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Artwork on view at Palm Desert gallery

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AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.

Abstract Painting, 1959

VINCENT VAN GOGH - La Chaumière et une Paysanne Sous les Arbres - oil on canvas - 19 3/8 x 18 1/4 in.

VINCENT VAN GOGH

La Chaumière et une Paysanne Sous les Arbres

19 3/8 x 18 1/4 in.

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

L’Ancienne rue de la Chaussée, Argenteuil

18 1/4 x 25 7/8 in.

CAMILLE PISSARRO - Le Jardin des Tuileries, Apres-Midi, Soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

Le Jardin des Tuileries, Apres-Midi, Soleil

26 x 36 1/2 in.

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

The Shepherdess

22 3/4 x 15 3/4 in.

"Tête de Femme" is based upon one of Miró’s most utilized themes. He characterized his sculptures as being from the ‘truly phantasmagoric world of living’ which is, undoubtedly, intended as a term of endearment. Yet "Tête de Femme" seems to evince something less monstrous or grotesque and instead presents in more sobering light as a free-standing, monolithic presence suggesting essential nature, if not a monumental one. Its attributions are fixed, intrinsic, and suggestive of its innateness; a strikingly austere design that adheres to Miró’s resistance to a classic bourgeois concept of ideal beauty. While it does not suggest a simple ‘female figure’ designation, there is plenty of referential material in the curves, domed protrusions, and a central depression suggesting a birthing matrix that in sum, evokes a celebration of fecundity and the creation of life. In any event, any tether to representational reality is a tenuous one, yet one that is calculated to stimulate the imagination and evoke unconscious primordial references and long-forgotten mythologies.
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<br>Likely, Miro viewed this lustrous surface as fair compensation for its absence of color for which he is so well known. The impression is one that never suggests the sculptures of Miró are in any way derived from his painting, yet nor are they a complete deviation from that form of expression. Ultimately, it provides strong evidence that Miró was as engaged and involved in an intense dialogue with free-standing form as he ever was as a younger man working as a painter. "Tête de Femme" is cast in an edition of four, one of which was installed at the Yorkshire Sculpture Garden 2012 landmark exhibition "Miró: Sculptor."

Tête de Femme (Déesse)

1970 (cast 1988)

66 x 36 1/2 x 30 in.

bronze with black patina

"Apres-midi d'aout a Veneux," 1881 was painted in Veneux-Nadon, close to Moret-sur-Loing on the river Loing's left bank where Sisley lived from 1880-82. Landscape scenes such as this show the artist's keen observational sense and desire to show the atmospheric effects of changing light throughout the day.
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<br>The diffused light and its effects on the leaves and surface of the water are hallmarks of Impressionism. The jewel-like quality of the paint and light effects rank the scene among the finest examples of Sisley's work during this period.
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<br>Dr. Julius Elias was an early owner of this Alfred Sisley painting. A noted author and art historian and one of the earliest collectors of Impressionism in Germany, Dr. Elias collected the finest examples of Impressionism, which showcased the dynamic nature of the art movement.
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<br>The Tate Museum, London, has in its permanent collection a sister painting to the present work, titled "The Small Meadows in Spring" (1880). The Tate painting captures the same scene from a different perspective, during a different time of day, and with much more cloud cover.

Apres-midi d'aout a Veneux

21 1/4 x 28 3/4 in.

AGNES MARTIN - Untitled #11 - acrylic and graphite on canvas - 60 x 60 in.

acrylic and graphite on canvas

JOAN MIRO - Oiseau, Insecte, Constellation - oil on canvas - 50 3/4 x 38 1/8 in.

Oiseau, Insecte, Constellation

50 3/4 x 38 1/8 in.

ALFRED SISLEY - Confluent de la Seine et du Loing - oil on canvas - 21 1/4 x 28 3/4 in.

Confluent de la Seine et du Loing

21 1/4 x 28 3/4 in.

FRANCIS PICABIA - Lunis - oil on canvas - 25 1/2 x 20 1/2 in. .

FRANCIS PICABIA

25 1/2 x 20 1/2 in. .

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme.
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<br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906.
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<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.

FREDERICK FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

VINCENT VAN GOGH - Uitzicht over Den Haag met de Nieuwe Kerk - watercolor, gouache, and pen and brown ink on
paper - 9 7/8 x 14 1/16 in.

VINCENT VAN GOGH

Uitzicht over Den Haag met de Nieuwe Kerk

9 7/8 x 14 1/16 in.

watercolor, gouache, and pen and brown ink on paper

CAMILLE PISSARRO - Le Quai de Pothuis a Pontoise - oil on canvas - 18 1/8 x 21 7/8 in.

CAMILLE PISSARRO

Le Quai de Pothuis a Pontoise

18 1/8 x 21 7/8 in.

"The Busy Bee" (1875), demonstrates Homer's influential excellence in watercolor. He began working in the medium in 1873, painting scenes of children and the daily lives of everyday people. Homer's prolific work in watercolor helped to establish it as a serious artistic medium.
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<br>This piece is from the reconstruction era and depicts a single figure. The boy depicted in "The Busy Bee" is a model that appears repeatedly in Homer's work from this period, including some of the most widely celebrated reconstruction era paintings like "Dressing for the Carnival" (1877) at the Metropolitan Museum of Art. Nearly all of Homer’s works from the reconstruction era south are in museum collections. Another painting of the same model, "Taking Sunflower to Teacher" (1875), is in the Georgia Museum of Art.
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<br>This work is available from a private collection where it has stayed for the last 25 years. It has been exhibited widely beginning in 1876 at the National Academy of Design in New York and going on to be exhibited throughout the 20th century at major American museums such as The Metropolitan Museum in New York, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and The Amon Carter Museum of American Art in Fort Worth, Texas.

watercolor and gouache on paper

"The Great White Throne, Zion" from 1901 is a luminous canvas from one of the most important painters of the American landscape. Thomas Moran depicted his landscape subjects with a majestic and sublime quality, and he drew inspiration from travels throughout the American West. This painting presents the expansive monolith at Zion National Park in southwestern Utah. The sheer power of nature and the immensity of natural world emerge in Moran's compositions.
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<br>Moran was a member of the "Hudson River School," a group of painters responsible for reinventing the concept of landscape painting, in which observation within nature became the central element to creating a painting.
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<br>This painting has been in the same private collection for over 40 years.

The Great White Throne, Zion

oil on canvas laid on panel

One of the most recognizable names among the Abstract Expressionist women, Helen Frankenthaler made significant contributions to American Post-War painting. Her use of staining pigment directly on canvas gave way to the Color Field movement. By pouring paint on raw canvas, Frankenthaler fused the pigment into the very fabric, drawing attention to the nature of paint and color.
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<br>In this painting from 1982, Frankenthaler mixes the surface of the canvas with thick use impasto, showcasing her ability to mix color and textures. The sprays of blue and red impasto against the tonal changes of the stained canvas create dynamic depth. "Terracotta" has never been to auction and has belonged to the same private collection since 1982.
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<br>Having exhibited her work for over six decades, from the early 1950s until her death in 2011, Frankenthaler spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Her work has been the subject of several major retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York.

HELEN FRANKENTHALER

68 1/4 x 61 3/4 in.

acrylic on canvas

PABLO PICASSO - La Communiante Avec Missel - oil on canvas - 25 5/8 x 21 1/2 in.

La Communiante Avec Missel

25 5/8 x 21 1/2 in.

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.
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<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.

"Good-bye, Mistress Friendly-Soul!"

44 1/8 x 32 1/8 in.

By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop. "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre.
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<br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.

Girl Seated Against Square Wall

conceived in 1957-

40 1/2 x 33 x 27 5/8 in.

bronze with patina

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

ADOLPH GOTTLIEB

95 3/4 x 144 1/4 in.

James Rosenquist's contributions to Pop Art's development, along with his contemporaries Andy Warhol, Jasper Johns, and Roy Lichtenstein, would leave an indelible mark on art history. Rosenquist's humble beginnings as a billboard painter were a stark contrast to his widely acknowledged status as one of the greatest artists of his generation at the time of his death in 2017.
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<br>"Samba School" (1986) is a billboard-scale work imbued with a sense of movement and color, much like the dance that inspired the painting. Rosenquist's iconic work, "F-111" (1964-65) at the Museum of Modern art in New York, shares a similar sense of scale and visual energy. Rosenquist's developments in the 1960s and 1970s led to a high level of proficiency in working with these large paintings from which a distinct and powerful visual language emerge.
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<br>This painting was featured in the 1987 Oliver Stone film "Wall Street" as well as the 2003-2004 exhibition, "James Rosenquist: A Retrospective," which traveled between the Menil Collection and the Museum of Fine Arts Houston, the Guggenheim Museum in Bilbao, and featured prominently at the Guggenheim Museum in the artist's beloved New York City.

JAMES ROSENQUIST

oil on canvas over panel

TAKASHI MURAKAMI - Want to Hold You - acrylic on canvas - 59 x 59 in.

TAKASHI MURAKAMI

Want to Hold You

acrylic on canvas

The Japanese Nio, or “benevolent kings,” are figures that were placed outside Buddhist temples, on each side of the entrance, to ward off evil spirits, demons, and thieves from the late Muromachi to early Edo periods — or roughly 1467 to 1652.
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<br>The Nio are Indian in origin — manifestations of Vajrapani Bodhisattvas. By some accounts, they protected the Buddha when he traveled throughout India.
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<br>These figures are approximately 500 years old, according to carbon-14 dating conducted on the objects. They were once installed in a famous home that was photographed for the cover of a Frank Lloyd Wright book.
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<br>Each figure is named after a cosmic sound. The closed-mouth figure is Ungyo, who utters “un” or “om,” meaning death. He is also called Nareen Kongo and is said to be a form of the Indian god Vishnu. With his tightly closed mouth and tensed both arms, he represents latent might. The open-mouthed partner is Misshaku Kongo (Agyo), who sounds “ah,” meaning birth. He is equated to the Indian deity Vajrapani, whose name means “thunderbolt holder.” He bares his teeth, raises his fist, and holds a Kongosho, which is a symbol of the power he represents.
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<br>The Nio are constructed in the traditional multi-block design. Old works were conventionally repaired bit by bit, over time, as individual blocks shrank at different rates or were damaged by insects. Damaged blocks were removed, like pieces of a jigsaw puzzle, and replaced with exact copies of the piece. It is common to find figures with repairs spanning many years, as is the case with these particular pieces. This pair was originally lacquered. Though none of the lacquer survives, there is evidence of the gesso-like layer on the surface of each figure.
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<br>It is interesting to note that this pair — each figure standing 71 inches tall — is a close copy of the Nio guarding the south gate of the Todaiji in Japan. However, the Todaiji pair, completed in 1203, stands 26 feet tall.
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<br>In both examples, the classic, fierce and threatening expressions punctuate their purpose as protectors of the Buddhist temple.

Pair of Wooden Temple Figures, Nio

Andy Warhol was the indisputable father of Pop art. His works from the early 1980s are among his most refined stylistically and show the artist at the height of his practice. During this period, Warhol's compositional structure and use of color are arguably his most confident and precise. "Portrait of a Lady" (1982) is a prime example of Warhol's portraiture. His society portraits include some of his most recognizable images of the rich and famous, but the identity of this sitter is a mystery. She appears in at least one other unique portrait by Warhol. The timeless elegance of this depiction exemplifies Warhol's preoccupation with youthful beauty and the act of capturing that ideal on canvas.
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<br>Opportunities to acquire unique Andy Warhol paintings of this size are becoming increasingly rare as they are actively sought by museums and international collectors alike.

Portrait of a Lady

polymer paint and silkscreen ink 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.

1962 Plus 35 Nude Sketch II

43 x 58 5/8 in.

alkyd oil on canvas

Among the most desirable subjects in Moore's oeuvre are his Family Groups. The theme was first explored in a 1922 stone sculpture and evolved into a public commission from the British government prior to World War II. After the war, the subject was revisited as the message of rebuilding strong families was critical to the British people's recovery.
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<br>"Family Group" (1945) documents the optimisim and hope of Post-War Europe in sculptural form. The young family depicted shows the rebirth of the British people after one of the darkest eras in human history.

7 x 4 x 2 1/4 in.

bronze with patina

CAMILLE PISSARRO - Le Pere Melon Fendant du Bois - gouache on linen - 12 5/8 X 9 3/4 in.

CAMILLE PISSARRO

Le Pere Melon Fendant du Bois

12 5/8 X 9 3/4 in.

gouache on linen

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

Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot," in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).

Portrait de Femme (Françoise)

25 7/8 x 19 7/8 in.

colored wax crayons on paper

ED RUSCHA - Six Oh - oil on canvas - 24 x 30 in.

WINSLOW HOMER - Towing the Boat - watercolor and pencil on paper - 6 1/2 x 11 1/4 in.

Towing the Boat

6 1/2 x 11 1/4 in.

watercolor and pencil on paper

Pierre-Auguste Renoir (1848-1919) was one of the Impressionist movement's central figures, admired for his soft color palette and signature brushwork that captured the ephemeral moment, freezing it in time.
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<br>Renoir was fascinated with the atmospheric effects that could be achieved with pastel, as it best captured the essence and subtlety of light. His pastels were the source of experimentation with new printing mediums as he worked in collaboration with the French art publisher and dealer, Ambroise Vollard, to create pastel counterproofs, or reverse impressions on separate sheets mirroring the original. This exploration demonstrates how vital the pastel drawings were to the master. Works on paper by Renoir are an attractive complement to the oil paintings, which can sell at auction for up to $78,000,000 USD.
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<br>Renoir's pastel drawings allowed the artist to explore his subject spontaneously. "Portrait de femme" (1885) was held in a private European collection for many years and exhibits Renoir's mastery of the pastel medium.

PIERRE-AUGUSTE RENOIR

Portrait de Femme

19 x 16 1/8 in.

pastel on paper

Andy Warhol's portrait of Dorothy Blau highlights the close ties between them and is evidence of how each pushed the other. Blau was a close friend of Andy Warhol and a pillar of the art scene in Miami. She has the rare distinction of being a repeated subject in Warhol's work as he created portraits of her two times, three years apart. This blue canvas presents a younger Blau in her first Warhol portrait in 1983.
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<br>Warhol credited Blau as a critical component in his rise to international fame and as a pillar of 20th century art. This 1980s portrait contains all of the hallmarks of Warhol during his last decade, a period in which he found renewed creative impulses and a return to hand painting.

Portrait of Dorothy Blau-Blue

acrylic and silkscreen ink 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.

16 Ace Zinc Square

16 x 16 x 1/4 in. ea./installed 64 x 64 x 1/4 in.

Fernando Botero, best known for his voluptuously rotund human figures, was born in Medellín, Colombia on April 19, 1932. He held his first solo exhibition in 1951 in Bogota at the age of 19 and made enough money to travel to Spain where he studied at the Real Academia de Bellas Artes de San Fernando in Madrid.
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<br>While studying painting in Madrid in the early 1950s, Botero made his living by copying paintings housed in the Prado Museum—particularly those of his idols at the time, Francisco de Goya and Diego Velázquez—and selling them to tourists.
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<br>In "Dibujo a la Manera de Velasquez" (1960), Botero appears to be riffing on Velázquez's "El bufón don Diego de Acedo," one of the renowned Spanish painter's portraits of jesters and "men of pleasure" painted to decorate the royal palaces. That painting has been in the Prado Museum in Madrid, Spain, since 1819.

FERNANDO BOTERO

Dibujo a la Manera de Velasquez

60 1/2 x 47 1/2 in.

charcoal and pastel on cardboard

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

43 x 128 x 12 in.

three dimensional mixed media on board, mounted on wood

At the start of the 20th century, Granville Redmond traveled to Arizona and New Mexico to paint scenes for the Santa Fe Railroad. This painting depicts an expansive desert landscape with two Native Americans at a campfire. A Los Angeles Herald journalist who visited Redmond's studio in 1903 called this painting a “jewel set in dull gold.”
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<br>"The Evening Desert" is included in the 2020 exhibition at the Crocker Art Museum: "Granville Redmond: The Eloquent Palette." It is the largest retrospective of Redmond’s work ever assembled and the first retrospective for the artist in over 30 years.

GRANVILLE REDMOND

The Evening Desert

Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

JULIAN SCHNABEL

Pascin Pig Passin Time

48 x 40 x 6 in.

oil, plates, and bondo on board

"The Ash Blonde" (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes.
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<br>Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.

25 1/2 x 20 1/2 in.

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.
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<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.”

Samurai Tree - Invariant Gold 2

47 1/4 x 47 1/4 in.

acrylic on canvas

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

Survival: Hide under water…

17 1/8 x 42 1/4 x 18 in.

Lions on the Dreyfus Fund, Inc.

63 x 35 1/2 in.

pencil and oil on cut wood and canvas

Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot," in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).

Portrait de Femme (Françoise)

25 7/8 x 19 7/8 in.

colored wax crayons on paper

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

The only known extant Diebenkorn sculpture, this welded iron form is a brilliant example of his artistic development and the creative energy of his early work.
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<br>This rare sculpture comes from a period of experimentation and a burst of lyrical creativity that the artist experienced while in graduate school at the University of New Mexico. It was likely included in his 1951 Master's Degree Exhibition at that institution. Like many American artists before him, Diebenkorn was enthralled with the atmosphere and landscape of the Southwest. He produced energetic and unpredictable canvases with bold, warm colors, barely contained within their underlying geometric structure. This iron sculpture demonstrates the far reaches of the artist’s exploration, establishing the essential linear framework that would come to characterize his later work.
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<br>This piece was the only sculpture included in the 2008 exhibition "Diebenkorn in New Mexico" at the UNM Harwood Museum of Art in Taos. Since his first retrospective in 1976 at the Albright-Knox Art Gallery in Buffalo, New York, Diebenkorn has found a place in over 50 museum collections worldwide and is recognized as a major creative force of the 20th Century.

RICHARD DIEBENKORN

20 1/4 x 42 1/4 x 29 1/2 in.

welded scrap iron

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

With a Quick, Noiseless Stride, He Crossed the Narrow Space

30 1/4 x 20 1/8 in.

Gottlieb was a first-generation member of the Abstract Expressionists. “Blue on Black” is from his trademark “Burst” series. Like fellow Ab Ex artists including Pollock who settled into their signature style late in their careers, it was not until 1956 that Gottlieb focused on these burst paintings.
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<br>This painting showcases the lyricism that he found within the “Burst” paintings by simplifying color and form. In this painting, the shapes and color coalesce to produce harmony and depth within the visual landscape of the canvas.
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<br>Gottlieb had an amazing 56 solo exhibitions during his long career and his works are included in over 140 museums throughout the world.

ADOLPH GOTTLIEB

24 x 18 7/8 in.

acrylic on paper laid on canvas

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
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<br>"Untitled" (1954-1955) comes from the height of the Abstract Expressionist movement. This painting is an explosive composition that demonstrates Matter's command of color and movement.

MERCEDES MATTER

53 X 47 1/8 in.

WOJCIECH FANGOR - Red Moons 2 - oil on canvas - 71 x 26 in.

WOJCIECH FANGOR

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

16 x 12 1/2 in.

‘… it took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don’t know but what the very nature of our response to art is experienced symmetrically' (K. Noland, quoted in D. Waldman, ‘Color, Format and Abstract Art’, in Art in America, vol. 65, no. 3, May–June 1977, pp. 99–105).
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<br>Kenneth Noland's shaped canvas works were a natural artistic evolution from his condensed circular "target" style paintings of the late 1950s. With a keen sense of spatial relationships and geometric harmony, Noland involves the irregularly shaped canvas itself as a vehicle for his painting, "Set 1979" (1979).
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<br>First appearing in 1975, the shaped canvas works are a counterpoint to the rigid and formal geometric works by Ellsworth Kelly and Max Bill. The Guggenheim Museum mounted an ambitious Kenneth Noland retrospective in 1977, just two years before creating "Set 1979." "Kenneth Noland: A Retrospective" was an important success for Noland; the show traveled to the Hirshorn Museum and the Corcoran Gallery of Art as well as the Toledo Museum of Art in Ohio.

34 1/4 x 94 1/4 in.

acrylic on canvas

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

ALEXANDER CALDER

Woman with Square Umbrella

G. HARVEY - A Cowboy's Blessing - oil on canvas - 30 x 24 in.

A Cowboy's Blessing

Known as a Postmodern and Conceptual painter, photographer, and sculptor, Christopher Wool is best known for his word paintings with stenciled black letters on white canvases. He began working in this style in the late 1980s, a particularly innovative and formative period for the artist. In the early ‘80s, Wool worked as a studio assistant to sculptor Joel Shapiro, and in 1988, he collaborated with Richard Prince.
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<br>“Untitled (T8)” exemplifies Wool's work from the late ‘80s exploring repetition through decorative black patterns. He typically used incised rollers or rubber stamps to create his floral and “grille-like” patterns resembling wallpaper, bringing the ordinary into the realm of conceptual art and rejecting composition and color. In 1986, Jeff Koons wrote that Wool’s work “contains continual internal/external debate within itself.

CHRISTOPHER WOOL

alkyd and flashe on aluminum on board

ANSELM KIEFER - Jericho - emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.

25 x 17 1/2 x 2.25 in.

emulsion, acrylic, sand, clay and photographic paper on cardboard

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

201 x 48 x 48 in.

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

201 x 48 x 48 in.

ALEXANDER CALDER - Eclat - gouache on paper - 21 x 29 in.

ALEXANDER CALDER

gouache on paper

Charles Arnoldi seamlessly blends an organic element to his geometric constructions. In “Construction” (1982), Arnoldi works on an immense scale. The work envelops the viewer and space with its strong vertical composition. Hundreds of individual elements were painstakingly painted and laid into position, a meticulous process of creation central to Arnoldi’s work.
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<br>Other examples by Arnoldi are held by major private and public collections, most notably the Albright-Knox Art Gallery, the Art Institute of Chicago, the Denver Art Museum, the Guggenheim Museum Bilbao, the Kemper Museum of Contemporary Art, LACMA, the Menil Collection, the Museum of Fine Arts Houston, and more

CHARLES ARNOLDI

128 x 68 x 8 in.

acrylic on plywood and found wooden sticks

DAVID NOVROS - BARRANCA I - acrylic on canvas - 99 1/4 x 117 1/2 in.

99 1/4 x 117 1/2 in.

acrylic on canvas

ROBERTO MATTA - Untitled - oil on canvas - 34 3/8 x 42 1/2 in.

34 3/8 x 42 1/2 in.

$Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure.$

Mycenaean Goddess

61 x 22 x 15 1/2 in.

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

159 x 40 x 40 in.

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

161 x 40 x 40 in.

NATHAN OLIVEIRA - Figure #4 - bronze - 40 x 21 1/2 x 30 in.

NATHAN OLIVEIRA

40 x 21 1/2 x 30 in.

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 FRIESEKE

Afternoon Tea on the Terrace

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

acrylic on canvas

"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.
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<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.

"View of the Mountains from the Nihon Alps Salada Road" from 2007 is a stylized video work reminiscent of 19th-century Japanese woodblock prints. Roadways, highways, and country roads have long been a favored subject for Opie; here, this interest is brought to life with a fresh and crisp 21st-century aesthetic.
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<br>Opie is a master at setting up environments in his art; the idea of place and setting are crucial to his message. Opie discusses his work as an evolution, a circle of sorts. Each piece leaves an impact on all future works, even if it is in a small way. A 2020 solo exhibition of Opie's work at the Berardo Museum in Lisbon, Portugal, featured several video pieces comparable to the present work.

View of the Mountains from the Nihon Alps Salada Road

44 1/2 x 26 1/8 x 3 1/2 in. each/installed 44 1/2 x 52 1/4 x 3 1/2 in.

computer film, two LCD screen, and PC

Elliot Hundley earned his MFA at the University of California, Los Angeles in 2005. His intricate collages are often meant to represent imaginary "operas" and invented narratives. Hundley will use his close friends and family as models; this makes the work more immediate for the artist.
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<br>"Untitled" is a large-scale collage that invokes a sense of whimsical fantasy. These collage works are not cluttered, but instead are filled with dense symbology and narrative that has deep personal meaning for the artist.
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<br>Hundley is included in many museum collections worldwide including the Museum of Modern Art in New York, the Guggenheim Museum in New York, and the Los Angeles County Museum of Art in Los Angeles.

ELLIOTT HUNDLEY

75 x 65 x 8 1/4 in.

mixed media on canvas

RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.

RICHARD ANUSZKIEWICZ

acrylic on canvas

Harry Bertoia’s Willow sculpture resonates as an expression of grace and delicacy; qualities that bely the usual associations we have with the intrinsic properties of the alloy of which it is made. This suspended version – the rare version of Willow - seems to have a self-aware presence; one that delights in that contrast of properties. Yet it invites nothing more than existential pleasure in the viewing of it. Think of Willow as a boldly articulated version of Calder if the latter master had a more organic or corporeal evocation in mind. Suspended, it commands its area yet respects its spatial relationship to its surround. Light, form, space – these are conceptual tools of the sculptor. But who else would think to use reflective material more readily associated with inflexibility and tensor strength to create a bouquet of cascading strands of stainless steel, suspended in space, flora-like and so gracefully beautiful?

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

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.
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<br>The Sancai- Glazed Earth Spirit offered here depicts a "Zhenmushou". Zhenmushou are mythical hybrid creatures, that have bodies which are a combination of dogs, lions, boars and other fierce animals. These fierce looking beasts, would be found in pairs guarding the entrance of Tang Dynasty tombs. The function of these sculptures was to prevent the spirit of the tomb’s occupant from escaping, as well as to ward off evil spirits from entering.

Sancai-Glazed Earth Spirit

Tang Dynasty (618-

47 1/4 x 14 x 14 in.

ANDY WARHOL - Self-Portrait in Fright Wig - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

Self-Portrait in Fright Wig

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

Dutch painter and sculptor Karel Appel was an influential founding member of the international avant-garde movement CoBrA active from 1948-1951. The collective, named for the initials of the members’ home cities Copenhagen, Brussels, and Amsterdam, rejected both traditional naturalism and abstraction devoid of expression. Drawing inspiration from the freedom of color, line, and form found in children’s art, Appel and his contemporaries sought to embrace spontaneity and experimentation. “Personage” from 1975 exemplifies the artist’s expressionist paint handling, thick impasto, and brilliant color.

50 1/4 x 50 1/8 in.

ALEX KATZ - Window 5 - oil on masonite - 24 x 24 in.

oil on masonite

ANDY WARHOL - Joseph Beuys - screenprint on laundry bag - 55 1/8 x 39 1/2 in.

55 1/8 x 39 1/2 in.

screenprint on laundry bag

ANDY WARHOL - Mao - screenprint in colors - 36 x 36 in.

screenprint in colors

Rodney McMillian is multidisciplinary artist working in sculpture, painting, performance, and video. Born in South Carolina, McMillian has lived in Southern California since 2000 where he is now Professor of Sculpture at the UCLA School of Arts and Architecture at the University of California, Los Angeles. "Lollipop" (2001-2002) represents one of the earliest works from the artist, who graduated with an MFA from CalArts in 2002.
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<br>McMillian shapes his work around the socio-political history of the United States even through abstraction. At first glance, "Lollipop" appears to be a continuation of Abstract Expressionism in its layered flow of paint. For these works, like abstract expressionists of yore, McMillian pours and drips paints. Nevertheless, on closer inspection, many of his works appear to suggest a map or landscape and thus, the history of struggle and power inherent to mapmaking and landscape painting. Who makes maps and for whom? Who owns the land and at what cost? What happens in that land? Furthermore, in using household paint and other industrial materials, McMillian mines issues of economy, accessibility, and even temporality as the materials are inherently unstable and non-archival.
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<br>McMillian's work is collected by the Museum of Modern Art in New York, the Art Institute of Chicago, the Hammer Museum, the Los Angeles County Museum of Art, and the Museum of Contemporary Art in Los Angeles among others, and his work was featured in the 2008 Whitney Biennial. In 2019, McMillian's work was exhibited at the San Francisco Museum of Modern Art: “New York: Rodney McMillian”, Feb. 9-Jun. 9, 2019.

RODNEY MCMILLIAN

latex on canvas

RICHARD DIEBENKORN - Untitled (Urbana Series) - ink on paper - 13 7/8 x 11 in.

RICHARD DIEBENKORN

Untitled (Urbana Series)

13 7/8 x 11 in.

THEODOROS STAMOS - Olympia Sun-Box - acrylic on canvas - 60 1/4 x 48 in.

THEODOROS STAMOS

Olympia Sun-Box

60 1/4 x 48 in.

acrylic on canvas

Ecuadorian painter Oswaldo Guayasamin creates intense and captivating images that demand a response from the viewer. His long career has explored themes from the atrocities of World War II and the Spanish Civil War, to the plight of indigenous peoples of the Andes. His work has received awards at biennials in Mexico, São Paulo, and Barcelona, and has been exhibited worldwide at prestigious institutions such as the Museo de Arte Contemporáneo de Madrid, the Musée d'Art Moderne de la Ville de Paris, the Museo de Arte Moderno de México, and the Hermitage in St. Petersburg among many others. In 2009, the Museum of Lain American Art in Long Beach, California, presented a survey exhibition of his work, entitled “Of Rage and Redemption: The Art of Oswaldo Guayasamin.”
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<br>“Atahualpa en Cajamarcas” is a strong example of Guayasamin’s Cubist-styled portraits. Here, he depicts the Inca ruler who was captured by Spanish forces in Cajamarca, leading to the fall of the Inca Empire. Guayasamin's best-known works are marked by this expressive representation of struggle, tragedy, and humanity.

OSWALDO GUAYASAMIN

Atahualpa en Cajamarcas

28 x 19 1/2 in.

“One Up One Down Oblique,” 1974, was created during a fruitful period for the artist. In 1974, Rickey was elected to the National Institute of Arts and Letters (now the American Academy of Arts and Letters). Rickey was exhibited widely in the 1970s, which led to extensive travel to cities including Rotterdam, Bellingham (WA), San Francisco, Albuquerque, Los Angeles, Mexico City, Amsterdam, London, and Glasgow. Critics, scholars, dealers, and collectors considered Rickey to be one of the most innovative sculptors of his time; his art was fresh and creative when many artists rejected classicism and tradition.
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<br>A collector of “Constructivist” artwork himself, Rickey was continually drawn to the structure and balance of forms in space. In the present sculpture, one can see how even when working on a limited scale, the artist creates a sense of immense presence for his sculpture- far more significant than its “tabletop” size.
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<br>Rickey is included in countless Museum Collections worldwide, including the Crystal Bridges Museum of American Art, The Museum of Modern Art, The Snite Museum of Art, The Vero Beach Art Museum, the Tate Modern, The Smithsonian American Art Museum (among many others).

One Up One Down Oblique

20 x 19 x 2 1/2 in.

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

Jean-Michel Basquiat Six Polaroids

4 1/4 x 3 1/2 in. ea.

Polaroid, Polacolor

RICO LEBRUN - Tip-toe Figure - bronze - 43 3/4 x 14 1/8 x 11 7/8 in.

43 3/4 x 14 1/8 x 11 7/8 in.

ANDY WARHOL - Self-Portrait - Polaroid - 4 1/4 x 4 1/2 in.

4 1/4 x 4 1/2 in.

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Farrah Fawcett - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ARNE HIERSOUX - Mem Sahib - acrylic and paper on canvas - 70 1/2 x 120 1/2 in.

70 1/2 x 120 1/2 in.

acrylic and paper on canvas

PETER SHELTON - onelongsleeve - metal - 29 1/2 x 47 3/4 x 10 1/2 in.

29 1/2 x 47 3/4 x 10 1/2 in.

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

71 x 100 1/8 in.

"Bringing in the Ears" is a composition drawing for an advertisement for Niblets Corn, published in the August 10, 1942 edition of Life magazine. This drawing has been in the same family collection since 1970.
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<br>Among the most noteworthy illustrators this country has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew and grandson Jamie rank among the most respected artists of their generations, heavily influenced by other artists in the extended Wyeth family. N.C. Wyeth, in addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States.
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<br>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. He possessed a rare ability to depict subjects and events from a child’s point of view, and is particularly known for dramatizing characters by the use of long shadow, a technique that is said to have influenced the epic moviemaking style of the 1940s. In addition to providing supplementary drama and excitement to the written word, Wyeth’s works have become classics in and of themselves.

Bringing in the Ears (Composition drawing)

26 1/2 x 32 in.

charcoal on paper

RON ARAD - Big Easy Volume 2 - stainless steel welded chair - 36 x 53 x 28 in.

Big Easy Volume 2

36 x 53 x 28 in.

stainless steel welded chair

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". Zhenmushou are mythical hybrid creatures, that have bodies which are a combination of dogs, lions, boars and other fierce animals. These fierce looking beasts, would be found in pairs guarding the entrance of Tang Dynasty tombs. The function of these sculptures was to prevent the spirit of the tomb’s occupant from escaping, as well as to ward off evil spirits from entering.

Sancai-Glazed Earth Spirit

HENRY MOORE - Emperor's Heads - bronze with brown patina - 6 3/4 x 8 1/4 x 4 1/2 in.

Emperor's Heads

6 3/4 x 8 1/4 x 4 1/2 in.

bronze with brown patina

ANDY WARHOL - Self Portrait in Drag - unique Polacolor ER print - 4 1/4 x 3 3/8 in.

Self Portrait in Drag

4 1/4 x 3 3/8 in.

unique Polacolor ER print

ANDY WARHOL - Self-Portrait with Skull - Polaroid, Polacolor - 4 1/4 x 3 1/2 in.

Self-Portrait with Skull

4 1/4 x 3 1/2 in.

Polaroid, Polacolor

ANDY WARHOL - Self-Portrait with Camera (diptych) - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

Self-Portrait with Camera (diptych)

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

PHILIP GUSTON - Untitled - ink on paper - 11 7/8 x 16 1/8 in.

11 7/8 x 16 1/8 in.

JAE KON PARK - Untitled - oil on canvas - 44 1/4 x 64 in.

44 1/4 x 64 in.

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor II

MAURICE GOLUBOV - City Nocturne - oil on canvas - 32 x 42 in.

MAURICE GOLUBOV

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 4 1/2 x 3 3/8 in.

4 1/2 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Self-Portrait in Drag - Polaroid - 4 1/4 x 3 3/8 in.

Self-Portrait in Drag

4 1/4 x 3 3/8 in.

SEAN SCULLY - Mirror - watercolor and graphite on paper - 30 x 22 1/4 in.

30 x 22 1/4 in.

watercolor and graphite on paper

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

29 1/2 x 25 1/2 in.

ANDY WARHOL - Self Portrait at 'Flowers' Exhibition - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Self Portrait at 'Flowers' Exhibition

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ALLAN D'ARCANGELO - Landscape - acrylic on canvas - 76 x 68 1/8 in.

ALLAN D'ARCANGELO

76 x 68 1/8 in.

acrylic on canvas

FIONA RAE - Untitled (yellow, red + brown) - oil on canvas - 72 x 78 in.

Untitled (yellow, red + brown)

ANDY WARHOL - Andy Warhol and Unidentified Man - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Andy Warhol and Unidentified Man

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

KARL BENJAMIN - Untitled - oil on canvas - 50 1/4 x 50 in.

50 1/4 x 50 in.

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor SX-70 - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor SX-70

ANDY WARHOL - Lee Radziwill - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

WILLIAM TUCKER - Tuche, Greek Goddess of Fortune - bronze - 12 x 9 x 14 in.

Tuche, Greek Goddess of Fortune

12 x 9 x 14 in.

ANDY WARHOL - Self-Portrait - Polaroid on board - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid on board

ANDY WARHOL - Warhol with Corn Flakes - Polaroid, Polacolor - 3 3/8 x 4 1/2 in.

Warhol with Corn Flakes

3 3/8 x 4 1/2 in.

Polaroid, Polacolor

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

Arnold Schwarzenegger

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 3 3/8 x 4 1/2 in.

3 3/8 x 4 1/2 in.

Polaroid, Polacolor

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

Self Portrait with Mask

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

Any Warhol Self-Portrait

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

gelatin silver print

ANDY WARHOL - Yves Saint Laurent - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Yves Saint Laurent

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Dennis Hopper - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Andy Painting - Polaroid, Polacolor - 4 1/4 x 4 1/2 in.

4 1/4 x 4 1/2 in.

Polaroid, Polacolor

CHRISTIAN ROSA - Untitled 2014 - oil on canvas - 82 1/2 x 70 3/4 in.

82 1/2 x 70 3/4 in.

ANDY WARHOL - Fiesta Pigs - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - David Hockney and Andy Warhol - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

David Hockney and Andy Warhol

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - John Denver - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Lisa Taylor - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Andy Warhol and Truman Capote - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Andy Warhol and Truman Capote

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

Andy Self Portrait

silver gelatin print

HENRY MOORE - Sculpture Motives - ink, watercolor, and wax crayon on paper - 11 x 7 7/8 in.

Sculpture Motives

ink, watercolor, and wax crayon on paper

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

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

Jean-Michel Basquiat in Soto Sculpture

silver gelatin print

ANDY WARHOL - Maurice the Dog Two Polaroids - Polaroid, Polacolor - 4 1/2 x 3 1/2 in. ea.

Maurice the Dog Two Polaroids

4 1/2 x 3 1/2 in. ea.

Polaroid, Polacolor

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

Andy Warhol and Michael Jackson

silver gelatin print

ANDY WARHOL - Committee 2000 Champagne Glasses - Polaroid on board - 4 1/4 x 3 3/8 in. ea.

Committee 2000 Champagne Glasses

4 1/4 x 3 3/8 in. ea.

Polaroid on board

ENOC PEREZ - Don Q - oil on paper - 24 x 18 in.

ANDY WARHOL - Georgia O'Keeffe - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

Georgia O'Keeffe

4 1/2 x 3 1/2 in.

Polaroid, Polacolor

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

Willie Shoemaker

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

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

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

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

Julian Schnabel 4 Polaroids

4 1/2 x 3 1/2 in. ea.

Polaroid, Polacolor

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

Donald Baechler

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

Women Welders, The Ship

14 1/4 x 28 3/8 in.

graphite on paper

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

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 - Jane Fonda - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Man Ray - Polaroid Polacolor Type 108 print - 4 1/4 x 3 1/2 in.

4 1/4 x 3 1/2 in.

Polaroid Polacolor Type 108 print

ANDY WARHOL - Jean Paul Gaultier - Polaroid, Polacolor - 3 3/8 x 4 1/4 in. ea.

Jean Paul Gaultier

3 3/8 x 4 1/4 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Keith Haring - silver gelatin print - 10 x 8 in.

silver gelatin print

ANDY WARHOL - Campbell's Soup Can (Wonton Soup) - Polaroid on board - 4 1/4 x 3 3/8 in.

Campbell's Soup Can (Wonton Soup)

4 1/4 x 3 3/8 in.

Polaroid on board

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

Francesco Clemente 2 Polaroids

4 1/2 x 3 1/2 in. ea.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Duane Hanson - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Myths (Santa) - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Flowers - Polaroid on board - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid on board

ANDY WARHOL - Andy Warhol Abroad - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

Andy Warhol Abroad

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Henry Geldzahler - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

Henry Geldzahler

4 1/2 x 3 1/2 in.

Polaroid, Polacolor

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

3 3/8 x 4 1/4 in.

Polaroid, Polacolor

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

Jon Gould and Andy Warhol

silver gelatin print

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

Andy Warhol and Janice Dickenson

silver gelatin print

ANDY WARHOL - Ryan O'Neal - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ARISTIDES DEMETRIOS - Bronze Bouquet - metal - 15 1/4 x 7 x 7 1/2 in.

ARISTIDES DEMETRIOS

15 1/4 x 7 x 7 1/2 in.

ANDY WARHOL - Truman Capote - Polaroid - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

ANDY WARHOL - Diane Von Furstenberg - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Diane Von Furstenberg

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

Perugina Candy Box

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Uncle Sam - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Japanese Toy (Panda with Drum) - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Japanese Toy (Panda with Drum)

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Aunt Jemima - unique Polacolor 2 print - 3 3/8 x 4 1/4 in.

3 3/8 x 4 1/4 in.

unique Polacolor 2 print

ANDY WARHOL - Fancy Yarn - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Jean-Paul Gaultier - unique Polacolor ER Print - 4 1/4 x 3 3/8 in.

Jean-Paul Gaultier

4 1/4 x 3 3/8 in.

unique Polacolor ER Print

ANDY WARHOL - Cookie Jar - unique Polacolor ER Print - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

unique Polacolor ER Print

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

Andy and Barbi Benton

unique silver gelatin print

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 - Crosses - Polaroid, Polacolor - 3 3/8 x 4 1/4 in. ea.

3 3/8 x 4 1/4 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Steve Rubell - silver gelatin print - 8 x 10 in.

silver gelatin print

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

Sao Schlumberger

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Farrah Fawcett Photo Shoot - silver gelatin print - 8 x 10 in. ea.

Farrah Fawcett Photo Shoot

silver gelatin print

ANDY WARHOL - Fred Hughes - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

4 1/2 x 3 1/2 in.

Polaroid, Polacolor

ANDY WARHOL - Cabbage Patch Doll - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Cabbage Patch Doll

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - La Grande Passion - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

La Grande Passion

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Tatum O'Neal and John McEnroe - unique Polacolor ER Print - 3 3/8 x 4 1/4 in.

Tatum O'Neal and John McEnroe

3 3/8 x 4 1/4 in.

unique Polacolor ER Print

ANDY WARHOL - Leo Castelli - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

4 1/2 x 3 1/2 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Oscar de la Renta - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Oscar de la Renta

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Alba Clemente - Polaroid, Polacolor - 4 1/2 x 3 1/2 in.

4 1/2 x 3 1/2 in.

Polaroid, Polacolor

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

Paola Dominguin

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Cheryl Tiegs - Polaroid - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

ANDY WARHOL - Photograph of Steve Rubell for Interview Magazine, ie. - Polaroid - 4 1/4 x 3 3/8 in.

Photograph of Steve Rubell for Interview Magazine, ie.

4 1/4 x 3 3/8 in.

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

3 3/8 x 4 1/4 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Japanese Toy Parrot - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Japanese Toy Parrot

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Model - Polaroid - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

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

4 1/4 x 3 3/8 in.

unique Polacolor Type 108 print

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

3 3/8 x 4 1/4 in.

Polaroid, Polacolor

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

Robert Rauschenberg

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Leonardo da Vinci - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Leonardo da Vinci

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Diana Vreeland - Polaroid - 3 3/8 x 4 1/4 in.

3 3/8 x 4 1/4 in.

ANDY WARHOL - Sonia Rykiel - Polaroid - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

ANDY WARHOL - Bob Colacello - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

ANDY WARHOL - Grace Jones and Steve Rubell - silver gelatin print - 8 x 10 in.

Grace Jones and Steve Rubell

silver gelatin print

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

3 3/8 x 4 1/4 in.

Polaroid, Polacolor

NATHAN OLIVEIRA - Baboon (Black) - drypoint with aquatint - 44 1/4 x 39 in.

NATHAN OLIVEIRA

44 1/4 x 39 in.

drypoint with aquatint

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

The Circus, Balancing Act 2 (a Study)

pencil on paper

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

The Circus, The Balancing Act 2a (a Study)

pencil on paper

IRVING NORMAN - From Work - lithograph on paper - 20 x 25 in.

lithograph on paper

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony") - pencil on paper - 14 x 11 in.

Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony")

pencil on paper

IRVING NORMAN - Untitled (Bodies in Crypt) - pencil on paper - 7 1/2 x 3 7/8 in.

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.

Untitled (War Study)

graphite on paper

IRVING NORMAN - Untitled (Bodies) - pencil on paper - 6 3/4 x 2 in.

Untitled (Bodies)

pencil on paper

IRVING NORMAN - Untitled (Smoking Man) - pen on paper - 8 7/8 x 6 in.

Untitled (Smoking Man)

IRVING NORMAN - Untitled (Man with Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.

Untitled (Man with Fire Bird)

graphite and crayon on paper

IRVING NORMAN - Untitled (Couple) - graphite on paper - 5 x 3 1/2 in.

Untitled (Couple)

graphite on paper

IRVING NORMAN - Untitled (Possible Study for "Celebration") - graphite on paper - 4 7/8 x 3 in.

Untitled (Possible Study for "Celebration")

graphite on paper

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

Untitled (Possible Study for "From Work")

pencil on paper

IRVING NORMAN - Untitled (Head with Fire) - graphite and crayon on paper - 12 x 8 7/8 in.

Untitled (Head with Fire)

graphite and crayon on paper

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

Untitled (Possible Study for "From Work")

pencil on paper

IRVING NORMAN - Untitled (Abstract Heads) - pen on paper - 8 7/8 x 6 in.

Untitled (Abstract Heads)

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2) - graphite on paper - 14 x 11 in.

Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2)

graphite on paper

IRVING NORMAN - Untitled (Four Heads) - graphite on paper - 5 x 3 1/2 in.

Untitled (Four Heads)

graphite on paper

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