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Artwork on view at Palm Desert gallery

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On May 15, 1886, a visual manifesto for a new art movement was born when Georges Seurat’s crowning achievement, A Sunday Afternoon on the Island of La Grande Jatte was unveiled at the Eighth Impressionist Exhibition. Seurat can claim title as the original “Scientific Impressionist” working in a manner that came to be known as Pointillism or Divisionism. It was, however, his friend and the confidant, 24-year-old Paul Signac and their constant dialogue that led to a collaboration in understanding the physics of light and color and the style that emerged. Signac was an untrained, yet a blazingly talented, Impressionist painter whose temperament was perfectly suited to the rigor and discipline required to achieve the painstakingly laborious brushwork and color. Signac quickly assimilated the technique. He also bore witness to Seurat’s arduous two-year journey building myriad layers of unblended dots of color on the colossally-sized La Grande Jatte. Together, Signac, the brash extrovert, and Seurat, a secretive introvert, were about to subvert the course of Impressionism, and change the course of modern art.

Les Andelys. L'Île à Lucas

25 1/4 x 17 7/8 in.

Alexander Calder was a key figure in the development of abstract sculpture and is renowned for his groundbreaking work in kinetic art; he is one of the most influential artists of the Twentieth Century. "Prelude to Man-Eater" is a delicately balanced standing sculpture that responds to air currents, creating a constantly changing and dynamic visual experience.
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<br>Calder's Standing Mobiles were a result of his continuous experimentation with materials, form, and balance. This Standing Mobile is a historically significant prelude to a larger work commissioned in 1945 by Alfred Barr, the first director of the Museum of Modern Art in New York. "Prelude to Maneater" is designed to be viewed from multiple angles, encouraging viewers to walk around and interact with it.
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<br>The present work is a formal study for Man-Eater With Pennant (1945), part of the permanent collection of the Museum of Modern Art in New York. The work is also represented in "Sketches for Mobiles: Prelude to Man-Eater; Starfish; Octopus", which is in the permanent collection of the Harvard Fogg Museum.
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<br>Calder's mobiles and stabiles can be found in esteemed private collections and the collections of major museums worldwide, including the Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art, New York, the Art Institute of Chicago, and the Tate Gallery in London among others.

ALEXANDER CALDER

Prelude to the Man-Eater

59 x 42 x 18 in.

sheet metal, wire, paint

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.
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<br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

L'Église de Moret, le Soir

31 1/4 x 39 1/2 in.

Alexander Calder executed a surprising number of oil paintings during the second half of the 1940s and early 1950s. By this time, the shock of his 1930 visit to Mondrian’s studio, where he was impressed not by the paintings but by the environment, had developed into an artistic language of Calder’s own. So, as Calder was painting The Cross in 1948, he was already on the cusp of international recognition and on his way to winning the XX VI Venice Biennale’s grand prize for sculpture in 1952. Working on his paintings in concert with his sculptural practice, Calder approached both mediums with the same formal language and mastery of shape and color.
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<br>Calder was deeply intrigued by the unseen forces that keep objects in motion. Taking this interest from sculpture to canvas, we see that Calder built a sense of torque within The Cross by shifting its planes and balance. Using these elements, he created implied motion suggesting that the figure is pressing forward or even descending from the skies above. The Cross’s determined momentum is further amplified by details such as the subject’s emphatically outstretched arms, the fist-like curlicue vector on the left, and the silhouetted serpentine figure.
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<br>Calder also adopts a strong thread of poetic abandon throughout The Cross’s surface. It resonates with his good friend Miró’s hieratic and distinctly personal visual language, but it is all Calder in the effective animation of this painting’s various elements. No artist has earned more poetic license than Calder, and throughout his career, the artist remained convivially flexible in his understanding of form and composition. He even welcomed the myriad interpretations of others, writing in 1951, “That others grasp what I have in mind seems unessential, at least as long as they have something else in theirs.”
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<br>Either way, it is important to remember that The Cross was painted shortly after the upheaval of the Second World War and to some appears to be a sobering reflection of the time. Most of all, The Cross proves that Alexander Calder loaded his brush first to work out ideas about form, structure, relationships in space, and most importantly, movement.

ALEXANDER CALDER

28 3/4 x 36 1/4 in.

Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.
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<br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.
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<br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.

Sonnenblumen, Abend II

26 1/2 x 35 3/8 in.

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.
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<br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.
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<br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.

80 x 76 x 10 in.

oil on cut-out aluminum

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?

In the Wheatfield (Girl Standing in a Wheat Field)

21 3/4 x 13 1/2 in.

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.
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<br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

oil on aluminum

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.

Les mariés sous le baldaquin

23 1/2 x 31 7/8 in.

oil and gouache on canvas

"La femme au tambourin" (1939) is one of Pablo Picasso’s greatest graphic works. Partially based on compositions by Degas and Poussin, the work exudes a strong Classical presence with a Modernist edge. Thought to be a depiction of Dora Maar, Picasso’s lover at the time, the print is highly coveted by institutional and private collectors. One impression from this edition is included in the permanent collection of the Museum of Modern Art, New York, and another is included in the National Gallery of Art, Washington, D.C.
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<br>Picasso’s experimentations in printmaking began in the first decade of the 20th century and engaged him for many decades, into the 1970s. In this time, Picasso embraced multiple methods of printmaking, including lithography, etching, aquatint, and linoleum block printing. His earliest prints were, like the present work, intaglio. With La femme au tambourin, Picasso incorporated the additional medium of aquatint, which yielded a watercolor-like effect throughout the composition and an extreme range of tonal qualities. This technique in particular afforded opportunities for expression that could not be found in painting. For his experimental reach and depth of mastery, Picasso’s corpus of graphic work is among the most highly respected and coveted in the history of art, rivaling that of Rembrandt.

La femme au tambourin

image size 26 x 20 in. / sheet size 30 1/8 x 22 3/8 in.

etching and aquatint on Arches paper

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”
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<br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’
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<br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”
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<br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

Bedroom Brunette with Irises

105 3/4 x 164 5/8 in.

oil on cut-out aluminum

ALBERT BIERSTADT - The Golden Gate - oil on canvas - 27 3/8 x 38 3/4 in.

ALBERT BIERSTADT

The Golden Gate

27 3/8 x 38 3/4 in.

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

Portrait de Sylvie Lacombe

23 x 28 1/4 in.

The Pop Art Movement is notable for its rewriting of Art History and the idea of what could be considered a work of art. Larry Rivers association with Pop-Art and the New York School set him aside as one of the great American painters of the Post-War period.
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<br>In addition to being a visual artist, Larry Rivers was a jazz saxophonist who studied at the Juilliard School of Music from 1945-1946. This painting's subject echoes the artists' interest in Jazz and the musical scene in New York City, particularly Greenwich Village and the Lower East Side.
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<br>“Untitled” (1958) is notable bas the same owner has held it since the work was acquired directly from the artist several decades ago. This work is from the apex of the artists' career in New York and could comfortably hang in a museum's permanent collection.

AMOR (Red Yellow)

96 x 96 x 48 in.

polychrome aluminum

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

Maria van Rysselberghe au coin du feu

32 1/4 x 32 7/8 in.

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

The Human Condition

JEAN-MICHEL BASQUIAT - Untitled (Pigeon Anatomy) - oil, graphite, and chalk on paper - 22 x 30 in.

JEAN-MICHEL BASQUIAT

Untitled (Pigeon Anatomy)

oil, graphite, and chalk on paper

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.

11 1/2 in x 19 in

pencil on paper

MEL RAMOS - Nude Descending a Staircase #2 - oil on canvas - 70 x 52 1/8 in.

Nude Descending a Staircase #2

70 x 52 1/8 in.

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

Soleil Couchant

14 1/2 x 22 1/2 in.

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

Sculpture Mythique

25 x 9 1/2 x 12 in.

GEORGES ROUAULT - Carlotta - oil on canvas - 15 7/8 x 12 1/4 in.

GEORGES ROUAULT

15 7/8 x 12 1/4 in.

EDVARD MUNCH - House on the Coast I - woodcut on wove paper with watercolor hand-additions by artist - 16 x 23 in.

House on the Coast I

woodcut on wove paper with watercolor hand-additions by artist

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

A Dune Landscape with Figures Resting and a Couple on Horseback, a View of Nijmegen Cathedral Beyond

26 1/2 x 41 1/2 in.

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

Vaches au paturage sur les bords de la Seine

11 1/4 x 15 1/2 in.

pastel on paper

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

201 x 48 x 48 in.

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.

28 1/2 x 41 in.

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

29 1/2 x 43 1/4 in.

gouache and ink on paper

Picasso scholars widely consider "Gros oiseau corrida" (1953) as one of the finest ceramic editions by the artist. The commanding presence and choice of subject matter show that the work held a deeply personal meaning for the artist.
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<br>Picasso's self-imposed exile from Franco-controlled Spain left an unquenched internal longing for his homeland. It was through the artist's depiction of the Spanish "Corrida," or bullfight, that Picasso could return to his native culture and traditions. The earthenware material used in the creation of this work is symbolic of the soil and raw earth of the Spanish countryside. Additionally, the avian vessel was a special theme for Picasso, who would often utilize the bird-like shape of ceramics. Picasso learned to paint birds as a child from his pigeon-breeding father, and as an adult, he had many pet birds.
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<br>The bohemian coastal setting of Vallauris became a refuge for Picasso, a place where he could escape his celebrity status in Paris. While working with Suzanne and Georges Ramié of the Madoura workshop in Vallauris, Picasso produced over 600 works. These works, created over a twenty-year period, are now ensconced in the canon of art history. Comparable Picasso ceramics can be found in prominent Museum collections worldwide.

Gros oiseau corrida

22 1/4 x 18 x 15 in.

earthenware vase

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

CAMILLE PISSARRO

Paysage avec batteuse a Montfoucault

10 3/8 x 14 3/4 in.

pastel on paper laid down on board

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.

161 x 40 x 40 in.

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

23 7/8 x 20 x 16 1/8 in.

bronze and cinderblock

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

50 x 52 1/2 in.

GERARD CURTIS DELANO - Navajo Camp - oil on panel - 23 1/2 x 29 1/2 in.

GERARD CURTIS DELANO

23 1/2 x 29 1/2 in.

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

RODOLFO MORALES

37 1/4 x 39 1/4 in.

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

ALEXANDER CALDER

Three Pyramids + Blue Ball

29 1/2 x 43 1/4 in.

gouache and ink on paper

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

28 3/4 x 21 1/4 in.

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

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.

Diamond Dust Shoes (Black and White)

40 x 59 1/2 in.

screenprint with diamond dust

FREDERICK CARL FRIESEKE - Hill at Giverny - oil on canvas - 25 1/4 x 31 1/4 in.

FREDERICK CARL FRIESEKE

Hill at Giverny

25 1/4 x 31 1/4 in.

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

ALEXANDER CALDER

Wigwam rouge et jaune

29 1/2 x 43 1/4 in.

gouache and ink on paper

Ross Bleckner is a celebrated American painter whose works reference loss, memory, and change such as explorations of the cell during the AIDS epidemic or in response to his father’s cancer diagnosis. The 1965 MoMA exhibition that brought Op Art to the fore, The Responsive Eye and included artists Richard Anuszkiewicz, Tadasky, and Francis Celentano, had a profound influence on him as an artist. This painting, like his other immersive, large-scale works, elicit a powerful, hypnotic, dizzying effect. Aesthetically pleasing, Bleckner’s canvases explore perception – visual, emotional, physical, time. Bleckner is part of the same generation of and friends with Julian Schnabel, David Salle, Eric Fischl, and Peter Halley, all of whom returned painterly technique to the canvas.

oil on linen canvas

PAUL JENKINS - Phenomena By Return - acrylic on canvas - 104 3/4 x 49 5/8 in.

Phenomena By Return

104 3/4 x 49 5/8 in.

acrylic on canvas

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

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

Winter Sunrise, Sierra Nevada from Lone Pine

18 3/4 x 22 3/4 in.

gelatin silver print

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

ALEXANDER CALDER

29 1/2 x 43 1/4 in.

gouache and ink on paper

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

River Landscape with a Windmill and Chapel

22 1/2 x 31 3/4 in.

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

108 1/4 x 71 3/4 x 37 3/4 in.

photo laminate on aluminum

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

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)

100 x 157 x 36 in.

sticks and paper on wire armature

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

100 x 20 x 12 in.

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

EDGAR ALWIN PAYNE - Navajos at Rest - oil on canvas - 19 1/2 x 23 1/2 in.

EDGAR ALWIN PAYNE

Navajos at Rest

19 1/2 x 23 1/2 in.

ANDY WARHOL - Goethe - silkscreen in colors - 38 x 38 in.

silkscreen in colors

ANDY WARHOL - Goethe - silkscreen in colors - 38 x 38 in.

silkscreen in colors

MILTON AVERY - Village by the Sea - watercolor, reed pen and pencil on paper - 21 1/2 x 30 1/4 in.

Village by the Sea

21 1/2 x 30 1/4 in.

watercolor, reed pen and pencil on paper

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western.
<br>
<br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
<br>
<br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Sancai-Glazed Earth Spirit

Tang Dynasty (618-907 AD)

47 1/4 x 14 x 14 in.

ANDY WARHOL - Ford car - graphite on paper - 11 1/2 x 15 3/4 in.

11 1/2 x 15 3/4 in.

graphite on paper

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

Aspens, Northern New Mexico

15 1/4 x 19 1/4 in.

gelatin silver print

EDGAR ALWIN PAYNE - Venetian Boats at Sotto Marino - oil on panel - 23 3/8 x 26 1/4 in.

EDGAR ALWIN PAYNE

Venetian Boats at Sotto Marino

23 3/8 x 26 1/4 in.

Richard Diebenkorn once explained, “All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression.” Known for his defining role in the Bay Area Figurative Art movement, a counter to the abstraction dominating post-war New York City, Diebenkorn often oscillated between figuration and abstraction. In 1952, he took a faculty position at the University of Illinois in Urbana for one academic year. There, he taught beginning drawing to architecture students and used one of the bedrooms in his house as a studio. This period from 1952-53, known as the Urbana series, was a productive and pivotal time in the development of Diebenkorn's style. His innovative exploration of figuration through abstraction began in these crucial early years and would come to full realization in his widely celebrated Ocean Park series of the late 1960s-80s.

RICHARD DIEBENKORN

Untitled (Urbana Series)

13 7/8 x 11 in.

ANDY WARHOL - Pepper Pot from Campbell's Soup - screenprint in colors - 35 x 23 in.

Pepper Pot from Campbell's Soup

screenprint in colors

"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.

Bouquets de fleurs

25 7/8 x 21 5/8 in.

WAYNE THIEBAUD - Paint Cans - lithograph in colors on wove paper - 38 3/4 x 29 1/8 in.

38 3/4 x 29 1/8 in.

lithograph in colors on wove paper

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
<br>
<br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Sancai-Glazed Earth Spirit

JOANNA POUSETTE-DART - Untitled (Red Desert Study) - acrylic on wood panel - 33 1/2 x 42 x 3/4 in.

JOANNA POUSETTE-DART

Untitled (Red Desert Study)

33 1/2 x 42 x 3/4 in.

acrylic on wood panel

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

103 1/2 x 22 x 17 in.

bronze with green patina

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

California Landscape

23 1/2 x 31 3/4 in.

ANDY WARHOL - Untitled (Flowers) - ink and watercolor on paper - 15 1/4 x 12 3/8 in.

Untitled (Flowers)

15 1/4 x 12 3/8 in.

ink and watercolor on paper

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

The Shadow (from Myths)

37 1/2 x 37 1/2 in.

color screenprint with diamond dust on paper

DONALD SULTAN - Yellow Tulip #18 - oil and tar on paper - 20 x 20 in.

Yellow Tulip #18

oil and tar on paper

BLANCHE LAZZELL - Study No. 4 for “Painting XII” - gouache on paper - 8 7/8 x 8 in.

BLANCHE LAZZELL

Study No. 4 for “Painting XII”

gouache on paper

ANDY WARHOL - Love - screenprint - 25 1/2 x 19 1/4 in.

25 1/2 x 19 1/4 in.

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

Counter Balance

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

44 x 10 x 7 in.

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

"Fairytale" Chairs

49 x 45 x 17 1/2 in.

JULIAN OPIE - Bijou Gets Undressed 5 - screenprint on Fedrigoni Sirio paper - 20 1/2 x 38 1/8 in.

Bijou Gets Undressed 5

20 1/2 x 38 1/8 in.

screenprint on Fedrigoni Sirio paper

JULIAN OPIE - Bijou Gets Undressed 8 - screenprint on Fedrigoni Sirio paper - 20 1/2 x 38 1/8 in.

Bijou Gets Undressed 8

20 1/2 x 38 1/8 in.

screenprint on Fedrigoni Sirio paper

ANDY WARHOL - Love - screenprint - 25 1/4 x 19 1/2 in.

25 1/4 x 19 1/2 in.

ANDY WARHOL - Love - screenprint - 25 1/2 x 19 3/8 in.

25 1/2 x 19 3/8 in.

CARL MORRIS - White Field - acrylic on canvas - 75 x 63 in.

acrylic on canvas

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

acrylic on canvas

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

37 1/2 x 24 3/4 in.

oil on photographic paper

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

Against the Wind

acrylic on canvas

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

acrylic on canvas

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

Carolina Herrera

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

gelatin silver print

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ROY LICHTENSTEIN - Haystack #6 - lithograph - 13 1/4 x 23 1/2 in.

ROY LICHTENSTEIN

13 1/4 x 23 1/2 in.

ROY LICHTENSTEIN - Haystack #4 - lithograph - 13 1/4 x 23 1/2 in.

ROY LICHTENSTEIN

13 1/4 x 23 1/2 in.

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

29 3/4 x 42 3/4 in.

watercolor and ink on paper

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

acrylic on canvas

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

Fractured Memories

acrylic on canvas

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

Just a Dream Away

acrylic on canvas

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

16 x 12 x 10 1/2 in.

JOHN BALDESSARI - Front Row (Valentine) - 17 color screenprint - 37 3/4 x 33 3/4 in.

JOHN BALDESSARI

Front Row (Valentine)

37 3/4 x 33 3/4 in.

17 color screenprint

JOHN MILLEI - Untitled - oil on mylar - 24 x 28 in.

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 x 14 5/8 in. ea.

Formulation: Articulation

12 x 14 5/8 in. ea.

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x 13 in. ea.

Formulation: Articulation

10 x 13 in. ea.

JOSEF ALBERS - Formulation: Articulation - screenprint - 9 1/8 x 13 7/8 in. ea.

Formulation: Articulation

9 1/8 x 13 7/8 in. ea.

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 3/4 x 11 3/4 in. ea.

Formulation: Articulation

11 3/4 x 11 3/4 in. ea.

MELVIN MARTINEZ - Bubble - mixed media on paper - 14 x 18 in.

MELVIN MARTINEZ

mixed media on paper

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x 12 7/8 in.

Formulation: Articulation

10 x 12 7/8 in.

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 7/8 x 15 3/4 in.

Formulation: Articulation

12 7/8 x 15 3/4 in.

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 1/4 x 12 1/4 in.

Formulation: Articulation

12 1/4 x 12 1/4 in.

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

Ten Works X Ten Painters

JOSEF ALBERS - Formulation: Articulation - screenprint - 8 1/4 x 17 in.

Formulation: Articulation

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