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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

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

WILLEM DE KOONING

Woman in a Rowboat

47 1/2 x 36 1/4 in.

oil on paper laid on masonite

"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.

Milkshake & Sandwiches contains all of Wayne Thiebaud’s trademarks. The lush paints and delicious colors convey the tempting scene – an offering waiting to be devoured.
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<br>The work was created one year before Thiebaud’s 2001 retrospective at the Whitney Museum of Art, which brought even more interest into his work.
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<br>Wayne Thiebaud’s oeuvre defies a single prime period because his career is marked by constancy. While his record-achieving paintings span all subjects, those of sweets far exceed those of landscapes and figures, in value per square inch. Specifically, iconic subjects such as pies, candy, and ice cream are among the most desirable.

Milkshake & Sandwiches

16 x 19 3/4 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

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.
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<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.
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<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

19 1/8 x 25 1/2 in.

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.

PABLO PICASSO - Les Communiants - oil on canvas - 14 X 9 1/2 in.

Les Communiants

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.

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

"Untitled" (2008) is a creative vision in which Richard Prince combines two of his signature styles. In the background of the work, a collage appropriates romance novel covers featuring the nurses that have inspired his other seminal painting series. In the foreground, the Stenciled joke is the focal point of the work -- an example of the artist's innovative ability to combine words and ideas on a two-dimensional surface for an impactful presentation.
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<br>This painting has belonged to the same private collector since its initial purchase from Larry Gagosian in 2008. Richard Prince is featured in countless museum collections worldwide, including The Museum of Modern Art in New York, The Art Institute of Chicago, Kunstmuseum Basel, and Weserburg Museum of Modern Art, Bremen, among many others

120 x 96 x 1 1/2 in.

acrylic and collage on canvas

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

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

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.

98 3/4 x 79 1/4 in.

acrylic on canvas

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.
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<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

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color.
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<br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

Untitled (Totem Pole)

97 x 12 3/8 x 12 3/8 in.

oil on canvas stretched over cardboard cylinders

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

WOJCIECH FANGOR - SU 10 - oil on canvas - 50 x 50 in.

WOJCIECH FANGOR

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

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

WOJCIECH FANGOR

SADAMASA MOTONAGA - Untitled - oil on canvas - 16 x 12 1/2 in.

SADAMASA MOTONAGA

16 x 12 1/2 in.

GABRIEL OROZCO - UK. Athletics II - tempera and gold leaf on digital print on canvas - 24 x 12 5/8 in.

UK. Athletics II

24 x 12 5/8 in.

tempera and gold leaf on digital print on canvas

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

Paul Jenkins is renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew upon a wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” A combination of chance and control (Jenkins used a dull ivory knife to guide the paint) reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of phenomenal colors.
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<br>Jenkins primed his canvas so that unlike those of other Color Field artists, the paint did not soak in and instead, flowed and pooled – perhaps best exemplified in this large-scale painting with gem-like colors. Whether oil, acrylic, or watercolor, Jenkins displayed a mastery over these media so that both the process and the product are united.

71 1/2 x 128 1/2 in.

acrylic on canvas

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

ALEXANDER CALDER

Woman with Square Umbrella

WOJCIECH FANGOR - Green Points - oil on canvas - 52 7/8 x 33 1/2 in.

WOJCIECH FANGOR

52 7/8 x 33 1/2 in.

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.

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Ramos’s Peek-A-Boo portfolio is a well-known series by the artist, positioning the viewer to observe the pin-up girl figures through a keyhole shape surrounded by black. The series is noted for the confident and direct gazes of its subjects as well as the commentary it provides on the sexualization of a traditional art historical motif: the nude female figure. Alongside fellow Pop artists like Andy Warhol, James Rosenquist, and friend Roy Lichtenstein, Ramos provided a visual language for audiences to understand and experience the proliferation of commercial images that exploded in post-war America.

Peek-a-boo Chris: The Lost Painting of 1965 #56

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

Phenomena By Return

104 3/4 x 49 5/8 in.

acrylic on canvas

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

SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in.

Untitled 1985, San Leandro

acrylic on canvas mounted on board

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

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

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.
<br>
<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.
<br>
<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.
<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

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

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.
<br>
<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

ANDY WARHOL - Self-Portrait with Fright Wig - screenprint on t-shirt - 33 1/2 x 40 1/4 in.

Self-Portrait with Fright Wig

33 1/2 x 40 1/4 in.

screenprint on t-shirt

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.

“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.
<br>
<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.
<br>
<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.

ROBERT RAUSCHENBERG - Sling-Shots Lit 2 - color lithograph and mixed media lightbox - 84 1/2 x 50 1/4 x 12 1/2 in.

ROBERT RAUSCHENBERG

Sling-Shots Lit 2

84 1/2 x 50 1/4 x 12 1/2 in.

color lithograph and mixed media lightbox

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

DAVID MORRIS - Matador's Cape - bronze on steel base - 76 x 60 x 36 in.

76 x 60 x 36 in.

bronze on steel base

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.
<br>
<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.

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

Karl Benjamin was a fixture of the American West Coast School. His work was featured in the "Four Abstract Classicists" exhibition in 1959-60 at the San Francisco Museum of Art (now the San Francisco Museum of Modern Art) and the Los Angeles County Museum at Exposition Park (now the Los Angeles County Museum of Art) alongside Lorser Feitelson, John McLaughlin, and Frederick Hammersley. That exhibition was viewed as Los Angeles' answer to Abstract Expressionism as the West Coast artists' hard edge paintings offered an alternative style to the New York School's energetic brushwork and action painting.
<br>
<br>Benjamin also had a prominent place in "Birth of the Cool: California Art, Design and Culture at Mid-Century," a 2007-09 national traveling show organized by the Orange County Museum of Art.

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

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

MAURICE GOLUBOV - Untitled - oil on canvas - 26 x 34 in.

MAURICE GOLUBOV

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

WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.

WILLIAM THEOPHILUS BROWN

Horse with Swimmers at Beach

acrylic on canvas

MAURICE GOLUBOV - White - oil on canvas - 15 x 53 1/4 in.

MAURICE GOLUBOV

15 x 53 1/4 in.

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

MAURICE GOLUBOV

MAURICE GOLUBOV - Untitled - oil on canvas - 44 x 26 in.

MAURICE GOLUBOV

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)

acrylic on canvas

RICHARD ARTSCHWAGER - Diving Boy I - acrylic and rubberized hair on masonite - 35 x 45 x 2 1/4 in.

RICHARD ARTSCHWAGER

35 x 45 x 2 1/4 in.

acrylic and rubberized hair on masonite

RICHARD ARTSCHWAGER - Diving Boy II - acrylic and rubberized hair on masonite - 32 x 45 x 2 1/4 in.

RICHARD ARTSCHWAGER

32 x 45 x 2 1/4 in.

acrylic and rubberized hair on masonite

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

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 - Diana Ross - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

Best known for her monochromatic wood panel works, Louise Nevelson holds an important place in Modern Art history. A Russian native, Nevelson emigrated to the United States early in the 20th century to escape the worsening political situation across the Russian Empire. As a young child living in Rockland, Maine, her father, Isaac, supported the family as a woodcutter. Young Louise would have gotten her first exposure to this striking material's beauty and variance during these early years.
<br>
<br>Nevelson gained attention and public praise when her art was exhibited at the 31st Venice Biennale. Her maze-like constructions were revolutionary in their presentation, not since the Dada and surrealist movements had an artist created such truly groundbreaking sculptural work. "Black Cryptic XVI," 1984 extolls the vigor and expression of Nevelson's most impactful and large scale works, but on a refined and restrained scale.
<br>
<br>Louise Nevelson is included in Museum collections worldwide, including The Metropolitan Museum of Art, The Museum of Modern Art, The Brooklyn Museum, The Tate, The Guggenheim, The Palm Springs Art Museum, The Art Institute of Chicago.

LOUISE NEVELSON

Black Cryptic XVI

5 x 4 3/4 x 2 in.

painted wood and hardware

WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

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

MAURICE GOLUBOV - Metaphysical Dimension - oil on canvas - 14 x 27 7/8 in.

MAURICE GOLUBOV

Metaphysical Dimension

14 x 27 7/8 in.

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

ENOC PEREZ - Untitled - graphite on paper - 50 x 38 in.

graphite on paper

NATHAN OLIVEIRA - Mask #6 (Red) - bronze and acrylic - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

9 x 11 3/4 x 11 3/4 in.

bronze and acrylic

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 - 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 - 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

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

NATHAN OLIVEIRA - Mask #2 - bronze with custom patina - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

9 x 11 3/4 x 11 3/4 in.

bronze with custom patina

NATHAN OLIVEIRA - Mask #7 - bronze - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

9 x 11 3/4 x 11 3/4 in.

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

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 - 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 - 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 - 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

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 - Keith Haring and Juan Dubose - Polaroid - 4 1/4 x 3 3/8 in.

Keith Haring and Juan Dubose

4 1/4 x 3 3/8 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 - Neil Sedaka - 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 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 - Andy and Steve Rubell - silver gelatin print - 8 x 10 in.

Andy and Steve Rubell

silver gelatin print

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

Christmas Pointsettias

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

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 - Mrs. Yves Arman - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

Mrs. Yves Arman

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

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

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)

acrylic on canvas

PAUL WONNER - Steps in Lafayette Park - acrylic and pencil on paper - 15 x 22 1/4 in.

Steps in Lafayette Park

15 x 22 1/4 in.

acrylic and pencil 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)

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)

acrylic and oil on canvas

WILLIAM THEOPHILUS BROWN - Untitled (Soldiers) - acrylic on canvas - 14 x 18 in.

WILLIAM THEOPHILUS BROWN

Untitled (Soldiers)

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)

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.

Youth and Old Age

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.

Artist and Model, Hands on Hips

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)

WILLIAM THEOPHILUS BROWN - Untitled (2 Male Nudes) - acrylic on paper - 14 x 9 3/4 in.

WILLIAM THEOPHILUS BROWN

Untitled (2 Male Nudes)

acrylic on paper

WILLIAM THEOPHILUS BROWN - Untitled (Bathers) - acrylic on paper - 10 3/4 x 13 3/4 in.

WILLIAM THEOPHILUS BROWN

Untitled (Bathers)

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

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.

Youth and Old Age, Artist and Model

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.

Park with Figures

acrylic and pencil on paper

KRISJANIS KAKTINS-GORSLINE - Untitled - oil on canvas - 60 x 48 in.

KRISJANIS KAKTINS-GORSLINE

WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 14 x 10 3/4 in.

WILLIAM THEOPHILUS BROWN

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

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.

Youth and Old Age: Artist, Model, Pots of Flowers

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.

Landscape with Bathers

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.

Landscape with Bathers After Cezanne

14 7/8 x 22 1/2 in.

acrylic and pencil on paper

Born January 2, 1969, Pinar del Río, Cuba
<br>Left Cuba in 1991
<br>Lived in Puebla, Mexico between 1991 and 2002
<br>Resides in the U.S. since 2002 with his wife and their three children
<br>
<br>
<br>E D U C A T I O N
<br>
<br>1987-91 Visual Arts College (Instituto Superior de Arte), Havana
<br>1984-87 National School of the Arts (Escuela Nacional de Artes Plasticas, ENAP), Havana
<br>1983-84 Academia de San Alejandro, Havana
<br>1980-83 School of Visual Arts (Escuela Provincial de Artes Plasticas), Pinar del Río, Cuba
<br>
<br>
<br>S O L O E X H I B I T I O N S
<br>
<br>2009 · Pablo Picasso Ceramics | Carlos Luna Paintings; Complejo Cultural Universitario BUAP, Puebla, Mexico *
<br> · Pablo Picasso Ceramics | Carlos Luna Paintings; Miramar Cultural Center - Artspark, Miramar, FL*
<br>
<br>2008 · Pablo Picasso Ceramics | Carlos Luna Paintings; Museum of Art | Fort Lauderdale, Fort Lauderdale, FL *
<br>· Carlos Luna: El Gran Mambo; American University Museum at the Katzen Arts Center, Washington, DC *
<br>· Carlos Luna: El Gran Mambo; Museum of Latin American Art – Molaa, Long Beach, CA *
<br>
<br>2007 · Carlos Luna: Personal Histories; (Oil paintings) Susquehanna Art Museum, Harrisburg, PA *
<br>· Carlos Luna: Personal Histories; (Works on amate paper) The Suzanne H. Arnold Art Gallery, Lebanon Valley Collage, Annville, PA *
<br>· Carlos Luna: Personal Histories; (Oils and works on amate paper) Polk Museum of Art, Lakeland, FL *
<br>· Art Santa Fe; Osuna Art, Washington, DC *
<br>
<br>2006 · Naci pa’ ser feliz; Gomez Fine Art-Galeria, San Juan, PR *
<br>
<br>2005 · Retratos de Carlos Luna; Bass Museum of Art, Miami Beach, FL *
<br>· Carlos Luna; Leonard Tachmes Gallery, Miami, FL
<br>
<br>2001 · Paso a Paso; Museo Poblano de Arte Virreinal, Puebla, Mexico *
<br>
<br>1998 · Women of Sensuality; Amalia Mahoney Gallery, Chicago, IL
<br>· Presencia de Carlos Luna; Casa de la Cultura, Puebla, Mexico
<br>
<br>1997 · Yo traigo de Todo; Casa de los Muñecos, University Museum, Puebla, Mexico *
<br> · Carlos Luna; Oscar Roman Gallery, Mexico DF
<br>
<br>1996 · Entre Gallos y Mujeres; Amalia Mahoney Gallery, Chicago, IL
<br>
<br>1995 · Mi Madre, Mi Patria; Museo Amparo, Puebla, Mexico *
<br>
<br>1994 · El Bestiario II; Claustro de Sor Juana, Mexico DF *
<br>
<br>1993 · El Bestiario; Javier Lumbreras Fine Arts, Coral Gables, Florida, USA *
<br>
<br>1992 · El Fuego Secreto; La Casita Gallery, Mexico DF
<br>
<br>1987 · Imágenes del Paraíso; Escuela Nacional de Artes Plasticas Gallery, Havana
<br>
<br>1986 · Carlos Luna II; Atilano Armenteros Ramos Gallery, San Luis, Pinar del Rio, Cuba
<br>
<br>1984 · Carlos Luna; Atilano Armenteros Ramos Gallery, San Luis, Pinar del Rio, Cuba
<br>
<br>
<br>G R O U P E X H I B I T I O N S
<br>
<br>2010 · !Si Cuba!; New Orleans Museum of Art, New Orleans, LA
<br> · !Latinas!; Nassau County Museum of Art, Roslyn Harbor, NY
<br>
<br>2009 · Latinamerican Art: Classic to Contemporary; Heather James Fine Art, Palm Desert, CA
<br> · Latin American Painting Now (Pintura Latino Americana de Ahora) Naples Museum of Art, Naples, FL
<br>
<br>2008 · Art in Embassies Program, United States Embassy Santiago, Chile, 2008-2011 *
<br>· Unbroken Ties: Dialogues in Cuban Art; Museum of Art | Fort Lauderdale, Fort Lauderdale, FL *
<br>· Visiones: 20th Century Selections from the Nassau County Museum of Art; Boca Raton Museum of Art, Boca Raton, FL
<br>· Art Santa Fe; Osuna Art, Washington, DC
<br>
<br>2007 · Latin American Art: Myth & Reality; Nassau County Museum of Art, Roslyn Harbor, NY
<br>· Art Miami; Gomez Fine Art-Galeria, San Juan, PR *
<br>· Arte Americas; Maxioli Gallery, Miami, FL *
<br> · Group Show. Latin American Art Gallery; Scottsdale, Arizona
<br> · Alarca, Talavera Contemporanea; El Museo Franz Mayer, Mexico DF *
<br>
<br>2006 · Unbroken Ties: Dialogues in Cuban Art; Museum of Latin American Art, Long Beach, CA *
<br> · Diversidades. Del Caribe al Sur; Gomez Fine Art-Galeria, San Juan, PR
<br>· Group show; Lurie Fine Art Galleries, Miami, FL
<br>
<br>2005 · Figuratively Speaking; Miami Art Museum, Miami, FL
<br>· Arte Americas; George Billis Gallery, Convention Center, Miami, FL *
<br>· Works on paper; Osuna Art, Bethesda, Maryland
<br>· Wet; Edge Zones, Worlds Art Building, North Miami, FL *
<br>· Growth Spurt; Edge Zones. Worlds Art Building, North Miami, FL
<br>
<br>2004 · "Latin Visions": A Collector's Insight; Nassau County Museum of Art, Roslyn Harbor, NY
<br>· Scope Miami, Art Basel. Townhouse Hotel; Leonard Tachmes Gallery, Miami, FL
<br>· It’s for the Birds; Bernice Steinbaum Gallery, Miami, FL *
<br> · Summer Miami; Leonard Tachmes Gallery, Miami, FL
<br> · TONDO; Galeria Botello, Hato Rey, PR
<br>· Art Miami; Latin Collector Gallery, Miami, FL *
<br> · Erase una vez en Mexico; Institute of Mexico in Miami, Miami, FL
<br>· American Dream; The Olga M. & Carlos Saladrigas Gallery,The Ignatian
<br>Center for the Arts, Miami, FL *
<br>· The Soul of Latin American Art; Lurie Fine Art Galleries, Boca Raton, FL
<br>
<br>2003 · Transfiguration; Palazzo Mediceo-Seravezza, Italy *
<br> · Group Show; Latin Collector, New York, NY
<br> · Group Show; Jorge M. Sori Fine Art, Miami, FL
<br> · Affordable Art Fair; Latin Collector Gallery, New York, NY
<br>· Second Year Anniversary Exhibition; Leonard Tachmes Gallery, Miami, FL
<br>
<br>2001 · Pequeño Formato; La Boheme Fine Art Gallery, Coral Gables, FL
<br>
<br>2000 · Una Constelación de Noches; Lopez Quiroga Gallery, Mexico DF *
<br>
<br>1999 · Talavera Contemporánea; San Francisco Cultural Center, Contemporary Art Gallery, Puebla, Mexico *
<br>· Millennium; La Boheme Fine Art Gallery, Coral Gables, FL
<br>· Pequeño Formato; La Boheme Fine Art Gallery, Coral Gables, FL
<br>· Mixta s/papel ’99; Lyle O. Reitzel Contemporary Art, Santo Domingo, DR
<br>· Salón de Pequeño Formato; El Espacio Gallery, Mexico DF
<br>· Colección Gobierno del Estado de Puebla; Galeria de Arte Contemporaneo, Puebla, Mexico
<br>
<br>1998 · Group Show; Drexel Gallery, Monterrey, Mexico
<br>· Arte Erótico; Casa de los Muñecos, University Museum, Puebla, Mexico
<br>
<br>1997 · Artistic Odyssey: Cuba-USA; Amalia Mahoney Gallery, Chicago, IL
<br>
<br>1996 · Premio MARCO, Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico *
<br> · Anatomía; Oscar Roman Gallery, Mexico DF
<br>· Artistas unidos contra el SIDA; Museo Universitario del Chopo, Mexico DF
<br> · El Circo, Oscar Roman Gallery; Mexico DF
<br>· Concurso Banco Interamericano de Desarrollo de Pintura Joven en México. Competition of young painters sponsored by Interamerican Development Bank in Mexico; SHCP Cultural Center, Mexico DF; Art Gallery of Nuevo Leon, Monterrey, Mexico *
<br>
<br>1995 · Advento; Group Exhibition of Contemporary Art; Tecali, Puebla, Mexico
<br>· Formas de Expresión; 180º Gallery, Puebla, Mexico
<br> · Group Exhibition; El Angel Gallery, Ciudad Mexico
<br>· Arte Contemporáneo; 180º Gallery, Puebla, Mexico
<br>
<br>1994 · One Group Show; Javier Lumbreras Fine Art, Coral Gables, FL
<br>· Ojos que no ven; In Spazio Gallery, Puebla, Mexico
<br> · Aquí y Ahora; 180º Gallery, Puebla, Mexico
<br>
<br>1993 · Nacidos en Cuba; Interamerican University of Puerto Rico, San Juan, PR *
<br>· One Group Show; Javier Lumbreras Fine Art; Coral Gables, FL
<br> · Colectiva; La Troje de San Mateo Gallery, Atlixco, Puebla, Mexico
<br>
<br>1992 · I Bienal de Pintura del Caribe; Santo Domingo, DR
<br>· VIII Bienal Iberoamericana de Arte, América Nuestro Continente, Domeq Cultural Institute, Palacio de Bellas Artes, Mexico DF *
<br>· Pabellón Cubano de las Artes; World Show, Seville 1992, Spain
<br>· La década prodigiosa; Museo Universitario del Chopo, Mexico DF *
<br>
<br>1991 · IV Bienal de La Habana. El Desafío a la Conquista y Colonización; Museo Nacional de Bellas Artes, Havana *
<br>· VIII Trienal de la India; Lalit Kala Academy, New Delhi, India
<br>· En sus marcos listos II; IV Bienal de la Havana, Havana Gallery, Havana
<br>·18 peintres de Cuba a Paris; Federation Du Val-d´Oise, Paris *
<br>· Salón de profesores; Luz y Oficio Gallery, Havana
<br>· En sus Marcos Listos; Havana Gallery, Havana
<br>· Nacidos en Cuba; Universidad de Valencia, Centro de Arte de Caracas, Caracas, Venezuela; Museo de Arte de Toluca, Toluca, Mexico *
<br>
<br>1990 · Andar Pinar; Luz y Oficio Gallery, Havana
<br>· V Salón de Premiados; Museo Nacional de Bellas Artes, Havana
<br>· Exposición Colectiva Itinerante de Serigrafía en Centros de Arte de África: School of Fine Arts, Addis Ababa, Ethiopia; Nommo Gallery, Kampala, Uganda; National Art Museum, Dar es Salaam, Tanzania; National Art Museum, Harare, Zimbabwe; Ecole de Poto-Poto, Brazzaville, Congo
<br>
<br>1989 · De lo Abstracto; Havana Gallery, Havana
<br>· Salón Nacional Asociación Hermanos Saínz; Casa del Joven Creador, Havana
<br>· Homenaje del Instituto Superior de Arte a la Casa de las Américas; Casa de las Americas, Havana
<br>· Jornada de la Cultura Cubana; Tres Mundos Gallery, Managua
<br>· III Bienal de la Habana; Instituto Superior de Arte Gallery, Havana
<br>· V Salón Provincial de Artes Plásticas; Pinar del Rio Gallery, Pinar del Rio, Cuba
<br>· IV Salón de Premiados; Museo Nacional de Bellas Artes, Havana
<br>
<br>1988 ·Arte Cubano Joven; Art Institute of Massachusetts; Boston, Massachusetts
<br>· Festival de la Creación y la Investigación Artística; Instituto Superior de Arte Gallery, Havana
<br>· Jóvenes Artistas Plásticos; Abel Santamaria Museum, Santa Clara, Cuba
<br>· IV Salón Provincial de Artes Plásticas; Pinar del Rio Gallery, Pinar del Rio, Cuba
<br>· Salón de la Ciudad; Luz y Oficio Gallery, Havana
<br>
<br>1987 · Veintitantos Abriles; Havana Gallery, Havana
<br>· Salón de la Ciudad; Servando Cabrera Moreno Gallery, Havana
<br>· III Salón Provincial de Artes Plásticas; Pinar del Rio Gallery, Pinar del Rio, Cuba
<br>
<br>1986 · Salón Interescolar; Escuela Nacional de Artes Plasticas and Academia de San Alejandro, Havana
<br>
<br>1985 · Salón Nacional de Escuelas de Arte; Museo Nacional de Bellas Artes, Havana
<br>
<br>
<br>MUSEUM AND PUBLIC COLLECTIONS
<br>
<br>New Orleans Museum of Art, New Orleans, LA
<br>El Museo del Barrio, New York, NY
<br>Nassau County Museum of Art, Roslyn Harbor, NY
<br>Bass Museum of Art, Miami Beach, FL
<br>Museum of Art | Fort Lauderdale, Fort Lauderdale, FL
<br>Museum of Latin American Art, Long Beach, CA
<br>The Suzanne H. Arnold Art Gallery, Lebanon Valley Collage, Annville PA
<br>Lowe Art Museum, Coral Gables, FL
<br>Museo Amparo, Mexico
<br>Museo Poblano de Arte Virreinal, Puebla, Mexico
<br>Museo Casa de los Muñecos, Puebla, Mexico
<br>Bank of Mexico Collection, Mexico
<br>Secretaria de Hacienda y Credito Publico Collection, Mexico DF
<br>Gobierno del Estado de Puebla Collection, Puebla, Mexico
<br>Casa de la Cultura de Puebla, Puebla, Mexico
<br>University of the Americas, Puebla, Mexico
<br>Talavera Uriarte Ceramics Collection, Puebla, Mexico
<br>Talavera de la Reina Ceramics Collection, Puebla, Mexico
<br>Museo Nacional de Bellas Artes, Havana
<br>Wifredo Lam Center, Havana
<br>The Ludwig Foundation, Germany
<br>The Jaime Wasch Foundation, Spain
<br>The Miterrand Foundation, France
<br>
<br>
<br>SCULPTURE IN PUBLIC SPACES
<br>
<br>Bass Museum of Art, Miami Beach, FL
<br>Museum of Latin American Art, Long Beach, CA
<br>
<br>
<br>A W A R D S
<br>
<br>2008 · Artist in Residence; Museum of Art | Fort Lauderdale, Fort Lauderdale, FL
<br> · New American Paintings; Juried Exhibition-in-Print, Number 76 *
<br>2001 · Grant award; Pollock-Krasner Foundation, New York, NY *
<br>1998 · Fellowship; State Government of Puebla, Puebla, Mexico
<br>1997 · Fellowship; State Government of Puebla, Puebla, Mexico
<br>1991 · First Prize; Salon de Profesores, Luz y Oficio Gallery, Havana
<br>1989 · First Prize; V Salón Provincial de Artes Plásticas; Pinar del Rio, Cuba
<br> · “IV Salón Nacional de Premiados” Award; Museo Nacional de Bellas Artes, Havana
<br>1988 · First Prize; Salon de la Ciudad, Luz y Oficio Gallery, Havana
<br>· First Prize; IV Salón Provincial de Artes Plásticas, Pinar del Rio, Cuba
<br>1987 · Honorable Mention; Salón de la Ciudad, Servando Cabrera Moreno Gallery, Havana
<br>1986 · “Salón Interescolar” Award; Escuela Nacional de Artes Plasticas and Academia de San Alejandro, Havana
<br>Special Award:
<br>In 2001, the U.S. Immigration and Naturalization Service granted Carlos Luna an EB-1-1 (Alien of Extraordinary Ability) Immigrant Visa. Granted under very special circumstances to applicants who can prove outstanding artistic, scientific, athletic, community, or scholarly performance, the EB-1-1 Visa affords the recipient and his family permanent residence status in the U.S.
<br>
<br>
<br>A U C T I O N S
<br>
<br>2009 · Sotheby's Latin American Art, [Lot 175] November 19, 2009, New York, NY
<br> · Auction 09, Contemporary Latin American Art, [Lot 43], Museum of Latin American Art, Long Beach, CA
<br>
<br>2008 · Sotheby's Latin American Art, [Lot 250] November 19, 2008, New York, NY
<br>· Sotheby's Latin American Art, [Lot 277] May 30, 2008, New York, NY
<br> · Auction 08, Contemporary Latin American Art, [Lot 31], Museum of Latin American Art, Long Beach, CA
<br>· The Rare Event Auction, Fairchild Tropical Botanic Garden, Coral Gables, FL
<br>
<br>2007 · Sotheby's Latin American Art, [Lot 290] November 21, 2007, New York, NY
<br>· The Rare Event Auction, Fairchild Tropical Botanic Garden, Coral Gables, FL
<br>· Auction Carnaval do Rio – Oba, The ASU Art Museum, Tempe, AZ
<br>
<br>2006 · Sotheby's Latin American Art, [Lot 185] May 25, 2006, New York, NY
<br>· Auction 06, Contemporary Latin American Art, [Lot 8 & 151], Museum of Latin American Art, Long Beach, CA
<br>
<br>2005 · Auction 05, Contemporary Latin American Art, [Lot 22], Museum of Latin American Art, Long Beach, CA
<br> · Internacional Kids Fund, Latin American Art Auction 2005, Miami Art Central, Miami FL
<br>
<br>* Exhibition accompanied by catalogue

10 Maneras de Volar 10

gouache and charcoal on Amate paper

WILLIAM THEOPHILUS BROWN - Untitled (Two Nudes) (Two Figures) - acrylic and charcoal on paper - 11 x 15 in.

WILLIAM THEOPHILUS BROWN

Untitled (Two Nudes) (Two Figures)

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)

25 1/2 x 19 1/2 in.

charcoal, pencil and wash on paper

DAVID MACH - Matchstick Head (large black long head with head gear) - matchstick - 12 1/2 x 6 1/2 x 6 in.

Matchstick Head (large black long head with head gear)

12 1/2 x 6 1/2 x 6 in.

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)

acrylic and charcoal on paper

PAUL WONNER - Artist Drawing The Model - acrylic and pencil on paper - 12 x 10 1/4 in.

Artist Drawing The Model

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.

Trees and Rock on the Bay

acrylic and pencil on paper

PAUL WONNER - In Lafayette Park VI - acrylic and pencil on paper - 13 5/8 x 20 5/8 in.

In Lafayette Park VI

13 5/8 x 20 5/8 in.

acrylic and pencil on paper

CARLOS LUNA - Bimbam - oil on canvas - 14 x 12 in.

WILLIAM THEOPHILUS BROWN - Split Rock, Cisco Grove - acrylic on canvas - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

Split Rock, Cisco Grove

acrylic on canvas

PAUL WONNER - At Mission Rock - acrylic and pencil on paper - 14 1/2 x 16 in.

At Mission Rock

14 1/2 x 16 in.

acrylic and pencil 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)

acrylic on paper

WILLIAM THEOPHILUS BROWN - Untitled Drawing - pencil and wash on paper - 15 x 11 in.

WILLIAM THEOPHILUS BROWN

Untitled Drawing

pencil and wash on paper

MAURICE GOLUBOV - Untitled - watercolor on paper - 2 1/4 x 4 1/2 in.

MAURICE GOLUBOV

2 1/4 x 4 1/2 in.

watercolor 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)

15 x 10 3/4 in.

pencil and wash on paper

MAURICE GOLUBOV - Untitled - gouache on paper - 2 3/8 x 1 7/8 in.

MAURICE GOLUBOV

2 3/8 x 1 7/8 in.

gouache 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)

14 1/2 x 11 1/2 in.

pencil and wash on paper

NATHAN OLIVEIRA - Small Figure #3 - bronze with unique patina - 6 1/4 x 4 x 2 3/4 in.

NATHAN OLIVEIRA

Small Figure #3

1963, cast 2008

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

bronze with unique patina

NATHAN OLIVEIRA - Small Figure #2 - bronze with unique patina - 6 1/4 x 4 x 2 3/4 in.

NATHAN OLIVEIRA

Small Figure #2

1963, cast 2008

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

bronze with unique patina

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Standing Nude, Arm on Head) - pencil and wash on paper - 15 x 11 1/4 in.

WILLIAM THEOPHILUS BROWN

Untitled Drawing (Standing Nude, Arm on Head)

15 x 11 1/4 in.

pencil and wash on paper

WILLIAM THEOPHILUS BROWN - Self Portrait with Sketchbook - gouache - 8 1/2 x 6 in.

WILLIAM THEOPHILUS BROWN

Self Portrait with Sketchbook

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)

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.

5 1/2 x 2 3/4 x 3 3/4 in.

DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.

(small white and lavender)

5 1/2 x 2 1/2 x 2 3/4 in.

WILLIAM THEOPHILUS BROWN - Self Portrait - gouache - 7 1/4 x 6 in.

WILLIAM THEOPHILUS BROWN

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

WOJCIECH FANGOR - White Ellipse - oil on canvas - 25 x 28 in.

WOJCIECH FANGOR

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