
c. 1790
23 5/8 x 19 3/8 in.
oil on panel
ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.
ANTHONY CARO
Figure in a Tub
1985-86
42 x 30 1/4 x 24 1/4 in.
bronze
IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.
IRVING NORMAN
M.F.I. Complex
1981
100 x 76 in.
oil on canvas
IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.
IRVING NORMAN
To the Unknown
1977
96 x 72 in.
oil on canvas
CHARLES ARNOLDI - Construction - acrylic on plywood and found wooden sticks - 128 x 68 x 8 in.
CHARLES ARNOLDI
Construction
1982
128 x 68 x 8 in.
acrylic on plywood and found wooden sticks
HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.
HERB ALPERT
Illumination
2010
159 x 40 x 40 in.
bronze
HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.
HERB ALPERT
Radiance
2009
161 x 40 x 40 in.
bronze
N.C. WYETH - Bringing in the Ears (Composition drawing) - charcoal on paper - 26 1/2 x 32 in.
N.C. WYETH
Bringing in the Ears (Composition drawing)
1942
26 1/2 x 32 in.
charcoal on paper
Afternoon Tea on the Terrace (1905-1906) was commissioned by Rodman Wanamaker as part of a mural for the Grand Deluxe Shelburn hotel in Atlantic City. The mural was later divided into seven pieces that were displayed in the hotel dining room. Frieseke’s earliest mural work was for his patron, Rodman Wanamaker. Other commissions included mural decorations that were installed in Wanamaer’s New York department store in 1904 and 1907, the Rodman Wanamaker Hotel in 1905, and the Amphitheater of Music in New York in 1908. Art historians credit Wanamaker’s constant commissions as being the sole reason Frieseke was able to devote himself to painting.
FREDERICK CARL FRIESEKE
Afternoon Tea on the Terrace
1905-1906
55 x 57 in.
oil on canvas
IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.
IRVING NORMAN
Draftee
1982
100 x 38 in.
oil on canvas
IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.
IRVING NORMAN
Flight
1955
60 x 74 in.
oil on canvas
RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.
RICHARD ANUSZKIEWICZ
Moonbow
1968
48 x 48 in.
acrylic on canvas
RON ARAD - Big Easy Volume 2 - stainless steel welded chair - 36 x 53 x 28 in.
RON ARAD
Big Easy Volume 2
1989
36 x 53 x 28 in.
stainless steel welded chair
IRVING NORMAN - Totem of a Holy Family - oil on canvas - 90 x 19 3/4 in.
IRVING NORMAN
Totem of a Holy Family
1974
90 x 19 3/4 in.
oil on canvas
OSWALDO GUAYASAMIN - Atahualpa en Cajamarcas - oil on canvas - 28 x 19 1/2 in.
OSWALDO GUAYASAMIN
Atahualpa en Cajamarcas
28 x 19 1/2 in.
oil on canvas
ARISTIDES DEMETRIOS - Embrace - stainless steel - 51 x 31 3/4 x 18 3/4 in.
ARISTIDES DEMETRIOS
Embrace
2020
51 x 31 3/4 x 18 3/4 in.
stainless steel
ARISTIDES DEMETRIOS - Sempre Allegro - stainles steel - 101 1/4 x 35 1/2 x 37 in..
ARISTIDES DEMETRIOS
Sempre Allegro
101 1/4 x 35 1/2 x 37 in..
stainles steel
ARISTIDES DEMETRIOS - Joy of Being II - stainless steel - 72 x 21 1/2 x 14 in.
ARISTIDES DEMETRIOS
Joy of Being II
2020
72 x 21 1/2 x 14 in.
stainless steel
KARL BENJAMIN - #32 - oil on canvas - 31 x 62 in.
KARL BENJAMIN
#32
1975
31 x 62 in.
oil on canvas
NATHAN OLIVEIRA - Standing Figure #2 - bronze - 26 x 16 x 23 1/2 in.
NATHAN OLIVEIRA
Standing Figure #2
2007
26 x 16 x 23 1/2 in.
bronze
JAE KON PARK - Untitled - oil on canvas - 52 1/4 x 64 1/2 in.
JAE KON PARK
Untitled
1992
52 1/4 x 64 1/2 in.
oil on canvas
THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.
THEASTER GATES
Untitled (flooring)
2011
35 x 35 x 3 in.
white cement, debris, flooring
IRVING NORMAN - Homeless 2 - oil on canvas - 72 x 36 in.
IRVING NORMAN
Homeless 2
1988
72 x 36 in.
oil on canvas
JAE KON PARK - Untitled - oil on canvas - 38 x 51 in.
JAE KON PARK
Untitled
1992
38 x 51 in.
oil on canvas
WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.
WILLIAM THEOPHILUS BROWN
Horse with Swimmers at Beach
1990
36 x 48 in.
acrylic on canvas
NORMAN ZAMMITT - Panel for Black to White - acrylic on canvas on pine board - 100 x 11 1/4 in.
NORMAN ZAMMITT
Panel for Black to White
1977
100 x 11 1/4 in.
acrylic on canvas on pine board
JAE KON PARK - Untitled - oil on canvas - 34 x 43 1/4 in..
JAE KON PARK
Untitled
1992
34 x 43 1/4 in..
oil on canvas
JAE KON PARK - Untitled - oil on canvas - 36 x 45 1/2 in.
JAE KON PARK
Untitled
1993
36 x 45 1/2 in.
oil on canvas
JAE KON PARK - Untitled - oil on canvas - 35 1/4 x 46 in.
JAE KON PARK
Untitled
1992
35 1/4 x 46 in.
oil on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Painting with Jumping Man and Snake) - acrylic on canvas - 38 x 42 in.
WILLIAM THEOPHILUS BROWN
Untitled (Painting with Jumping Man and Snake)
1968
38 x 42 in.
acrylic on canvas
JAE KON PARK - Untitled - oil on canvas - 35 1/2 x 45 1/2 in.
JAE KON PARK
Untitled
1989
35 1/2 x 45 1/2 in.
oil on canvas
JAE KON PARK - Untitled - oil on canvas - 36 x 46 in.
JAE KON PARK
Untitled
1992
36 x 46 in.
oil on canvas
PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in
PAUL JENKINS
Phenomena Lucifer Edge
1961
45 x 34 3/4 in
oil on canvas
WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.
WILLIAM THEOPHILUS BROWN
Landscape with Rocks
1985-2005
48 x 48 in.
acrylic on canvas
JAE KON PARK - Untitled - oil on burlap - 39 1/2 x 35 1/2 in.
JAE KON PARK
Untitled
1985
39 1/2 x 35 1/2 in.
oil on burlap
JAE KON PARK - Untitled - oil on canvas - 35 x 33 7/8 in.
JAE KON PARK
Untitled
1992
35 x 33 7/8 in.
oil on canvas
JAE KON PARK - Untitled - oil on canvas - 28 1/2 x 35 1/2 in.
JAE KON PARK
Untitled
1992
28 1/2 x 35 1/2 in.
oil on canvas
DIETZ EDZARD - Jeune Homme Reveur (Self Portrait) - oil on canvas - 45 x 25 3/4 in.
DIETZ EDZARD
Jeune Homme Reveur (Self Portrait)
1921
45 x 25 3/4 in.
oil on canvas
NATHAN OLIVEIRA - Mask #6 (Red) - bronze and acrylic - 9 x 11 3/4 x 11 3/4 in.
NATHAN OLIVEIRA
Mask #6 (Red)
2007
9 x 11 3/4 x 11 3/4 in.
bronze and acrylic
JAE KON PARK - Untitled - oil on canvas - 31 3/4 x 27 1/2 in.
JAE KON PARK
Untitled
1985
31 3/4 x 27 1/2 in.
oil on canvas
JEFF KOONS - Balloon Dog (Red) - porcelain - 10 1/2 x 10 1/2 in.
JEFF KOONS
Balloon Dog (Red)
1995
10 1/2 x 10 1/2 in.
porcelain
JAE KON PARK - Untitled - resin and acrylic - 23 3/4 x 23 3/4 in.
JAE KON PARK
Untitled
1978
23 3/4 x 23 3/4 in.
resin and acrylic
NATHAN OLIVEIRA - Mask #2 - bronze with custom patina - 9 x 11 3/4 x 11 3/4 in.
NATHAN OLIVEIRA
Mask #2
2007
9 x 11 3/4 x 11 3/4 in.
bronze with custom patina
NATHAN OLIVEIRA - Mask #7 - bronze - 9 x 11 3/4 x 11 3/4 in.
NATHAN OLIVEIRA
Mask #7
2007
9 x 11 3/4 x 11 3/4 in.
bronze
JAE KON PARK - Untitled - oil on canvas - 24 x 28 1/2 in.
JAE KON PARK
Untitled
1993
24 x 28 1/2 in.
oil on canvas
JAE KON PARK - Untitled - oil on canvas - 24 x 28 3/4 in.
JAE KON PARK
Untitled
1983
24 x 28 3/4 in.
oil on canvas
JAE KON PARK - Life and Roots - oil on canvas - 25 1/2 x 20 5/8 in.
JAE KON PARK
Life and Roots
1992
25 1/2 x 20 5/8 in.
oil on canvas
JAE KON PARK - Life and Roots - oil on canvas - 28 x 20 1/2 in.
JAE KON PARK
Life and Roots
1992
28 x 20 1/2 in.
oil on canvas
PAUL JENKINS - Phenomena D.H. Lawrence Gala - watercolor on paper - 43 1/8 x 31 1/4 in.
PAUL JENKINS
Phenomena D.H. Lawrence Gala
1980
43 1/8 x 31 1/4 in.
watercolor on paper
PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.
PAUL JENKINS
Untitled
1979
29 3/4 x 42 3/4 in.
watercolor and ink on paper
PAUL JENKINS - Untitled - watercolor on paper - 43 1/8 x 31 1/8 in. .
PAUL JENKINS
Untitled
43 1/8 x 31 1/8 in. .
watercolor on paper
PAUL JENKINS - Untitled - watercolor on paper - 41 3/4 x 30 in.
PAUL JENKINS
Untitled
41 3/4 x 30 in.
watercolor on paper
WILLIAM THEOPHILUS BROWN - Untitled (Nudes with Tree) (Woman and Child) - acrylic on canvas - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Nudes with Tree) (Woman and Child)
2002
11 x 14 in.
acrylic on canvas
PAUL WONNER - Steps in Lafayette Park - acrylic and pencil on paper - 15 x 22 1/4 in.
PAUL WONNER
Steps in Lafayette Park
2005
15 x 22 1/4 in.
acrylic and pencil on paper
JAE KON PARK - Untitled - oil on painting - 18 x 21 in.
JAE KON PARK
Untitled
1986
18 x 21 in.
oil on painting
JAE KON PARK - Untitled - oil on canvas - 18 x 21 in.
JAE KON PARK
Untitled
1986
18 x 21 in.
oil on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Three Nudes One Seated) - acrylic on paper - 11 1/8 x 14 1/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (Three Nudes One Seated)
2001
11 1/8 x 14 1/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Jamie Seated (Green Background) - acrylic and oil on canvas - 14 x 9 3/4 in.
WILLIAM THEOPHILUS BROWN
Jamie Seated (Green Background)
1997
14 x 9 3/4 in.
acrylic and oil on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Soldiers) - acrylic on canvas - 14 x 18 in.
WILLIAM THEOPHILUS BROWN
Untitled (Soldiers)
14 x 18 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Seated Figure) - charcoal and gouache on paper - 18 3/4 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Seated Figure)
1988
18 3/4 x 14 in.
charcoal and gouache on paper
PAUL WONNER - Youth and Old Age - acrylic on paper - 14 1/2 x 16 5/8 in.
PAUL WONNER
Youth and Old Age
2001
14 1/2 x 16 5/8 in.
acrylic on paper
PAUL WONNER - Artist and Model, Hands on Hips - acrylic and pencil on paper - 14 1/4 x 16 1/4 in.
PAUL WONNER
Artist and Model, Hands on Hips
2002
14 1/4 x 16 1/4 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Untitled (Landscape with Rocks) - oil on board - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Landscape with Rocks)
1999
11 x 14 in.
oil on board
WILLIAM THEOPHILUS BROWN - Untitled (2 Male Nudes) - acrylic on paper - 14 x 9 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (2 Male Nudes)
1998
14 x 9 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Untitled (Bathers) - acrylic on paper - 10 3/4 x 13 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (Bathers)
2001
10 3/4 x 13 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 13 7/8 x 9 7/8 in.
WILLIAM THEOPHILUS BROWN
Jamie
1998
13 7/8 x 9 7/8 in.
acrylic on paper
PAUL WONNER - Youth and Old Age, Artist and Model - acrylic and pencil on paper - 13 1/4 x 15 in.
PAUL WONNER
Youth and Old Age, Artist and Model
2001
13 1/4 x 15 in.
acrylic and pencil on paper
PAUL WONNER - Park with Figures - acrylic and pencil on paper - 15 x 22 in.
PAUL WONNER
Park with Figures
2005
15 x 22 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 14 x 10 3/4 in.
WILLIAM THEOPHILUS BROWN
Jamie
1999
14 x 10 3/4 in.
acrylic on paper
UTAGAWA HIROSHIGE - Okabe: Utsu Mountain - color woodblock print; oban Color woodblock print; oban - 9 1/2 x 14 3/16 in.
UTAGAWA HIROSHIGE
Okabe: Utsu Mountain
C. 1833/34
9 1/2 x 14 3/16 in.
color woodblock print; oban Color woodblock print; oban
WILLIAM THEOPHILUS BROWN - Up - acrylic on paper - 16 1/2 x 11 1/2 in.
WILLIAM THEOPHILUS BROWN
Up
2010
16 1/2 x 11 1/2 in.
acrylic on paper
PAUL WONNER - Youth and Old Age: Artist, Model, Pots of Flowers - acrylic and pencil on paper - 14 1/4 x 12 1/4 in.
PAUL WONNER
Youth and Old Age: Artist, Model, Pots of Flowers
2003
14 1/4 x 12 1/4 in.
acrylic and pencil on paper
PAUL WONNER - Landscape with Bathers - acrylic and pencil on paper - 14 7/8 x 22 1/8 in.
PAUL WONNER
Landscape with Bathers
2003
14 7/8 x 22 1/8 in.
acrylic and pencil on paper
PAUL WONNER - Landscape with Bathers After Cezanne - acrylic and pencil on paper - 14 7/8 x 22 1/2 in.
PAUL WONNER
Landscape with Bathers After Cezanne
2003
14 7/8 x 22 1/2 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Untitled (Two Nudes) (Two Figures) - acrylic and charcoal on paper - 11 x 15 in.
WILLIAM THEOPHILUS BROWN
Untitled (Two Nudes) (Two Figures)
1994
11 x 15 in.
acrylic and charcoal on paper
WILLIAM THEOPHILUS BROWN - Untitled (Seated Female Nude) - charcoal, pencil and wash on paper - 25 1/2 x 19 1/2 in.
WILLIAM THEOPHILUS BROWN
Untitled (Seated Female Nude)
1981
25 1/2 x 19 1/2 in.
charcoal, pencil and wash on paper
LAWRENCE SCHILLER - Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963 - silver gelatin print - 16 x 20 in.
LAWRENCE SCHILLER
Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963
1963
16 x 20 in.
silver gelatin print
JAE KON PARK - About Ancient Korea - batik on fabric - 11 3/4 x 12 1/2 in.
JAE KON PARK
About Ancient Korea
1990
11 3/4 x 12 1/2 in.
batik on fabric
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Floor) - acrylic and charcoal on paper - 11 x 15 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Floor)
1975
11 x 15 in.
acrylic and charcoal on paper
PAUL WONNER - Artist Drawing The Model - acrylic and pencil on paper - 12 x 10 1/4 in.
PAUL WONNER
Artist Drawing The Model
2004
12 x 10 1/4 in.
acrylic and pencil on paper
PAUL WONNER - Trees and Rock on the Bay - acrylic and pencil on paper - 15 x 22 in.
PAUL WONNER
Trees and Rock on the Bay
2003
15 x 22 in.
acrylic and pencil on paper
PAUL WONNER - In Lafayette Park VI - acrylic and pencil on paper - 13 5/8 x 20 5/8 in.
PAUL WONNER
In Lafayette Park VI
2004
13 5/8 x 20 5/8 in.
acrylic and pencil on paper
JAE KON PARK - About Patterns - batik on fabric - 9 1/4 x 11 in.
JAE KON PARK
About Patterns
1990
9 1/4 x 11 in.
batik on fabric
JAE KON PARK - Birds of Spring - batik on fabric - 10 3/4 x 12 1/4 in.
JAE KON PARK
Birds of Spring
1990
10 3/4 x 12 1/4 in.
batik on fabric
JAE KON PARK - Twice-drawn Bird - batik on fabric - 10 1/2 x 12 in.
JAE KON PARK
Twice-drawn Bird
1990
10 1/2 x 12 in.
batik on fabric
JAE KON PARK - Life - batik on fabric - 9 1/2 x 10 3/4 in.
JAE KON PARK
Life
1990
9 1/2 x 10 3/4 in.
batik on fabric
JAE KON PARK - Twice-drawn Bird - batik on fabric - 10 1/2 x 12 in.
JAE KON PARK
Twice-drawn Bird
1990
10 1/2 x 12 in.
batik on fabric
WILLIAM THEOPHILUS BROWN - Split Rock, Cisco Grove - acrylic on canvas - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Split Rock, Cisco Grove
1997
11 x 14 in.
acrylic on canvas
PAUL WONNER - At Mission Rock - acrylic and pencil on paper - 14 1/2 x 16 in.
PAUL WONNER
At Mission Rock
2004
14 1/2 x 16 in.
acrylic and pencil on paper
IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled
12 x 8 7/8 in.
graphite and crayon on paper
WILLIAM THEOPHILUS BROWN - Untitled (Nude Male on Floor) - acrylic on paper - 11 3/4 x 9 in.
WILLIAM THEOPHILUS BROWN
Untitled (Nude Male on Floor)
2010
11 3/4 x 9 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing - pencil and wash on paper - 15 x 11 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing
1993
15 x 11 in.
pencil and wash on paper
JAE KON PARK - The Mystery Series - ink on paper - 13 3/4 x 12 1/2 in.
JAE KON PARK
The Mystery Series
1990
13 3/4 x 12 1/2 in.
ink on paper
JAE KON PARK - America Series - ink on paper - 13 3/4 x 12 1/2 in.
JAE KON PARK
America Series
1990
13 3/4 x 12 1/2 in.
ink on paper
JAE KON PARK - Mystery of the Artic - ink on paper - 14 x 12 1/2 in.
JAE KON PARK
Mystery of the Artic
1990
14 x 12 1/2 in.
ink on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Block) - pencil and wash on paper - 15 x 10 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Block)
1995
15 x 10 3/4 in.
pencil and wash on paper
JAE KON PARK - Untitled - ink on paper - 10 3/4 x 9 1/2 in.
JAE KON PARK
Untitled
1990
10 3/4 x 9 1/2 in.
ink on paper
JAE KON PARK - The Incan Sun - ink on paper - 10 1/2 x 9 1/2 in.
JAE KON PARK
The Incan Sun
1990
10 1/2 x 9 1/2 in.
ink on paper
JAE KON PARK - The Incan Sun - ink on paper - 10 3/4 x 9 1/4 in.
JAE KON PARK
The Incan Sun
1990
10 3/4 x 9 1/4 in.
ink on paper
TSENG KWONG CHI - George Condo - c print - 16 x 20 in.
TSENG KWONG CHI
George Condo
1985
16 x 20 in.
c print
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Step) - pencil and wash on paper - 14 1/2 x 11 1/2 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Step)
1988
14 1/2 x 11 1/2 in.
pencil and wash on paper
NATHAN OLIVEIRA - Small Figure #3 - bronze with unique patina - 6 1/4 x 4 x 2 3/4 in.
NATHAN OLIVEIRA
Small Figure #3
1963, cast 2008
6 1/4 x 4 x 2 3/4 in.
bronze with unique patina
NATHAN OLIVEIRA - Small Figure #2 - bronze with unique patina - 6 1/4 x 4 x 2 3/4 in.
NATHAN OLIVEIRA
Small Figure #2
1963, cast 2008
6 1/4 x 4 x 2 3/4 in.
bronze with unique patina
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Standing Nude, Arm on Head) - pencil and wash on paper - 15 x 11 1/4 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Standing Nude, Arm on Head)
1990
15 x 11 1/4 in.
pencil and wash on paper
EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.
EDWARD STEICHEN
Colette
1935 / 1986
13 x 10 1/4 in.
silver gelatin print
WILLIAM THEOPHILUS BROWN - Self Portrait with Sketchbook - gouache - 8 1/2 x 6 in.
WILLIAM THEOPHILUS BROWN
Self Portrait with Sketchbook
1971
8 1/2 x 6 in.
gouache
WILLIAM THEOPHILUS BROWN - Two Cranes Take Flight (Into the Sunset) - gouache on paper - 11 x 14 1/2 in.
WILLIAM THEOPHILUS BROWN
Two Cranes Take Flight (Into the Sunset)
1971
11 x 14 1/2 in.
gouache on paper
DAVID MACH - Matchead - matchstick - 5 1/2 x 2 3/4 x 3 3/4 in.
DAVID MACH
Matchead
c.1992
5 1/2 x 2 3/4 x 3 3/4 in.
matchstick
DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.
DAVID MACH
(small white and lavender)
5 1/2 x 2 1/2 x 2 3/4 in.
matchstick
WILLIAM THEOPHILUS BROWN - Self Portrait - gouache - 7 1/4 x 6 in.
WILLIAM THEOPHILUS BROWN
Self Portrait
1979
7 1/4 x 6 in.
gouache
IRVING NORMAN - The Circus, Balancing Act 2 (a Study) - pencil on paper - 11 x 9 in.
IRVING NORMAN
The Circus, Balancing Act 2 (a Study)
1963
11 x 9 in.
pencil on paper
IRVING NORMAN - The Circus, The Balancing Act 2a (a Study) - pencil on paper - 11 x 9 in.
IRVING NORMAN
The Circus, The Balancing Act 2a (a Study)
1963
11 x 9 in.
pencil on paper
IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony") - pencil on paper - 14 x 11 in.
IRVING NORMAN
Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony")
14 x 11 in.
pencil on paper
IRVING NORMAN - From Work - lithograph on paper - 20 x 25 in.
IRVING NORMAN
From Work
1977
20 x 25 in.
lithograph on paper
IRVING NORMAN - Untitled (Bodies in Crypt) - pencil on paper - 7 1/2 x 3 7/8 in.
IRVING NORMAN
Untitled (Bodies in Crypt)
7 1/2 x 3 7/8 in.
pencil on paper
IRVING NORMAN - Untitled (War Study) - graphite on paper - 6 x 3 1/2 in.
IRVING NORMAN
Untitled (War Study)
6 x 3 1/2 in.
graphite on paper
IRVING NORMAN - Untitled (Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled (Fire Bird)
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled (Bodies) - pencil on paper - 6 3/4 x 2 in.
IRVING NORMAN
Untitled (Bodies)
6 3/4 x 2 in.
pencil on paper
IRVING NORMAN - Untitled (Smoking Man) - pen on paper - 8 7/8 x 6 in.
IRVING NORMAN
Untitled (Smoking Man)
8 7/8 x 6 in.
pen on paper
IRVING NORMAN - Untitled (Man with Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled (Man with Fire Bird)
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled (Couple) - graphite on paper - 5 x 3 1/2 in.
IRVING NORMAN
Untitled (Couple)
5 x 3 1/2 in.
graphite on paper
IRVING NORMAN - Untitled (Possible Study for "Celebration") - graphite on paper - 4 7/8 x 3 in.
IRVING NORMAN
Untitled (Possible Study for "Celebration")
4 7/8 x 3 in.
graphite on paper
IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.
IRVING NORMAN
Untitled (Possible Study for "From Work")
11 x 14 in.
pencil on paper
IRVING NORMAN - Untitled (Head with Fire) - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled (Head with Fire)
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.
IRVING NORMAN
Untitled (Possible Study for "From Work")
11 x 14 in.
pencil on paper
IRVING NORMAN - Untitled (Abstract Heads) - pen on paper - 8 7/8 x 6 in.
IRVING NORMAN
Untitled (Abstract Heads)
8 7/8 x 6 in.
pen on paper
IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2) - graphite on paper - 14 x 11 in.
IRVING NORMAN
Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2)
14 x 11 in.
graphite on paper
IRVING NORMAN - Untitled (Four Heads) - graphite on paper - 5 x 3 1/2 in.
IRVING NORMAN
Untitled (Four Heads)
5 x 3 1/2 in.
graphite on paper
IRVING NORMAN - Untitled (Possible Study for "From Work") - graphite on paper - 5 x 3 1/2 in.
IRVING NORMAN
Untitled (Possible Study for "From Work")
5 x 3 1/2 in.
graphite on paper
PAUL JENKINS - Phenomena Coriolis Wedge - oil on canvas - 66 x 77 in.
PAUL JENKINS
Phenomena Coriolis Wedge
1979
66 x 77 in.
oil on canvas
PAUL JENKINS - Phenomena Zodiac Violet - watercolor on paper - 40 x 29 in.
PAUL JENKINS
Phenomena Zodiac Violet
1973
40 x 29 in.
watercolor on paper
PAUL JENKINS - Phenomena Yoshihara Sound - watercolor on paper - 30 x 40 1/2 in.
PAUL JENKINS
Phenomena Yoshihara Sound
1975
30 x 40 1/2 in.
watercolor on paper