Artwork on view at Palm Desert gallery

Artists Categories Price
John Singer Sargent’s portrait of Mrs. Huth Jackson is more than the usual nod to the rarified world of elegance typical of the Gilded Age. For one, it shares a close kinship with “Lady Agnew,” a portrait lauded by The London Times at its unveiling in 1892 as “a masterpiece…a triumph of technique (and) the finest example of portraiture in the literal sense of the word.” That reputation has not diminished over time. “Lady Agnew” stands second only to “Madam X” as the finest society portrait of Sargent’s career. Undoubtedly, Mrs. Jackson, the former Clara Annabel Grant Duff and a close friend of Lady Agnew of Lochnaw was also a great admirer of that painting. Presumably, she asked that the painter fashion her own portrait in a similar manner. Yet painted 15 years after “Lady Agnew,” and at a time when Sargent had become infatuated with oriental costuming, the Huth Jackson portrait proved to be one of the first of six such studies executed in 1907 when the artist often asked models to drape a Kashmiri shawl around the shoulders, its serpentine folds lending a sensual, if exotic flair to the subject — a tribute of sorts to Sargent’s love of Neoclassism and Ingres in particular.
JOHN SINGER SARGENT
Mrs. Huth Jackson
1907
60 1/2 x 40 1/8 in.
oil on canvas
Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world. <br> <br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images. <br> <br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career. <br> <br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15
KEITH HARING
Untitled
1984
89 1/4 x 90 1/2 x 1 in.
acrylic on cotton tarp
Provenance: <br>Durand-­-Ruel, Paris <br>(acquired <br>from <br>the <br>artist <br>on <br>22nd <br>August <br>1881) <br>Durand-­-Ruel, <br>New <br>York <br>Durand-­-Ruel, <br>Paris <br>Dr. <br>Elias, <br>Berlin <br>(acquired <br>fom <br>the <br>above <br>on <br>21st <br>J <br>anuary <br>1925) <br>Matthiessen, <br>London <br>The <br>Lefevre <br>Gallery <br>(Alex <br>Reid <br>& <br>Lefevre <br>Ltd.), <br>London <br>E. <br>J. <br>van <br>Wisselingh <br>& <br>Co., <br>Amsterdam <br>Mrs. <br>Bodmer, <br>Zurich <br>Dr. <br>Fritz <br>Nathan, <br>Zurich <br>Dr. <br>Th. <br>Tobler, <br>Zurich <br>(acquired <br>from <br>the <br>above <br>on <br>23rd <br>November <br>1950) <br>Private <br>Collection <br>(received <br>as <br>a <br>gift <br>from <br>Dr. <br>Tobler <br>in <br>December <br>1966) <br>Sotheby’s, <br>London, <br>November <br>28, <br>1989, <br>Lot <br>10 <br>Acquired <br>by <br>the <br>present <br>owner <br>from <br>the <br>above <br>Exhibited: <br>Paris, <br>251 <br>rue <br>Saint-­-Honoré, <br>Septième <br>Exposition <br>des <br>Artistes <br>Indépendants, <br>1882, <br>no <br>. <br>163 <br>Edinburgh, <br>National <br>Gallery <br>of <br>Scotland, <br>A <br>Century <br>of <br>French <br>Art <br>1840-­-1940, <br>1944, <br>no. <br>232 <br>London, <br>The <br>Lefevre <br>Gallery, <br>19th <br>Century <br>French <br>Masters, <br>1949, <br>no. <br>39 <br>Bern, <br>Kunstmuseum, <br>Alfred <br>Sisley, <br>1958, <br>no. <br>48 <br>Literature: <br>François <br>Daulte, <br>Alfred <br>Sisley, <br>Catalogue <br>raisonné <br>de <br>l'Oeuvre <br>peint, <br>Lausanne <br>1959, <br>no <br>. <br>436, illustrated
ALFRED SISLEY
Apres-midi d'aout a Veneux
1881
21 1/4 x 28 3/4 in.
oil on canvas
Gustave Caillebotte’s paintings of his country home at Yerres display soft brushwork and a pastel palette typical of the Impressionists. Although closely associated with that movement, Caillebotte drew inspiration from other approaches as well, resulting in a style closer to Realism than many of his contemporaries. He aimed to paint the world as he observed it, producing works that resisted theatricality in favor of a more grounded sense of reality. His noteworthy urban scenes employ flatter colors and dramatic perspectives inspired by Japanese wood block prints. One such example, created in the same year as the present work, is one of his best-known paintings, Paris Street; Rainy Day at the Art Institute of Chicago. <br> <br>Caillebotte did not only contribute his painting to the Impressionist movement, but also became a crucial benefactor upon receiving a sizable inheritance. He helped to fund exhibitions, purchased works for his own collection, and even paid rent for Claude Monet’s studio. <br> <br>This canvas from 1877 belonged to the personal collection of American Impressionist Mary Cassatt until her death in 1926. Here, Caillebotte’s delicate paint handling compliments his measured use of color. Naturalistic hues of the artist’s garden and the valley beyond – a bed of cool green and blue that divide the canvas into contrasting swaths of heavy and light tones – underscore the details touched by light.
GUSTAVE CAILLEBOTTE
Vue du Jardin de l’Artiste et de la Vallée de Yerres
1877
19 1/8 x 25 1/2 in.
oil on canvas
Created at a seminal point early in the artist’s career, Le Mont Riboudet à Rouen au Printemps by Claude Monet, depicts a beautiful landscape with flora, figures working in the fields, and haystacks. The aesthetic is comparable to that of Camille Pisarro and Alfred Sisley, Monet’s contemporaries also working en plein air at the time to capture nuances of the French countryside on canvas. The painting’s distinguished provenance includes Durand-Ruel and Gustave Caillebotte.
CLAUDE MONET
Le Mont Riboudet a Rouen au Printemps
1872
21 1/2 x 28 5/8 in.
oil on canvas
Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.
ANISH KAPOOR
Blood Cinema
2000
77 1/4 x 77 1/4 x 18 3/4 in.
acrylic and steel
Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.
TOM WESSELMANN
1962 Plus 35 Nude Sketch II
1997
43 x 58 5/8 in.
alkyd oil on canvas
Shortly after his major retrospective exhibition at the Museum of Modern Art in New York in 1941, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year, Les Yeux Fleuris, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Eyes appear in Dalí paintings, sculpture, and jewelry throughout his career — as late as the 1981 painting Argus and, most notably, in paintings Dalí made for the dream sequences of the film Spellbound directed by Alfred Hitchcock.
SALVADOR DALI
Les Yeux Fleuris
1944
27 x 19 3/8 in.
oil on canvas
San Loretto (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit.
ANSELM KIEFER
San Loretto
2008
74 x 111 in.
mixed media on canvas
PIERRE-AUGUSTE RENOIR - Femme à Corsage à Rayures Jaune et Rouge Ecrivant - oil on canvas - 17 3/4 x 21 in.
PIERRE-AUGUSTE RENOIR
Femme à Corsage à Rayures Jaune et Rouge Ecrivant
1918
17 3/4 x 21 in.
oil on canvas
ROBERT HENRI - Girl with Muff - oil on canvas - 57 1/4 x 38 3/4 in.
ROBERT HENRI
Girl with Muff
c. 1900
57 1/4 x 38 3/4 in.
oil on canvas
American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.
JOHN MARIN
Cape Split, Maine
1945
22 1/4 x 28 1/4 in.
oil on canvas
IRVING NORMAN - The Human Condition - oil on canvas - 120 x 182 in.
IRVING NORMAN
The Human Condition
1980-1981
120 x 182 in.
oil on canvas
Carl Andre’s floor sculptures are typically made from glowing tiles of lead, zinc, or copper. They differ from most other minimalist artwork in their accessibility: they are meant to be walked on. Art historically, Andre places himself in the lineage of Constantin Brancusi and Henry Moore. Andre continues in their tradition of reducing the vocabulary of sculpture to its most vital and simple forms. The works also speak to Donald Judd’s idea of “specific objects,” which emphasized the phenomenological experience of the viewer and an exploration of structure and space.
CARL ANDRE
16 Ace Zinc Square
2007
16 x 16 x 1/4 in. ea./installed 64 x 64 x 1/4 in.
zinc
GABRIEL OROZCO - Samurai Tree - Invariant Gold 2 - acrylic on canvas - 47 1/4 x 47 1/4 in.
GABRIEL OROZCO
Samurai Tree - Invariant Gold 2
2005
47 1/4 x 47 1/4 in.
acrylic on canvas
DAMIEN HIRST - Overwhelming Love - household gloss, butterflies - 36 x 60 in
DAMIEN HIRST
Overwhelming Love
2008
36 x 60 in
household gloss, butterflies
LARRY RIVERS - Lions on the Dreyfus Fund, Inc. - pencil and oil on cut wood and canvas - 63 x 35 1/2 in.
LARRY RIVERS
Lions on the Dreyfus Fund, Inc.
1964
63 x 35 1/2 in.
pencil and oil on cut wood and canvas
Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.
DEBORAH BUTTERFIELD
Untitled (Horse)
1981
100 x 157 x 36 in.
sticks and paper on wire armature
NATHAN OLIVEIRA - Han Stele with Wheels - oil and alkyd on canvas - 84 x 70 x 1 3/4 in.
NATHAN OLIVEIRA
Han Stele with Wheels
1997
84 x 70 x 1 3/4 in.
oil and alkyd on canvas
ANSELM KIEFER - Jericho - emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.
ANSELM KIEFER
Jericho
2000
25 x 17 1/2 x 2.25 in.
emulsion, acrylic, sand, clay and photographic paper on cardboard
Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.
PETER HALLEY
Eulogy (Commission)
2004
159 x 72 x 4 in.
acrylic on canvas
Henri Matisse is one of the most influential artists of the twentieth century and whose oeuvre covers painting, drawing, sculpture, etchings, linocuts, lithographs, aquatints, paper cutouts, and book illustration. An early proponent of Fauvism with its outrageous colors and dynamic composition, Matisse would also move into abstraction, pioneering the use of color and form in each stage of his career. This drawing depicts Madame Monchaux and displays the incredible draftsmanship that often characterized his work. Striving to achieve “the art of balance, of purity and serenity”, his drawings appear effortless but are careful studies to unite line and form.
HENRI MATISSE
Madame Monchaux
1916
13 x 9 1/2 in.
pencil on paper
PAUL JENKINS - Untitled - acrylic on canvas - 71 1/2 x 128 1/2 in.
PAUL JENKINS
Untitled
71 1/2 x 128 1/2 in.
acrylic on canvas
IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.
IRVING NORMAN
To Have and Have Not, Charity Gala
1979-1980
92 x 104 in.
oil on canvas
WOJCIECH FANGOR - Green Points - oil on canvas - 52 7/8 x 33 1/2 in.
WOJCIECH FANGOR
Green Points
1961
52 7/8 x 33 1/2 in.
oil on canvas
HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.
HERB ALPERT
Arrowhead
2015
201 x 48 x 48 in.
bronze
HERB ALPERT - Charity - bronze - 150 in.
HERB ALPERT
Charity
2017
150 in.
bronze
HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.
HERB ALPERT
Freedom
2008
201 x 48 x 48 in.
bronze
HERB ALPERT - Gratitude - bronze - 206 in.
HERB ALPERT
Gratitude
2009
206 in.
bronze
HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.
HERB ALPERT
Hope
2009
212 x 48 x 48 in.
bronze
IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.
IRVING NORMAN
The Academy
1975-1976
110 x 90 in.
oil on canvas
ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.
ANTHONY CARO
Figure in a Tub
1985-86
42 x 30 1/4 x 24 1/4 in.
bronze
IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.
IRVING NORMAN
M.F.I. Complex
1981
100 x 76 in.
oil on canvas
IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.
IRVING NORMAN
To the Unknown
1977
96 x 72 in.
oil on canvas
HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.
HERB ALPERT
Illumination
2010
159 x 40 x 40 in.
bronze
HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.
HERB ALPERT
Radiance
2009
161 x 40 x 40 in.
bronze
HERB ALPERT - Warrior - bronze - 156 x 40 x 40 in.
HERB ALPERT
Warrior
2011
156 x 40 x 40 in.
bronze
IRVING NORMAN - War Wounded - oil on canvas - 70 x 60 in.
IRVING NORMAN
War Wounded
1960
70 x 60 in.
oil on canvas
Afternoon Tea on the Terrace (1905-1906) was commissioned by Rodman Wanamaker as part of a mural for the Grand Deluxe Shelburn hotel in Atlantic City. The mural was later divided into seven pieces that were displayed in the hotel dining room. Frieseke’s earliest mural work was for his patron, Rodman Wanamaker. Other commissions included mural decorations that were installed in Wanamaer’s New York department store in 1904 and 1907, the Rodman Wanamaker Hotel in 1905, and the Amphitheater of Music in New York in 1908. Art historians credit Wanamaker’s constant commissions as being the sole reason Frieseke was able to devote himself to painting.
FREDERICK CARL FRIESEKE
Afternoon Tea on the Terrace
1905-1906
55 x 57 in.
oil on canvas
N.C. WYETH - Bringing in the Ears (Composition drawing) - charcoal on paper - 26 1/2 x 32 in.
N.C. WYETH
Bringing in the Ears (Composition drawing)
1942
26 1/2 x 32 in.
charcoal on paper
IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.
IRVING NORMAN
Draftee
1982
100 x 38 in.
oil on canvas
IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.
IRVING NORMAN
Flight
1955
60 x 74 in.
oil on canvas
RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.
RICHARD ANUSZKIEWICZ
Moonbow
1968
48 x 48 in.
acrylic on canvas
GENE DAVIS - Licorice Stick - acrylic on canvas - 80 3/4 x 32 3/4 in.
GENE DAVIS
Licorice Stick
1973
80 3/4 x 32 3/4 in.
acrylic on canvas
IRVING NORMAN - Totem of a Holy Family - oil on canvas - 90 x 19 3/4 in.
IRVING NORMAN
Totem of a Holy Family
1974
90 x 19 3/4 in.
oil on canvas
OSWALDO GUAYASAMIN - Atahualpa en Cajamarcas - oil on canvas - 28 x 19 1/2 in. .
OSWALDO GUAYASAMIN
Atahualpa en Cajamarcas
28 x 19 1/2 in. .
oil on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.
HASSEL SMITH
Untitled
1975
68 x 67 3/4 in.
acrylic on canvas
Celebrated Hassel Smith moved through different styles over his long career including Abstract Expressionism, his “Measured” series, and Gestural Abstraction. This painting comes from his “Measured” period in which paintings encompassed geometric shapes and numbers on grids. Smith finds rhythms in the paintings through the intervals and sizes of the shapes. Among his friends were Clyfford Still and Mark Rothko. Smith lived in the Bay Area of California before moving to the UK, settling in Cornwall and Bristol. Heather James is proud to represent the estate of Hassel Smith.
HASSEL SMITH
Untitled
1976
68 x 68 in.
acrylic on canvas
HASSEL SMITH - From A - B - acrylic on canvas - 68 x 68 in.
HASSEL SMITH
From A - B
1976
68 x 68 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.
HASSEL SMITH
Untitled
1983-84
68 1/4 x 68 in.
acrylic on canvas
KARL BENJAMIN - #32 - oil on canvas - 31 x 62 in.
KARL BENJAMIN
#32
1975
31 x 62 in.
oil on canvas
HASSEL SMITH - Untitled - oil on canvas - 68 x 68 in.
HASSEL SMITH
Untitled
1971
68 x 68 in.
oil on canvas
HASSEL SMITH - Arezzo Revisited - acrylic on canvas - 68 x 68 in.
HASSEL SMITH
Arezzo Revisited
1982
68 x 68 in.
acrylic on canvas
HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.
HASSEL SMITH
From 1 to 9
1976
68 x 68 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.
HASSEL SMITH
Untitled
1978
68 x 68 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.
HASSEL SMITH
Untitled
1978
68 x 68 in.
acrylic on canvas
ROBERT NATKIN - Amethyst - oil on canvas - 71 x 100 1/8 in.
ROBERT NATKIN
Amethyst
1960
71 x 100 1/8 in.
oil on canvas
NATHAN OLIVEIRA - Standing Figure #2 - bronze - 26 x 16 x 23 1/2 in.
NATHAN OLIVEIRA
Standing Figure #2
2007
26 x 16 x 23 1/2 in.
bronze
THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.
THEASTER GATES
Untitled (flooring)
2011
35 x 35 x 3 in.
white cement, debris, flooring
HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.
HASSEL SMITH
Untitled
1990
68 1/8 x 48 in.
acrylic on canvas
HASSEL SMITH - In Berkeley - acrylic on canvas - 70 x 49 in.
HASSEL SMITH
In Berkeley
1979
70 x 49 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.
WILLIAM THEOPHILUS BROWN
Horse with Swimmers at Beach
1990
36 x 48 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.
HASSEL SMITH
Untitled
1984
68 x 48 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Painting with Jumping Man and Snake) - acrylic on canvas - 38 x 42 in.
WILLIAM THEOPHILUS BROWN
Untitled (Painting with Jumping Man and Snake)
1968
38 x 42 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.
WILLIAM THEOPHILUS BROWN
Landscape with Rocks
1985-2005
48 x 48 in.
acrylic on canvas
FELIPE CASTANEDA - Mujer con Guitarra - marble - 16 1/2 x 10 1/2 x 10 in.
FELIPE CASTANEDA
Mujer con Guitarra
1983
16 1/2 x 10 1/2 x 10 in.
marble
DIETZ EDZARD - Jeune Homme Reveur (Self Portrait) - oil on canvas - 45 x 25 3/4
DIETZ EDZARD
Jeune Homme Reveur (Self Portrait)
1921
45 x 25 3/4
oil on canvas
JEFF KOONS - Balloon Dog (Red) - porcelain - 10 1/2 x 10 1/2 in.
JEFF KOONS
Balloon Dog (Red)
1995
10 1/2 x 10 1/2 in.
porcelain
RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.
RICHARD ARTSCHWAGER
Chair
1990
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
Chair
1990
39 x 40 x 52 in.
oak, cow hide, formica, steel
JOHN HUBBARD RICH - Portrait of Tyrone Power's Sister - oil on canvas on panel - 12 5/8 x 10 3/8 in.
JOHN HUBBARD RICH
Portrait of Tyrone Power's Sister
1945
12 5/8 x 10 3/8 in.
oil on canvas on panel
PAUL JENKINS - Phenomena D.H. Lawrence Gala - watercolor on paper - 43 1/8 x 31 1/4 in.
PAUL JENKINS
Phenomena D.H. Lawrence Gala
1980
43 1/8 x 31 1/4 in.
watercolor on paper
PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.
PAUL JENKINS
Untitled
1979
29 3/4 x 42 3/4 in.
watercolor and ink on paper
PAUL JENKINS - Untitled - watercolor on paper - 43 1/8 x 31 1/8 in. .
PAUL JENKINS
Untitled
43 1/8 x 31 1/8 in. .
watercolor on paper
WILLIAM THEOPHILUS BROWN - Untitled (Nudes with Tree) (Woman and Child) - acrylic on canvas - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Nudes with Tree) (Woman and Child)
2002
11 x 14 in.
acrylic on canvas
PAUL WONNER - Steps in Lafayette Park - acrylic and pencil on paper - 15 x 22 1/4 in.
PAUL WONNER
Steps in Lafayette Park
2005
15 x 22 1/4 in.
acrylic and pencil on paper
JESSIE ARMS BOTKE - Untitled - charcoal on paper - 17 1/4 x 13 1/4 in.
JESSIE ARMS BOTKE
Untitled
17 1/4 x 13 1/4 in.
charcoal on paper
WILLIAM THEOPHILUS BROWN - Untitled (Three Nudes One Seated) - acrylic on paper - 11 1/8 x 14 1/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (Three Nudes One Seated)
2001
11 1/8 x 14 1/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Jamie Seated (Green Background) - acrylic and oil on canvas - 14 x 9 3/4 in.
WILLIAM THEOPHILUS BROWN
Jamie Seated (Green Background)
1997
14 x 9 3/4 in.
acrylic and oil on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Soldiers) - acrylic on canvas - 14 x 18 in.
WILLIAM THEOPHILUS BROWN
Untitled (Soldiers)
14 x 18 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Seated Figure) - charcoal and gouache on paper - 18 3/4 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Seated Figure)
1988
18 3/4 x 14 in.
charcoal and gouache on paper
PAUL WONNER - Youth and Old Age - acrylic on paper - 14 1/2 x 16 5/8 in.
PAUL WONNER
Youth and Old Age
2001
14 1/2 x 16 5/8 in.
acrylic on paper
PAUL WONNER - Artist and Model, Hands on Hips - acrylic and pencil on paper - 14 1/4 x 16 1/4 in.
PAUL WONNER
Artist and Model, Hands on Hips
2002
14 1/4 x 16 1/4 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Untitled (Landscape with Rocks) - oil on board - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Landscape with Rocks)
1999
11 x 14 in.
oil on board
WILLIAM THEOPHILUS BROWN - Untitled (2 Male Nudes) - acrylic on paper - 14 x 9 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (2 Male Nudes)
1998
14 x 9 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Untitled (Bathers) - acrylic on paper - 10 3/4 x 13 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (Bathers)
2001
10 3/4 x 13 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 13 7/8 x 9 7/8 in.
WILLIAM THEOPHILUS BROWN
Jamie
1998
13 7/8 x 9 7/8 in.
acrylic on paper
PAUL WONNER - Youth and Old Age, Artist and Model - acrylic and pencil on paper - 13 1/4 x 15 in.
PAUL WONNER
Youth and Old Age, Artist and Model
2001
13 1/4 x 15 in.
acrylic and pencil on paper
PAUL WONNER - Park with Figures - acrylic and pencil on paper - 15 x 22 in.
PAUL WONNER
Park with Figures
2005
15 x 22 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 14 x 10 3/4 in.
WILLIAM THEOPHILUS BROWN
Jamie
1999
14 x 10 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Up - acrylic on paper - 16 1/2 x 11 1/2 in.
WILLIAM THEOPHILUS BROWN
Up
2010
16 1/2 x 11 1/2 in.
acrylic on paper
PAUL WONNER - Youth and Old Age: Artist, Model, Pots of Flowers - acrylic and pencil on paper - 14 1/4 x 12 1/4 in.
PAUL WONNER
Youth and Old Age: Artist, Model, Pots of Flowers
2003
14 1/4 x 12 1/4 in.
acrylic and pencil on paper
PAUL WONNER - Landscape with Bathers - acrylic and pencil on paper - 14 7/8 x 22 1/8 in.
PAUL WONNER
Landscape with Bathers
2003
14 7/8 x 22 1/8 in.
acrylic and pencil on paper
PAUL WONNER - Landscape with Bathers After Cezanne - acrylic and pencil on paper - 14 7/8 x 22 1/2 in.
PAUL WONNER
Landscape with Bathers After Cezanne
2003
14 7/8 x 22 1/2 in.
acrylic and pencil on paper
ALEXANDER CALDER - Quilt - color lithograph - 22 x 29 1/2 in.
ALEXANDER CALDER
Quilt
1966
22 x 29 1/2 in.
color lithograph
WILLIAM THEOPHILUS BROWN - Untitled (Two Nudes) (Two Figures) - acrylic and charcoal on paper - 11 x 15 in.
WILLIAM THEOPHILUS BROWN
Untitled (Two Nudes) (Two Figures)
1994
11 x 15 in.
acrylic and charcoal on paper
WILLIAM THEOPHILUS BROWN - Untitled (Seated Female Nude) - charcoal, pencil and wash on paper - 25 1/2 x 19 1/2 in.
WILLIAM THEOPHILUS BROWN
Untitled (Seated Female Nude)
1981
25 1/2 x 19 1/2 in.
charcoal, pencil and wash on paper
TSENG KWONG CHI - London, England - silver gelatin print - 16 x 20 in.
TSENG KWONG CHI
London, England
1983
16 x 20 in.
silver gelatin print
TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.
TSENG KWONG CHI
Monument Valley, Arizona
1987
16 x 20 in.
silver gelatin print
LAWRENCE SCHILLER - Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963 - silver gelatin print - 16 x 20 in.
LAWRENCE SCHILLER
Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963
1963
16 x 20 in.
silver gelatin print
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Floor) - acrylic and charcoal on paper - 11 x 15 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Floor)
1975
11 x 15 in.
acrylic and charcoal on paper
PAUL WONNER - Artist Drawing The Model - acrylic and pencil on paper - 12 x 10 1/4 in.
PAUL WONNER
Artist Drawing The Model
2004
12 x 10 1/4 in.
acrylic and pencil on paper
PAUL WONNER - Trees and Rock on the Bay - acrylic and pencil on paper - 15 x 22 in.
PAUL WONNER
Trees and Rock on the Bay
2003
15 x 22 in.
acrylic and pencil on paper
PAUL WONNER - In Lafayette Park VI - acrylic and pencil on paper - 13 5/8 x 20 5/8 in.
PAUL WONNER
In Lafayette Park VI
2004
13 5/8 x 20 5/8 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Split Rock, Cisco Grove - acrylic on canvas - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Split Rock, Cisco Grove
1997
11 x 14 in.
acrylic on canvas
PAUL WONNER - At Mission Rock - acrylic and pencil on paper - 14 1/2 x 16 in.
PAUL WONNER
At Mission Rock
2004
14 1/2 x 16 in.
acrylic and pencil on paper
IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled
12 x 8 7/8 in.
graphite and crayon on paper
WILLIAM THEOPHILUS BROWN - Untitled (Nude Male on Floor) - acrylic on paper - 11 3/4 x 9 in.
WILLIAM THEOPHILUS BROWN
Untitled (Nude Male on Floor)
2010
11 3/4 x 9 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing - pencil and wash on paper - 15 x 11 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing
1993
15 x 11 in.
pencil and wash on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Block) - pencil and wash on paper - 15 x 10 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Block)
1995
15 x 10 3/4 in.
pencil and wash on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Step) - pencil and wash on paper - 14 1/2 x 11 1/2 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Step)
1988
14 1/2 x 11 1/2 in.
pencil and wash on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Standing Nude, Arm on Head) - pencil and wash on paper - 15 x 11 1/4 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Standing Nude, Arm on Head)
1990
15 x 11 1/4 in.
pencil and wash on paper
EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.
EDWARD STEICHEN
Colette
1935 / 1986
13 x 10 1/4 in.
silver gelatin print
WILLIAM THEOPHILUS BROWN - Self Portrait with Sketchbook - gouache - 8 1/2 x 6 in.
WILLIAM THEOPHILUS BROWN
Self Portrait with Sketchbook
1971
8 1/2 x 6 in.
gouache
WILLIAM THEOPHILUS BROWN - Two Cranes Take Flight (Into the Sunset) - gouache on paper - 11 x 14 1/2 in.
WILLIAM THEOPHILUS BROWN
Two Cranes Take Flight (Into the Sunset)
1971
11 x 14 1/2 in.
gouache on paper
DAVID MACH - Matchead - matchstick - 5 1/2 x 2 3/4 x 3 3/4 in.
DAVID MACH
Matchead
c.1992
5 1/2 x 2 3/4 x 3 3/4 in.
matchstick
DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.
DAVID MACH
(small white and lavender)
5 1/2 x 2 1/2 x 2 3/4 in.
matchstick
WILLIAM THEOPHILUS BROWN - Self Portrait - gouache - 7 1/4 x 6 in.
WILLIAM THEOPHILUS BROWN
Self Portrait
1979
7 1/4 x 6 in.
gouache
IRVING NORMAN - The Circus, Balancing Act 2 (a Study) - pencil on paper - 11 x 9 in.
IRVING NORMAN
The Circus, Balancing Act 2 (a Study)
1963
11 x 9 in.
pencil on paper
IRVING NORMAN - The Circus, The Balancing Act 2a (a Study) - pencil on paper - 11 x 9 in.
IRVING NORMAN
The Circus, The Balancing Act 2a (a Study)
1963
11 x 9 in.
pencil on paper
IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony") - pencil on paper - 14 x 11 in.
IRVING NORMAN
Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony")
14 x 11 in.
pencil on paper
IRVING NORMAN - Untitled (Bodies in Crypt) - pencil on paper - 7 1/2 x 3 7/8 in.
IRVING NORMAN
Untitled (Bodies in Crypt)
7 1/2 x 3 7/8 in.
pencil on paper
IRVING NORMAN - Untitled (War Study) - graphite on paper - 6 x 3 1/2 in.
IRVING NORMAN
Untitled (War Study)
6 x 3 1/2 in.
graphite on paper
IRVING NORMAN - Untitled (Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled (Fire Bird)
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled (Bodies) - pencil on paper - 6 3/4 x 2 in.
IRVING NORMAN
Untitled (Bodies)
6 3/4 x 2 in.
pencil on paper
IRVING NORMAN - Untitled (Smoking Man) - pen on paper - 8 7/8 x 6 in.
IRVING NORMAN
Untitled (Smoking Man)
8 7/8 x 6 in.
pen on paper
ROBERT NATKIN - Untitled - lithograph on paper - 30 x 39 in.
ROBERT NATKIN
Untitled
1979
30 x 39 in.
lithograph on paper
IRVING NORMAN - Untitled (Man with Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled (Man with Fire Bird)
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled (Couple) - graphite on paper - 5 x 3 1/2 in.
IRVING NORMAN
Untitled (Couple)
5 x 3 1/2 in.
graphite on paper
IRVING NORMAN - Untitled (Possible Study for "Celebration") - graphite on paper - 4 7/8 x 3 in.
IRVING NORMAN
Untitled (Possible Study for "Celebration")
4 7/8 x 3 in.
graphite on paper
IRVING NORMAN - Untitled (Head with Fire) - graphite and crayon on paper - 12 x 8 7/8 in.
IRVING NORMAN
Untitled (Head with Fire)
12 x 8 7/8 in.
graphite and crayon on paper
IRVING NORMAN - Untitled (Abstract Heads) - pen on paper - 8 7/8 x 6 in.
IRVING NORMAN
Untitled (Abstract Heads)
8 7/8 x 6 in.
pen on paper
IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2) - graphite on paper - 14 x 11 in.
IRVING NORMAN
Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2)
14 x 11 in.
graphite on paper
IRVING NORMAN - Untitled (Four Heads) - graphite on paper - 5 x 3 1/2 in.
IRVING NORMAN
Untitled (Four Heads)
5 x 3 1/2 in.
graphite on paper
IRVING NORMAN - Untitled (Possible Study for "From Work") - graphite on paper - 5 x 3 1/2 in.
IRVING NORMAN
Untitled (Possible Study for "From Work")
5 x 3 1/2 in.
graphite on paper
PAUL JENKINS - Phenomena Coriolis Wedge - oil on canvas - 66 x 77 in.
PAUL JENKINS
Phenomena Coriolis Wedge
1979
66 x 77 in.
oil on canvas
PAUL JENKINS - Phenomena Zodiac Violet - watercolor on paper - 40 x 29 in.
PAUL JENKINS
Phenomena Zodiac Violet
1973
40 x 29 in.
watercolor on paper
PAUL JENKINS - Phenomena Yoshihara Sound - watercolor on paper - 30 x 40 1/2 in.
PAUL JENKINS
Phenomena Yoshihara Sound
1975
30 x 40 1/2 in.
watercolor on paper