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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

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

acrylic and graphite on canvas

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

FREDERICK FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

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

VINCENT VAN GOGH

Uitzicht over Den Haag met de Nieuwe Kerk

9 7/8 x 14 1/16 in.

watercolor, gouache, and pen and brown ink on paper

"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within."
<br>-Henry Moore
<br>
<br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.

Reclining Figure: Circle

17 x 35 x 13 in.

JAMES ROSENQUIST - Television or the Cat's Cradle Supports Electronic Picture - acrylic on canvas over panel - 66 x 240 in.

JAMES ROSENQUIST

Television or the Cat's Cradle Supports Electronic Picture

acrylic on canvas over panel

ROBERT RAUSCHENBERG - Shuttle Buttle/ROCI USA (Wax Fire Works) - acrylic, fire wax, enamel, object on mirrored aluminum - 72 x 144 x 19 in.

ROBERT RAUSCHENBERG

Shuttle Buttle/ROCI USA (Wax Fire Works)

72 x 144 x 19 in.

acrylic, fire wax, enamel, object on mirrored aluminum

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

ADOLPH GOTTLIEB

95 3/4 x 144 1/4 in.

KENNETH NOLAND - Passage - acrylic on canvas - 69 1/2 x 140 1/2 in.

69 1/2 x 140 1/2 in.

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.
<br>
<br>The Nio are Indian in origin — manifestations of Vajrapani Bodhisattvas. By some accounts, they protected the Buddha when he traveled throughout India.
<br>
<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.
<br>
<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.
<br>
<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.
<br>
<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.
<br>
<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

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

Girl Seated Against Square Wall

conceived in 1957-

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

bronze with patina

JAMES ROSENQUIST - Samba School - oil on canvas over panel - 78 x 132 in.

JAMES ROSENQUIST

oil on canvas over panel

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

The Human Condition

FRANK STELLA - The Musket - mixed media on aluminum - 74 1/2 x 77 1/2 x 33 in.

74 1/2 x 77 1/2 x 33 in.

mixed media on aluminum

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

43 x 128 x 12 in.

three dimensional mixed media on board, mounted on wood

Jim Dine was an American Pop artist whose work meditated on objects with childlike appeal to find a universal and nostalgic language. Dine’s robes are among the most recognizable images to have emerged from his long and illustrious career. They were first shown at Sidney Janis gallery in the fall of 1964 – this is one such example. Double Silver Point Robes is a large-scale mixed media assemblage. The work is executed in silverpoint – a technique that utilizes a piece of silver as a drawing instrument over a specially prepared ground by which it oxidizes over a period of months to create a warm brown tone. The two joined canvases feature blocks of wood in place of where the heads should be and a hanging wood element that moves in response to air currents.

Double Silver Point Robes

53 1/2 x 96 in.

silverpoint and acrylic on 2 joined canvases, wood, knife, and string in artist's frame

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum.
<br>
<br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”
<br>
<br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.

Overwhelming Love

household gloss, butterflies

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).
<br>
<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.

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

50 x 52 1/2 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.
<br>
<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.
<br>
<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

Pablo Picasso was a prolific draftsman, and his drawings today are ensconced in the canon of Modern art. "Les Dejeuners" (1961) is one of a series of works inspired by Edouard Manet's "Le Déjeuner sur l'herbe" (1863). The work showcases Picasso's remarkable ability to capture the essence of a composition with the minimal use of line.
<br>
<br>Over his several decades-long career, Picasso embraced the concept of paying homage to the great masters of Art History that preceded him. Manet and Rembrandt would emerge as two of his favorite idols. Countless paintings, drawings, and prints were completed using themes from these two artists. The reclining nude female figure in the foreground of "Les Dejeuners" is perhaps a nod to the 1863 painting by Manet, a risqué subject for its 19th-century audience.

10 1/2 x 16 3/4 in.

pencil on paper

Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

"The 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.
<br>
<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.

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

ALEXANDER CALDER

Woman with Square Umbrella

Figurative painting in Post-War American art was a counterpoint to the prevalent trend of Abstract Expressionism. Artists like George Tooker added elements of Freudian psychology and psychological suspense in their visions of contemporary life. "Woman and Child" (2000) depicts one of the artist's favored subjects, the theatre loggia. The visual motif of a mother and child is analogous to the Madonna and Child, a prominent theme among Renaissance painters, and Tooker's egg-tempera medium evokes the formal aspects of Renaissance painting.
<br>
<br>Early studies at the Art Students League in New York served as the foundation for Tooker's mastery of the painting medium. His work is included in important museum collections, including the Smithsonian American Art Museum and the Metropolitan Museum of Art, New York.

Woman and Child

17 1/2 x 23 1/2 in.

egg tempera on panel

Figurative painting in Post-War American art was a counterpoint to the prevalent trend of Abstract Expressionism. Artists such as George Tooker added elements of Freudian psychology and psychological suspense in their visions of contemporary life. The artist's signature egg-tempera medium used in "Moon Rise" evokes the formal aspects of Renaissance painting.
<br>
<br>Early studies at the Art Students League in New York served as the foundation for Tooker's mastery of the painting medium. His work is included in important museum collections, including the Smithsonian American Art Museum and the Metropolitan Museum of Art, New York.

17 5/8 x 26 1/2 in.

egg tempera on gesso panel

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

25 x 17 1/2 x 2.25 in.

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

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

201 x 48 x 48 in.

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

201 x 48 x 48 in.

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

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

glass hologram set

Manuel Neri was a central figure in the Bay Area Figurative Movement in the 1960s. Instead of abstract forms, the group emphasized emotion through the power of the human form. The present work, "Untitled" (1982), explores the female form on a life-sized scale. Neri preferred to work with just one model throughout his 60-year career, Maria Julia Klimenko. The absence of a face in many of the sculptures adds an element of mystery and ambiguity. The focus of the composition in "Untitled" is the structure and form of the figure. Manuel Neri is represented in numerous museum collections worldwide, including the Addison Gallery/Phillips Academy; Anderson Collection at Stanford University; Art Institute of Chicago; Cantor Arts Center, Stanford University; Cincinnati Art Museum; Crocker Art Museum, Sacramento, CA; Denver Art Museum, the El Paso Museum of Art, Texas; Fine Arts Museums of San Francisco; Harvard University Art Museums; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, New York and the National Gallery of Art, Washington, DC.

67 x 24 x 26 in.

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.

"Purple Tree" from 1936 shows the genesis of the artist's evolution into total abstraction. One of a series of Casein works on panel completed in 1936, the present work is fully documented and recorded in the Hans Hofmann Catalogue Raisonné. "Purple Tree" shows Hoffmann's "push/pull" color theory, where he placed warm and cool colors side by side. Hofmann was an influential instructor for Helen Frankenthaler, Joan Mitchell, Frank Stella, Lee Krasner, and Louise Nevelson (among many others).
<br>
<br>The 2019 exhibition "Hans Hofmann: The Nature of Abstraction" at the University Museum in Berkeley, California, featured 70 works and showed the evolution of Hofmann throughout his career.

casein on board

PABLO PICASSO - Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir - etching on Montval laid paper - 15 1/4 x 19 5/8 in.

Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir

15 1/4 x 19 5/8 in.

etching on Montval laid paper

Chicago native Robert Natkin was a leading abstract painter in the 20th century. Influenced by the colors and forms of Willem de Kooning, Pierre Bonnard, and Paul Klee, Natkin developed his own style of rich color and texture. This large-scale, jewel-toned canvas is a wonderful and rare early painting from a crucial period in American art, the 1950s.
<br>
<br>Associated with Abstract expressionism, Color field painting, and Lyrical Abstraction, Natkin's work threads throughout many major American art movements and cities. He received a retrospective exhibition in 1969 at the San Francisco Museum of Art (now SFMOMA), and completed a mural in New York at 1211 Avenue of the Americas, a corner of the Rockefeller Center, in 1992. Natkin is represented in over 24 museum collections worldwide, including the Art Institute of Chicago, the Smithsonian American Art Museum, the Solomon R. Guggenheim Museum in New York, and the Centre Pompidou in Paris.

82 x 74 1/2 in.

Jennifer Steinkamp is at the forefront of the video art and conceptual art movements. "Judy Crook" (2013) is a monumental video installation work that depicts a tree's various seasons and forms. The enhanced images are larger than life, yet they do not dominate the space completely; you as the viewer are a welcome part of the installation. Steinkamp was recently included in the California Video exhibition at the Getty Museum in Los Angeles, and is poised to continue her groundbreaking studio work for decades to come.

JENNIFER STEINKAMP

Projector: 21 x 19 x 6 1/2 in.; Memory component: 1 x 8 x 7 in.

digital animation and projector

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." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Sancai-Glazed Earth Spirit

Tang Dynasty (618-

47 1/4 x 14 x 14 in.

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.
<br>
<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

watercolor on paper

CHUCK CLOSE - Self Portrait - suite of 4 glass holograms - 14 x 11 in. ea.

14 x 11 in. ea.

suite of 4 glass holograms

HELMUT NEWTON - Rue Aubriot, Paris 1975 - vintage gelatin silver print - 13 1/4 x 8 7/8 in.

Rue Aubriot, Paris 1975

13 1/4 x 8 7/8 in.

vintage gelatin silver print

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

Jean-Michel Basquiat Six Polaroids

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

Polaroid, Polacolor

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

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

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.
<br>
<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

My World and Yours

graphite on paper

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

HELMUT NEWTON - Woman into Man, Hotel George V, for French Vogue, 1979 - gelatin silver print - 18 1/2 x 12 in.

Woman into Man, Hotel George V, for French Vogue, 1979

18 1/2 x 12 in.

gelatin silver print

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 - 37 1/2 x 53 x 31 in.

Big Easy Volume 2

37 1/2 x 53 x 31 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." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

Sancai-Glazed Earth Spirit

BILL HENSON - Untitled #95 - CB/JPC SH143 N23A, type C photograph - 49 1/2 x 68 1/2 in.

49 1/2 x 68 1/2 in.

CB/JPC SH143 N23A, type C photograph

HELMUT NEWTON - Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975 - vintage gelatin silver print - 8 x 11 3/4 in.

Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975

vintage gelatin silver print

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

MAURICE GOLUBOV

JESSIE ARMS BOTKE - The White Peacock - oil on canvas - 25 x 21 in.

JESSIE ARMS BOTKE

The White Peacock

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

Tuche, Greek Goddess of Fortune

12 x 9 x 14 in.

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

Self Portrait with Mask

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

Any Warhol Self-Portrait

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

DEWITT PARSHALL - Hermit Creek Canyon, Grand Canyon - oil on canvas - 40 3/4 x 50 in.

DEWITT PARSHALL

Hermit Creek Canyon, Grand Canyon

40 3/4 x 50 in.

CHARLES REIFFEL - Mountain Camp - oil on board - 20 x 21 3/4 in.

CHARLES REIFFEL

20 x 21 3/4 in.

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

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

Polaroid, Polacolor

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

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

Polaroid, Polacolor

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

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

Polaroid, Polacolor

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

Andy Self Portrait

silver gelatin print

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

Jean-Michel Basquiat in Soto Sculpture

silver gelatin print

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

Maurice the Dog Two Polaroids

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

Polaroid, Polacolor

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

Andy Warhol and Michael Jackson

silver gelatin print

JEAN MANNHEIM - Turquoise Creek - oil on board - 20 x 24 in.

Turquoise Creek

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

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

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

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

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

Julian Schnabel 4 Polaroids

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

Polaroid, Polacolor

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

Donald Baechler

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

Polaroid, Polacolor

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice.
<br>
<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

graphite on paper

CLARENCE HINKLE - Rincon Vista - oil on board - 24 x 30 in.

CLARENCE HINKLE

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

Women Welders, The Ship

14 1/4 x 28 3/8 in.

graphite on paper

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

gelatin silver print

BENJAMIN BROWN - Poppy Fields, San Gabriel Valley - oil on canvas - 10 x 14 in.

Poppy Fields, San Gabriel Valley

CARL SAMMONS - Humboldt County Hills, California - oil on canvas - 24 x 30 1/4 in.

Humboldt County Hills, California

24 x 30 1/4 in.

RAY STANFORD STRONG - Spring, Black Mountain, Marin County - oil on canvas - 24 x 44 in.

RAY STANFORD STRONG

Spring, Black Mountain, Marin County

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

Henry Geldzahler

4 1/2 x 3 1/2 in.

Polaroid, Polacolor

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

Andy Warhol and Janice Dickenson

silver gelatin print

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.

Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

Scatological Scene

acrylic and watercolor on linen

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

4 1/4 x 3 3/8 in.

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

silver gelatin print

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

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

Polaroid, Polacolor

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

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

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

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

3 3/8 x 4 1/4 in.

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

4 1/4 x 3 3/8 in.

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

Grace Jones and Steve Rubell

silver gelatin print

WILLEM DE KOONING - For Lisa - lithograph - 17 1/2 x 23 1/4 in.

WILLEM DE KOONING

17 1/2 x 23 1/4 in.

THOMAS MCGLYNN - California Landscape - oil on canvas - 25 x 30 in.

California Landscape

ZHANG HUAN - Foam (11) - chromogenic print - 44 1/2 x 33 in.

44 1/2 x 33 in.

chromogenic print

EDWARD STEICHEN - Eugene O'Niell - silver gelatin print - 13 x 10 in.

EDWARD STEICHEN

silver gelatin print

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 - 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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