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PETER HALLEY (b. 1953)

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Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Eulogy (Commission)2004159 x 72 x 4 in. acrylic on canvas

Provenance

McClain Gallery
Private Collection, Texas

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

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The Wildenstein Catalogue Raisonné of Monet paintings offers a note on this painting: “During his second stay in Pourville-Varengeville, Monet painted the customs’ officer’s cottage several times and from various angles. This general view shows it overhanging the Gorge du petit Ailly." Monet spent six months in this part of Normandy in 1882, and the cabin in this painting was one of his favorite motifs to revisit. It appears in eighteen paintings from that year, and another dozen from a later trip to the area in 1897. His fixation with this house on the hill later became a habit of working serially – each canvas a singularity registering a unique guise yet set sequentially and in direct relationship to other works within the series. Monet circumambulated and painted the cabin from so many angles that as a group, the paintings are not as clearly recognizable as a series as the celebrated grain-stacks, Rouen cathedral, or poplar series. Still, it is a fixed and iconic element that reappears in many of Monet’s paintings from this period.
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<br>Japanese woodblock prints were a life-long source of inspiration for Monet, and this piece in particular draws upon Hiroshige's "Utsu Mountain, Okabe," c. 1833. This print is part of a series called “The Fifty-three Stations of the Tōkaidō,” which documented scenic views from the major road that linked the shōgun’s capital, Edo, to the imperial one Kyōto. Monet amassed an extensive collection of woodblock prints – many of which are still on view at Giverny.

CLAUDE MONET

AI WEIWEI

"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.

THOMAS MORAN

"Femme debout et vue de face agrafant son corset" (1883) is an intimate scene of a dancer dressing that has remained in the same private collection for 13 years.
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<br>Here Degas experiments with Intimism, a cross current in 19th-century art where personal domestic scenes and interiors were depicted with intimate attention to the mood and feeling of the scene. The commanding, vertical composition accommodates a brilliant application of pigment on the right side of the canvas, where Degas experiments with atmospheric perspective. The gradations of color and light become as important as the figure for Degas -- perhaps he is paying homage to the "Nabis" circle, including Éduard Vuillard and Pierre Bonnard.
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<br>Comparable quality Degas works are rare in the marketplace. The majority of monumental canvases have been acquired by prominent institutions worldwide, including the National Gallery in London, the Metropolitan Museum of Art in New York, and Musée d'Orsay in Paris, among many others.

EDGAR DEGAS

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

FREDERICK FRIESEKE

Alexander Calder's "The Palm Tree" (1947) has an understated beauty and brings to life Calder's mastery of the oil paint medium. The present work is registered in the archives of the Calder Foundation, New York, under application number #A08381. This painting was acquired by the current owner directly from Perls Galleries in New York in 1974. Perls was one of the primary dealers of Calder's work. The painting has never been to auction and has remained in the same private collection since 1974.

ALEXANDER CALDER

By the 1970s, when "Cantilever" was created, Alexander Calder was at the height of artistic prowess. He created this piece with an informed eye, having been working for the better part of the century on identifying and expounding upon his unique creative vision. One of the most instantly recognizable artists of his time, Calder was referred to as an "Engineer of Beauty" by his close friend and neighbor Robert Osborn. "Cantilever" is a bold experiment in balance, form, and color in the third dimension.
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<br>The work was exhibited at the Perls Gallery, Calder's primary dealer. Since that time, the work has remained in the same private collection. It is registered in the archives of the Calder Foundation, New York, under application number A08148.
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<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."

ALEXANDER CALDER

"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 Homer’s works from of 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.

WINSLOW HOMER

This early Matisse portrait, “Nu accoudé,” was created at a time when Synthetic Cubism was prominent, yet Matisse remains true to his more representational depiction of his subject. Influenced by approaches to visual art in North Africa and the Middle East, Matisse brought European art a fresh new aesthetic. The odalisque, or more generally the female figure, features prominently in the work of Matisse: drawings, prints, and paintings all depict the nude as well as partially clothed figures.
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<br>Drawing was the foundation for Matisse’s paintings. In the present work, you can see compositional attention that developed through the close study of his subject -- and the artist’s keen powers of observation and understanding of the sitter. “Nu accoudé” has an illustrious exhibition history and provenance. In addition to being owned by Galerie Bernheim-Jeune, the work was featured in a 1955 exhibition at the San Francisco Museum of Art.
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<br>Upon Matisse’s death in 1954 Pablo Picasso said, “When Matisse died, he left me his odalisques as a legacy.”

HENRI MATISSE

Alexander Calder’s “Red Versus Yellow” (1973) evokes a delicate sense of balance in form and color. Calder began working on sculptures as early as 1909, and these early, often austere, pieces later developed into his iconic “Stabiles” and “Mobiles.” The “Stabile” form ranges in size from palm-sized works to monumentally scaled public art installations. The present work, “Red Versus Yellow” is a modestly sized work that shows the artist working with the confidence of a master. The piece is registered in the archives of the Calder Foundation, New York, under application number #A08159.
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<br>1973 was a prolific year for the artist; many seminal works were created in that year including, “Stegosaurus,” a 50’ tall sculpture created for the Wadsworth Atheneum, Hartford, Connecticut.
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<br>Calder's work is held in the collections of major museums worldwide including The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art in New York, the Art Institute of Chicago, and the Tate Gallery in London among many others.

ALEXANDER CALDER

Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.

ANISH KAPOOR

Rothenberg created Diagonal (1975) in the year of her breakout exhibition at 112 Greene Street in New York. Her Horses series reintroduced representational imagery when the dominant trends were abstraction and Minimalism. The painting’s expressive brushwork, sense of movement, and simplified forms result in a triumphant blend of figuration and abstraction. As in many of Rothenberg's important works, Diagonal evokes the muted and enchanting colors and atmosphere of her adopted home in the American Southwest.

SUSAN ROTHENBERG

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.

SAM FRANCIS

One of the most celebrated artists of the American West, Charles Russell deeply appreciated Native American culture with particular focus on the Northern Plains Indians. He spent the summer of 1888 living near the camps of the Blackfeet, Piegan, and Blood Indians in Canada, which would inspire his work for decades to come. One of the first "Western" artists to live the majority of his life actually in the West, Russell lived in Montana from the age of 16.
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<br>Russell achieved great popularity during his lifetime for his emotionally charged depictions of the people and places he observed. This direct familiar observation added a depth to his work that was groundbreaking and affecting. Russell would work on the preliminary studies for his paintings in nature, out in the wild.
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<br>“Cascade Buffalo Hunt” has remained in a private collection for nearly 50 years.

CHARLES RUSSELL

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.

N.C. WYETH

"Bateaux et Barques aux Martigues" (1907) exhibits the Fauvist style that would come to define Modern European Art from about 1904-1910. The Fauves or "Wild Beasts," as they were known for their revolutionary and unrestrained use of color, would exhibit together and work in the same French villages and locations. Henri Matisse, André Derain, Maurice de Vlaminck, and others in the group first showed together in 1905 at the annual Salon d'Automne in Paris.
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<br>Raoul Dufy was particularly fond of painting coastal scenes in the south of France; he would return to paint the stunning Mediterranean landscape throughout his career. "Bateaux et Barques aux Martigues" shows the influence of Paul Cezanne in its geometric structure and attention to composition. The present work was exhibited in the 2015 Museo Thyssen-Bornemisza exhibition, "Raoul Dufy."

RAOUL DUFY

Shortly after his major retrospective exhibition at the Museum of Modern Art in New York in 1941, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year," Les Yeux Fleuris," Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Eyes appear in Dalí paintings, sculpture, and jewelry throughout his career — as late as the 1981 painting Argus and, most notably, in paintings Dalí made for the dream sequences of the film Spellbound directed by Alfred Hitchcock.

SALVADOR DALI

Studio interiors remained a favored subject for artists throughout the 19th and 20th Centuries. David Hockney’s “Bridlington Studio Interior” (1996) was painted during a difficult time for the artist. His mother’s illness in 1996 compelled the artist to use warmer colors and paint simple subjects such as still lifes, portraits, and interiors. The studio depicted here was located at Hockney's mother's house in Bridlington on the Yorkshire coast, evoking a sense of nostalgia that is deeply personal to the artist and drawing the viewer into the space. This emotionally charged work features a space devoid of figures; the easel and chairs are the only intimations of the presence of people.
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<br>“I love life. I write it at the end of letters – 'Love life, David Hockney.' When I’m working, I feel like Picasso, I feel I’m 30. When I stop I know I’m not, but when I paint, I stand up for six hours a day and yeah, I feel I’m 30. Picasso said that, from the age of 30 to 90, he always felt 30 when he painted.”- David Hockney

DAVID HOCKNEY

Studio interiors remained a favored subject for artists throughout the 19th and 20th Centuries. David Hockney’s “Bridlington Studio Interior” (1996) was painted during a difficult time for the artist. His mother’s illness in 1996 compelled the artist to use warmer colors and paint simple subjects such as still lifes, portraits, and interiors. The studio depicted here was located at Hockney's mother's house in Bridlington on the Yorkshire coast, evoking a sense of nostalgia that is deeply personal to the artist and drawing the viewer into the space. This emotionally charged work features a space devoid of figures; the easel and chairs are the only intimations of the presence of people.
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<br>“I love life. I write it at the end of letters – 'Love life, David Hockney.' When I’m working, I feel like Picasso, I feel I’m 30. When I stop I know I’m not, but when I paint, I stand up for six hours a day and yeah, I feel I’m 30. Picasso said that, from the age of 30 to 90, he always felt 30 when he painted.”- David Hockney

DAVID HOCKNEY

Combining sculptural elements on a canvas work, "Vanity Unfair for Gordon Matta Clark" evokes the experimental nature of the Pop Art movement. Created as a tribute to his close friend, Gordon Matta Clark, the present work is a layered creation, each element having significance and a deeper symbolic meaning.
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<br>Starting as a commercial sign painter, Rosenquist learned the power of large-scale bold images. These large images, vibrant colors, and recognizable imagery would be the mainstay of Rosenquist's artistic output. "Much of the aesthetic of my work comes from doing commercial art," the artist once said. "I painted pieces of bread, Arrow shirts, movie stars. It was very interesting. Before I came to New York I wanted to paint the Sistine Chapel. I thought this is where the school of mural painting exists."
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<br>Rosenquist's works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among many others.

JAMES ROSENQUIST

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

TOM WESSELMANN

Georgia O'Keeffe is widely recognized as a matriarch of modernism. Her early works from the 1910s set the standard for the avant-garde movement in New York when she exhibited in Alfred Stieglitz's 291 gallery. The present work, "It Was Yellow and Pink I" (1959), is the first in a series of three paintings of the same subject, a river and its tributaries viewed from above.
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<br>In her landscape paintings, O'Keeffe sought to create an accurate depiction of the scene, taking very few liberties with the composition. Much like the Impressionists before her, O'Keeffe was known to depict the same scene at different times to capture the changing nature of the subject's light and mood.
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<br>The other two paintings in this series are in the permanent collections of the Cleveland Museum of Art and the Art Institute of Chicago. O'Keeffe bequeathed the works to those institutions with the aim that they should be held in each museum collection in perpetuity.

GEORGIA O'KEEFFE

"Ohne Titel (Merzbild Mit Schuhsohle)," Untitled (Merz Picture with Show Sole)," is representational of European Avant Garde trends of the early 20th Century, including most notably the Dada movement. Kurt Schwitters was born in Hanover, Germany, in 1887 and studied at the Dresden Academy. As an early associate of the Dada movement, it was planned for Schwitters to start a Hanover outpost of sorts for the group, but this never came to fruition.
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<br>An assemblage of found and crafted objects, the present work is typical of the Merz style, for which Schwitters is most highly lauded. Merz is a made-up term and describes the large assemblages and room installations that comprised the artist's output during the 1920s and 1930s. Schwitters is known as a father of installation art and was incredibly influential to artists such as Jasper Johns, Robert Rauschenberg, and Anselm Kiefer.

KURT SCHWITTERS

"San Loretto" (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again."
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<br>The painting shows Kiefer’s desire to create a self-contained world within the confines of the canvas; the winged form flies effortlessly across a vast, open landscape created using Kiefer’s favored thick-Impasto surface.
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<br>Kiefer draws from a variety of sources for the subjects of his work, including Judeo-Christian themes, mythological subjects, and German history itself. Kiefer can produce some of the most provocative and innovative works of our time using his automatic process. Much like the spontaneous working nature of Jackson Pollock before him, Kiefer is spiritually connected to the work during the creative process, letting his subject come through at the moment.
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<br>In honor of Kiefer’s 70th birthday, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition for the artist in 2015. The present work has been held in a private collection since its creation.

ANSELM KIEFER

DAVID BREUER-WEIL - Flight - bronze - 275 in.

DAVID BREUER-WEIL

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

JOHN MARIN

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.

IRVING NORMAN

A favorite artist of Solomon R. Guggenheim, Bauer was a prominent early figure of the non-objective art movement at the beginning of the 20th century. "Larghetto III" is among a series of early works with musically inspired titles. Guggenheim so admired the artist that he purchased more than 300 of Bauer's works, forming the foundation of his collection.
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<br>The opening of Guggenheim's Museum of Non-Objective Painting in 1939 featured work by Rudolf Bauer and Wassily Kandinsky. Classical music played in the exhibition space.
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<br>German-born Bauer worked closely with the legendary "Der Sturm" gallery in Berlin. He was also imprisoned by the Gestapo for some time because of his subversive art. He emigrated to the United States upon his release in 1939.
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<br>The influence of Bauer's work can be seen in the paintings of Jackson Pollock and Arshile Gorky, among many others.

RUDOLF BAUER

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.

FERNAND LEGER

One of the most important and influential of the Abstract Expressionists, Helen Frankenthaler is famed for her soak-stain method. She thinned oil paint with turpentine before pouring it onto unprimed and unstretched raw canvas. This technique allowed the paint to spread across the surface while also soaking into the canvas itself, rather than sitting on top of a primer. She would call the meeting of colors on the canvas “well-ordered collisions.”
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<br>Frankenthaler’s method would become an impetus for the Color Field branch of Abstract Expressionism with Morris Louis citing her as an influence. Her influence was so immense, Louis even declared that she was “the bridge from [Jackson] Pollock to what was possible."
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<br>This painting showcases her switch to acrylics and the combination of technique at play – her soak-stain method layered with gestural thick swaths of paint, called impasto. The palette here is alluring in pale pink with thick accents of silver, graphite and copper (minerals), yellow, orange, and red. The title "Mica" has a double meaning, referring to the mineral group of colors and the Latin "micare" meaning "to glitter."

HELEN FRANKENTHALER

Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

Not Vital

Society portraiture was an inventive exercise for Warhol at a time when formal portraits were thought of as a relic of a bygone era. More than a decade before creating the present example, "Portrait of a Lady" (1984), Warhol began referring to himself as "just a travelling society painter." Many of his best-known works are his commissioned pieces of glamorous and prominent figures of popular culture. All of his society portraits are the same dimensions as Warhol wanted them to be able to fit together in one space, forming one large Portrait of Society.
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<br>In preparation for each portrait, Warhol took several Polaroids of his subject. From these initial Polaroids, he developed screens for the unique portrait to be printed in ink over the painted canvas. Warhol completed his first commissioned portrait in 1963, of Ethel Scull. The portraits could be commissioned in groups, and sitters could have more than one made with varying colors and subtle differences in execution.

ANDY WARHOL

LARRY RIVERS

DAVID BREUER-WEIL - Alien - bronze with brown patina - 236 1/8 in.

DAVID BREUER-WEIL

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.
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<br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015. This painting has remained in the same private collection since its creation.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.
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<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

Carl Andre’s floor sculptures are typically made from glowing tiles of lead, zinc, or copper. They differ from most other minimalist artwork in their accessibility: they are meant to be walked on. Art historically, Andre places himself in the lineage of Constantin Brancusi and Henry Moore. Andre continues in their tradition of reducing the vocabulary of sculpture to its most vital and simple forms. The works also speak to Donald Judd’s idea of “specific objects,” which emphasized the phenomenological experience of the viewer and an exploration of structure and space.

CARL ANDRE

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. He is perhaps best recognized for paintings incorporating words and phrases, or for his many photographic books, all influenced by the deadpan irreverence of the Pop Art movement.
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<br>Ruscha employs words as images, taking phrases out of their original context and transforming them into subject matter. As with his East Coast Pop counterparts Andy Warhol and Roy Lichtenstein, Ruscha’s initial artistic training was in commercial art – a background evident in his iconic typographical works. In this painting from 2013, the words “Evolution Revolution” overlay a serene mountain silhouette. Describing his inspiration, Ruscha once said, “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.”

ED RUSCHA

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 red 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.

ANDY WARHOL

GRANVILLE REDMOND - The Evening Desert - oil on canvas - 41 x 49 in.

GRANVILLE REDMOND

Andy Warhol, who famously said that, “In the future, everybody will be famous for 15 minutes,” was known for his portraits of influential and powerful celebrities, businesspeople, and socialites. He was obsessed with exploring hallmarks of a consumer society such as wealth and fame. From his renowned Factory studio in New York, Warhol became a pop culture icon, one of the most important artists of the 20th century, and a name synonymous with Pop art.
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<br>Warhol's notable Death and Disaster series addresses depictions of death in the media, commenting on desensitization through repeated imagery. Often using photos from mass-circulated newspapers, magazines, and tabloids, Warhol took them out of the journalistic context and appropriated them in artwork. “Electric Chairs” (1971), based on an image of the electric chair at Sing Sing Prison, belongs to this series. Warhol first used this subject matter in 1963 and returned to the image for this 1971 set of prints, in which he put more prominence on the chair by cropping the image. Here, Warhol repeats the image ten times in different color combinations. Each screenprint is hand-signed and stamped on the verso.

ANDY WARHOL

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

After his move to Paris in 1950, Sam Francis began to use vibrant, bold color in his painting. Influenced by Henri Matisse, Francis evolved his palette to include bright reds, yellows, whites and blues. “New York, New York” is an exemplary work that shows the influence of the Parisian art scene on the artist. Francis provides the link between the audacious American Abstract Expressionism and the more calligraphic European Tachisme.

SAM FRANCIS

"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.

CHILDE HASSAM

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.

JIM DINE

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.
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<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.”
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<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.

DAMIEN HIRST

LARRY RIVERS

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.”

GABRIEL OROZCO

Russian-born painter Leon Gaspard lived in Taos, New Mexico, for most of his life and traveled extensively to paint. His compositions were typically populated with crowds of people, depicting folk traditions and the bustling landscapes of small towns in Russia, Asia, and the Taos Valley, where he maintained a permanent residence from 1918 until his death in 1964. Unlike many artists who relocated to the American Southwest and incorporated its imagery and scenery into their paintings, Gaspard continued to create paintings of far off places.
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<br>"Siberian Sleighriders" from 1921 relates to a two-year excursion to Mongolia, Manchuria, and Siberia. This location was of personal importance to Gaspard. After his marriage to a wealthy American ballerina whom he met in Paris, their honeymoon was a two-year horseback trip through Siberia.
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<br>In 1965, the New Mexico Museum of Art held a retrospective exhibition of Gaspard in his memory.

LEON GASPARD

Gary Hume's "Seabird" (2006) is a bold, innovative work that shows his talent in seamlessly forming a geometric composition with his signature gloss-paint on aluminum technique. This piece is bright, playful, and an excellent example of Hume's work.
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<br>Gary Hume was an early member of the "YBA" or Young British Artist group. Hume participated, alongside Damien Hirst, in the seminal 1988 London exhibition "Freeze." Elected to the Royal Academy in 2001, Hume was also nominated for the 1996 Turner Prize. The artist was also subject of a critically acclaimed 2013 retrospective exhibition at the Tate Britain.
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<br>Hume's work is widely represented in Museum collections worldwide, including the Metropolitan Museum of Art in New York, The Philadelphia Museum of Art, and the Tate in London.

GARY HUME

In the 1970s, Butterfield made her first horses from plaster, papier-mâché, and mud and sticks. In 1980, she traveled to Israel on a John Simon Guggenheim grant, and worked with steel and other detritus of wars, and determined the material held emotional content. This set her on a course of making horses with found and welded steel, fused aluminum, copper, and wood — materials that also have a history. Butterfield’s “Yellow River,” c. 1984, is an uncommon example of the artist’s work as the subject is in repose with an experimental minimalist aesthetic. Created using scrap metal from a school bus, the painted steel elements seem to combine organically. Butterfield is widely recognized for her materials-oriented approach to sculpture.
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<br>Deborah Butterfield's work is included in numerous museum collections, including the Honolulu Museum of Art, the Rockwell Museum, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Delaware Art Museum, the Boise Art Museum, the Albrecht-Kemper Museum of Art, the Neuberger Museum of Art, and the Rockford Art Museum among many others.

DEBORAH BUTTERFIELD

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

EDWARD HOPPER - Old Ice Pond at Nyack - oil on canvas - 11 3/4 x 19 3/4 in.

EDWARD HOPPER

Kenny Scharf established his reputation working in 1980s New York as a street artist. His organic forms - as seen in “Kolorbz” - are instantly recognizable. Scharf now works from Los Angeles where he began his career. He has decorated the facades of several buildings across the metropolitan area, including a project at the former Pasadena Museum of California Art. Scharf is associated with the Lowbrow art movement, a term which he pioneered and used and which refers to a combination of Pop Art and Surrealism.
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<br>In March 2020, Scharf set a new auction record of $525,000 for a depiction of the Flinstones estimated to sell for 20-50k. As the prices for Scharf’s contemporaries continue to soar into the stratosphere, many collectors and institutions are re-evaluating the Scharf market to reflect his art historical importance. Acquired directly from the artist, "Kolorbz" is a signature Scharf work, full of personality and energy with a burst of vibrant color.

KENNY SCHARF

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

Henry Moore, a father of Modern British sculpture, is known for his large-scale, semi-abstract figurative sculptures in bronze, wood, and marble. This 1960 bronze sculpture of two seated figures demonstrates Moore’s gestural treatment of material. The focus on a family group is reflective of the artist’s move toward a sense of optimism after World War II. Small sculptures like this one are rare, and in subject mater and composition are reminiscent of his earlier seated figures based upon ancient Egyptian royal sculpture.

HENRY MOORE

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

N.C. WYETH

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

FRANCISCO ZUNIGA - Desnudo Reclinado de Dolores - bronze with green patina - 21 x 43 1/4 x 21 1/2 in.

FRANCISCO ZUNIGA

Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

ALEX KATZ

Widely respected photo-realist painter Davis Cone (b.1950) showcases his immense talent in “River Oaks Theater”. The stage-like composition with an immaculate sense of detail and realism is almost indistinguishable from a photograph. Along with Richard Estes and Ralph Goings, Davis Cone emerged as one of the pre-eminent photo-realists working after the 1970s.
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<br>Cone is widely collected by museums and exhibited regularly with the O.K. Harris gallery in New York City from 1979-1998.

DAVIS CONE

MATTHEW MONAHAN - Nation Builder - cast bronze - 107 x 62 x 27 in.

MATTHEW MONAHAN

NATHAN OLIVEIRA - Standing Figure #4 - oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Antlers - oil, alkyd and wax on canvas - 84 x 70 x 1 1/2 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Han Stele with Wheels - oil and alkyd on canvas - 84 x 70 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Seated Man in Room - oil on canvas - 78 x 60 x 1 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Wing IV - oil on canvas - 84 x 63 in.

NATHAN OLIVEIRA

Guenther Uecker and his avant-garde contemporaries experimented with monochromatic color, light, materiality, and repetition. For Uecker, this experimentation manifested in his noteworthy nail-covered canvases. The 1984 piece, Poesie der Destruktion – Poetry of Destruction – presents a tumultuous arrangement on a neat square background. The swarming bed of nails evokes a forceful action with violent connotations. Black and orange swaths of oil paint undulate on the rough surface beneath the exterior of hammered and bent metal. The composition suggests wreckage, yet it lives in the context of artistic creativity, urging the viewer to observe the coexistence of creative and destructive forces.

GUENTHER UECKER

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

ANSELM KIEFER

Celebrated for his vivid use of color, grand presentations of the female figure, and skillful work in multiple media, Tom Wesselmann was one of the most influential artists to emerge from the Pop art movement during the 1960s. Originally planning a career as a cartoonist, Wesselmann quickly established himself as one of the driving forces of contemporary art in New York. Since 1983, Tom Wesselmann used enamel on cut-out steel to depict his loose and energetic, yet meticulous, sketches in the third dimension. Ranging in scale, the sculptural works are an innovative part of the artist’s oeuvre.
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<br>Wesselmann's work is included in museum collections worldwide, including the Whitney Museum of American Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the Albright-Knox Art Gallery, the Museum of Modern Art in New York, the Walker Art Center, and the National Galerie, Berlin, among many others.

TOM WESSELMANN

AARON CURRY - Yellow Bird Boy - powder-coated aluminum and steel - 114 x 97 x 60 in.

AARON CURRY

"Big Grid / Solo Tear" (2008) is a sculptural work by the multidisciplinary artist Sterling Ruby. Ruby makes urethane and bronze sculptures, hallucinatory color-field canvases, and handmade ceramics. The artist's work addresses inner conflict inherent to the human condition and the artist's role in society.
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<br>"And in that moment, you, the artist, disappear, and the works exist independently. The object becomes more than a sum of the parts that you have formally constructed."
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<br>-Sterling Ruby

STERLING RUBY

Civa is one of the principal deities of Hinduism. In this work, Chiparus represents the exoticism of the East, as the elegant figure meditates in the lotus position. The work recalls the dances of the Ballets Russes, one of the artist’s primary inspirations, and embodies the essence of the age — particularly the rediscovery of ancient Egyptian art, as Tutankhamun’s tomb was excavated in 1922.
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<br>Chiparus depicted most of his figures in a sensual, curvilinear fashion. His subjects always look beautiful and at ease. Civa is an excellent example of the artist’s impeccable casting, particularly the detail work in the bronze body and the expressively carved ivory face.
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<br>The decorative base is also noteworthy, because Chiparus made them integral to his compositions. The artist used an assortment of materials to decorate the bases of his sculptures, including onyxes, marbles, and colored stones.

DEMETRE CHIPARUS

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

MERET OPPENHEIM - Untitled - horse hair and photo collage on title page - 9 1/2 x 7 1/2 in.

MERET OPPENHEIM

A leading artist of the Arte Povera movement in the 1960s and '70s, Jannis Kounellis challenged the traditional media of art making. His work often incorporates natural or everyday materials, installation, or performance. Untitled (2014) is a unique example of his sculptural work in iron, canvas, and enamel. A common thread in his work is a sense of isolation experienced in contemporary society, combining elements of the past and the present to address memory, detachment, history, and loss. Kounellis once explained, “[art] must be born of historical necessity: that is, it must be of a historical situation and constitute the indispensable language of that moment.”

JANNIS KOUNELLIS

Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
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<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media.

RICHARD PRINCE

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.

PAUL JENKINS

Celebrated for his vivid use of color, grand presentations of the female figure, and skillful work in multiple media, Tom Wesselmann was one of the most influential artists to emerge from the Pop art movement during the 1960s. Originally planning a career as a cartoonist, Wesselmann quickly established himself as one of the driving forces of contemporary art in New York. Since 1983, Tom Wesselmann used enamel on cut-out steel to depict his loose and energetic, yet meticulous, sketches in the third dimension. Ranging in scale, the sculptural works are an innovative part of the artist’s oeuvre.
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<br>Wesselmann's work is included in museum collections worldwide, including the Whitney Museum of American Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the Albright-Knox Art Gallery, the Museum of Modern Art in New York, the Walker Art Center, and the National Galerie, Berlin, among many others.
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<br>"Partial Monica with Hat and Beads" is from the collection of Gloria Luria, a pioneer of the art scene in Miami as an art dealer and collector. She introduced into the region artists that are today considered icons of art history: Pat Steir, David Hockney, Andy Warhol, Arakawa, Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, James Rosenquist, Larry Rivers, Claes Oldenburg, and many more. Luria has dedicated her life to fostering a thriving culture in the region from being a founding member and president of the Art Dealers Association of South Florida to helping bring the art fair, Art Miami, to the Miami Beach Convention Center. Her philanthropic generosity also extends to the performing arts, helping support Tanglewood and the Boston Symphony Orchestra, and the Adrienne Arsht Center for the Performing Arts and the New World Symphony.

TOM WESSELMANN

ALEXANDER CALDER - Card Players - gouache on paper - 29 x 42 in.

ALEXANDER CALDER

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.

NORMAN ZAMMITT

JOHN PHILIP FALTER - Spring Light - tempera on board - 22 x 40 in.

JOHN PHILIP FALTER

Bay Area artist Roland Petersen’s Luncheon is an oil on canvas from 1961, a critical year for his best-known Picnic series. His work from this period is characterized by thick impasto and rich color. Profoundly influenced by studies with Hans Hoffman, Petersen experimented with abstraction, here blending abstract and figurative styles. Painted when Petersen was 35 years old, Luncheon lies within a timeframe that includes his sold-out one-man show in 1962 at Staempfli Gallery, New York, his solo show at Esther-Robles in Los Angeles, and the Guggenheim Fellowship that afforded the opportunity for study in Paris.

ROLAND PETERSEN

ELAINE DE KOONING - Untitled (Totem Pole) - oil on canvas stretched over cardboard cylinders - 97 x 12 3/8 x 12 3/8 in.

ELAINE DE KOONING

IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.

IRVING NORMAN

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

ALEXANDER CALDER

Many curators, knowledgable collectors, and dealers consider William Kentridge to be one of the most innovative artists working today. In "North Polar Chart" (2013) Kentridge expounds upon his multidisciplinary approach to creation. In the present work, the tapestry medium enables the artist to work out his vision on an immense scale. Large tapestries such as this have been used historically as both decorative and functional objects, and Kentridge's work is rich with historical references.
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<br>Kentridge's tapestries are created in collaboration with Stephens Tapestry Studio in Johannesburg. This piece is one of two tapestries made from the same painting. The other is in Kentridge's personal collection.
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<br>In the past five years, Kentridge has had solo exhibitions at the Museum of Modern Art in New York, the Museum of Contemporary Art in Barcelona, the Art Institute of Chicago, and the Tate Modern in London. In 2007, the Philadelphia Museum of Art presented an exhibition of the artist's tapestries.

WILLIAM KENTRIDGE

“Man with Hoops” (1946) is a proto-Abstract Expressionist sculpture by David Hare. Flirting with surrealist elements, the present work shows how monochromatic creations convey a wide range of artistic expression in the third dimension. Much like Picasso’s sculptures from the same period, Hare references African sculptural traditions and art historical precedents for quasi-abstract figures.
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<br>Hare was included in the "Dada, Surrealism, and Their Heritage" exhibition of 1968 at the Museum of Modern Art, New York.

DAVID HARE

“Angus” (c. 2000) is a cast bronze work that showcases Deborah Butterfield’s dedication to depicting the horse in the third dimension. This piece has had only one owner, a friend of the artist.
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<br>Butterfield's choice of material, often natural or industrial, is central to the effect of her work. Her driftwood pieces such as this one are some of her most highly celebrated for their graceful compositions of seemingly fragile and worn materials set with the permanence and solidity of bronze. She has spoken of her chosen subject matter as a sort of self-portrait, drawing parallels between the character of the horse, its connection to its natural environment, and the varied expressions of serenity and power within the human experience. Butterfield was born the same day as the 75th Kentucky Derby and partly credits this for her desire to feature horses so prominently in her work.
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<br>The compact size of the work is a stark contrast to the other large examples, some of which are wall sculptures. Comparable quality Butterfield sculptures are featured in prominent museum collections, including The New Orleans Museum of Art, The Modern in Fort Worth, and Purdue University collections, among others.

DEBORAH BUTTERFIELD

MATT JOHNSON - Pieta - cast bronze - 65 x 58 x 40 in.

MATT JOHNSON

Magic Wands is a 2004-2005 creation by India’s most renowned contemporary artist, Subodh Gupta. The work seamlessly blends a sculptural approach with an installation art aesthetic to create a statement on his heritage and universal themes. Since Gupta’s first installation in 1996, “Twenty-nine Mornings,” the artist has been driven to incorporate daily, utilitarian objects into his work. Bicycles, wands, pans all play heavily in the work of Gupta.
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<br>Gupta’s work often reflects the economic transformations in India- and provides a view into the lives of those whose lives are changed by the rise of the country as a global economic power. Gupta is widely collected as the pre-eminent Indian Contemporary artist. His work is included in the permanent collections of the MFA Houston and Victoria and Albert Museum, London, among many others.

SUBODH GUPTA

WILLIAM KENTRIDGE - World on its Hind Legs - metal and wood - 64 x 26 x 30 in.

WILLIAM KENTRIDGE

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

“Picnic in Yellow” is a painting from Roland Petersen’s famed “Picnic Series”. From 1961, the theme of picnics became central to Petersen and showcased his skill with, color, paint, and composition. Within this series and in this painting, there is a thoughtful and meticulous arrangement of figures around a table and nestled within the landscape. So, too, are there intense diagonals that cut across the painting, emphasized with both planes of color and thick paint.
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<br>Petersen’s picnic series, particularly the early ones from 1961 as in “Picnic in Yellow”, show a deep understanding of art history in their relationship to the geometric planes of color of Post-Impressionists like Paul Cezanne. Petersen creates a symphony of color and hues in “Picnic in Yellow”, also suggesting a dialogue with the Fauvists and their outrageous use of color. But, far from cold examinations into configuration and color, Petersen maximizes the ability of oil paint by creating mounds of impasto which creates depth and warmth via texture in the picnic series paintings of 1961. This daring use of impasto would soon cease by the early 1970s as Petersen would switch to acrylic paint due to his allergy to oil paints.

ROLAND PETERSEN

ALEXANDER CALDER - Signalisations - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

ALEXANDER CALDER - Shadowed Sun - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

ALEXANDER CALDER - Orange and Black Spiral - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

More than an artist, Theaster Gates also works as curator, urban planner, and project facilitator. From sculpture to painting, installation to public projects, Gates’s works are hubs in which to question labor and commodity while also bringing to the fore people and things that are often unseen and unheard. Convex Concave takes custom-made bricks that Gates had previously used for Black Vessel for a Saint at the Walker Art Center and repurposes it into a painting-like sculpture that references minimalist artist like Sol LeWitt, the labor of making bricks, and the original context of the bricks for the installation at the Walker.

THEASTER GATES

ROBERT MOTHERWELL - In Black and White - oil on paper mounted on board - 22 3/4 x 28 3/4 in.

ROBERT MOTHERWELL

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

WOJCIECH FANGOR

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

HERB ALPERT

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

HERB ALPERT

HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.

HERB ALPERT

DIANA AL-HADID - Blind Bust III - bronze, painted stainless steel - 77 x 46 x 46 in.

DIANA AL-HADID

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

IRVING NORMAN

IRVING NORMAN - Funeral of the Gods - oil on canvas - 90 x 110 in.

IRVING NORMAN

MIMMO PALADINO - Untitled - copper and bronze - 149 x 23 x 30 1/2 in.

MIMMO PALADINO

NATHAN OLIVEIRA - Couple with Red - oil on canvas - 50 1/8 x 42 in.

NATHAN OLIVEIRA

IRVING NORMAN - Interrelations - oil on canvas - 120 x 80 in.

IRVING NORMAN

IRVING NORMAN - The Summit, The Ultimate Summit - oil on canvas - 120 x 80 in.

IRVING NORMAN

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.

MEL RAMOS

ROLAND PETERSEN - Girl with Trees - oil on canvas - 71 x 59 1/2 in.

ROLAND PETERSEN

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

ROSS BLECKNER

RICHARD DIEBENKORN - Blue Surround - spit bite aquatint & drypoint aquatint on paper - paper: 35 x 26 1/4 in.

RICHARD DIEBENKORN

Richard Tuttle is a seminal American postminimalist artist. Tuttle’s work is conceptual and meditative, crossing the boundary of sculpture, painting, and poetry, and often challenging the viewer. Untitled (Cloth and Paint Work #2) from 1973, a pivotal period in the artist’s career, evokes the earlier minimalism of his career while pushing towards material-based conceptual art. In the work he pays homage to Marcel Duchamp’s readymades. Textiles, as in this piece, play a large role in his oeuvre and become sites on which to focus performance, engagement, and meaning.

RICHARD TUTTLE

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

PAUL JENKINS

ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.

ANTHONY CARO

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

IRVING NORMAN

IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.

IRVING NORMAN

IRVING NORMAN - Supreme Justice - oil on canvas - 100 x 76 in.

IRVING NORMAN

IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.

IRVING NORMAN

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

IRVING NORMAN

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.

ED RUSCHA

Irving Norman was an American painter whose works examined modern civilization and the human condition. Norman conceived his paintings as public works that bore witness to history and systems of power. He was influenced by his experiences as a Polish immigrant, as a defender of the Spanish Republic during the Spanish Civil War, and as an observer of the conflicts in the 20th century. The Palace has been exhibited at the Crocker Art Museum in Sacramento, the Pasadena Museum of California Art, the Nora Eccles Harrison Museum of Art at Utah State University, and Katzen Arts Center at American University in Washington D.C. Heather James is proud to represent the estate of Irving Norman.

IRVING NORMAN

GERT AND UWE TOBIAS - Untitled (GUT/2053) - colored woodcut on canvas - 78 3/4 x 118 1/4 in.

GERT AND UWE TOBIAS

Stanton Macdonald-Wright was a co-founder of the Synchromism movement, which combined abstraction and intense color. He was influenced by ideas that the qualities of color were connected to the qualities of music. He stopped painting this way in the 1920s, but his work experienced a revitalization in the 1950s, following a retrospective of his work at LACMA. Inspired by the renewed interest, Wright began producing works with increased passion; these works were considered Neo-Synchromism. La Gaîté is a phenomenal example of this period in Wright’s career, showcasing the brighter colors and larger canvases he favored during his personal renaissance.

STANTON MACDONALD-WRIGHT

One of the most prominent modernist artists, Roberto Matta created artworks brimming with color and surrealist forms. Born in Chile, Matta worked for two years in modern architect Le Corbusier’s studio in Paris. He also formed strong friendships with Salvador Dalí and Andre Breton, officially joining the surrealists in 1937.
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<br>This painting incorporates psychological responses to political and social concerns, hallmarks of Matta’s paintings influenced by the impact of World War II. The painting also contains his classic style of numerous, overlapping architectural planes. Matta deftly merges his surrealist background with the visual language of the Abstract Expressionists.

ROBERTO MATTA

Franz Kline was a central figure in American Art until his death in 1962. Close friends with Jackson Pollock and the “Cedar Tavern” group, Kline would help make New York City the epicenter of post-war avant-garde art in the 1940s and 1950s. Broad, gestural abstractions dominate the artist’s work. Those abstractions range from small, eloquent studies (such as the present work) and grow in scale to some of his monumentally scaled oil on canvas works, such as “Monitor” (1956) at the Museum of Contemporary Art, Los Angeles. Kline tapped into the unconscious; his work portrays the free-flowing and impromptu moment. “Untitled” (1951) was in the artist’s collection until 1960, just two years before his death. Smaller-scale works of comparable quality can be found in museum collections worldwide. The Museum of Modern Art in New York has a similar drawing on newsprint: “Untitled” (1951).

FRANZ KLINE

ALEXANDER CALDER - Vive - gouache and ink on paper - 30 x 43 3/8 in

ALEXANDER CALDER

CHARLES ARNOLDI - Construction - acrylic on plywood and found wooden sticks - 128 x 68 x 8 in.

CHARLES ARNOLDI

VALERIE JAUDON - Palmyra - oil on canvas - 84 x 114 in.

VALERIE JAUDON

ALEXANDER CALDER - Mickey Mouse - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

Perle Fine was chosen by her peers to be included in the seminal 1951 Ninth Street Show. She also participated from 1951 to 1957 in the invitational New York Painting and Sculpture Annuals. She was one of the 24 artists (from 156 New York School artists) to be included in all of the Annuals – Grace Hartigan, Joan Mitchell, and Elaine de Kooning were among the other 24.
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<br>The title of this piece references Marcel Duchamp's Modernist classic, "Nude Descending a Staircase" from 1912, which combined cconcerns of Cubism and Futurism in an artistic tradition of analyzing motion via photography. The subject of this painting may relate to the 1958 Whitney show, "Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in 20th-Century Art," of which her work was a part.
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<br>For Fine "Abstract Expressionism had never been a form of open rebellion against earlier styles, but rather a beautiful, unexplored country."
<br>- Housley, Kathleen L. (January 1, 2003). "The Tranquil Power of Perle Fine's Art". Woman's Art Journal. 24 (1): 3–10.

PERLE FINE

Perle Fine’s “The Early Morning Garden” was featured in the Denver Art Museum’s notable 2016 exhibition, “Women of Abstract Expressionism.” Fine was chosen by her peers to be included in the seminal 1951 Ninth Street Show. She also participated from 1951 to 1957 in the invitational New York Painting and Sculpture Annuals. She was one of the 24 artists (from 156 New York School artists) to be included in all of the Annuals – Grace Hartigan, Joan Mitchell, and Elaine de Kooning were among the other 24.

PERLE FINE

TONY CRAGG - Bodicea - bronze and steel - 32 x 23 x 78 in.

TONY CRAGG

Takashi Murakami is one of the most celebrated contemporary and Japanese artists. Murakami developed the theoretical and visual language of “Superflat”. He based his art movement on the Japanese “flat” art aesthetic and of anime and manga fused with commentary on the Kawaii tendency in postmodern Japan.
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<br>Murakami and his art have chartered new ground in infiltrating and merging high and low culture. The painting features a proliferation of eyes in his trademark style. No two eyes are exactly alike, and each are in various states of opening or closing. Like his art, these eyes have hidden depth – the irises contain a multitude of miniature concentric circles. The painting seems to combine elements of pop culture, cartoons, technology, and fashion into a singular plane.

TAKASHI MURAKAMI

IRVING NORMAN - Monumental - oil on canvas - 90 x 64 in.

IRVING NORMAN

IRVING NORMAN - Air Raid Shelter - oil on canvas - 100 x 64 in.

IRVING NORMAN

IRVING NORMAN - Children #2 - oil on canvas - 72 x 90 in.

IRVING NORMAN

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

IRVING NORMAN

SE OK SUH - Untitled - ink wash on paper - 40 x 44 in.

SE OK SUH

MANUEL NERI - Standing Male Figure - polychrome plaster and wood - 70 x 13 3/4 x 19 in.

MANUEL NERI

ALEXANDER CALDER - Aux Clous - gouache and ink on paper - 30 x 21 1/4 in

ALEXANDER CALDER

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

GEORGE CONDO

Ed Moses was a prominent figure in the Los Angeles art scene for nearly 70 years. He first exhibited in 1949 and was part of the original group of artists from the Ferus Gallery in 1957 – fellow Cool School artist Ed Ruscha also had his first solo exhibition there in 1963. The large scale and tryptic formation of “Franco-Del #1 & #3” from 2006 is rare for Moses. The piece is executed in earth tones of browns, grey, black, rust and pine green. Always working with process and experimenting with materials as a painter, Moses has been critically lauded for his bold composition and innovation.

ED MOSES

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

HERB ALPERT

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

HERB ALPERT

TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

TOM WESSELMANN

CHUCK CLOSE - Self-Portrait, 2000 - screenprint on paper - 58 1/3 x 48 in.

CHUCK CLOSE

WILLIAM MORRIS - Fallow Deer Situla - blown glass - 16 x 23 1/2 x 13 in.

WILLIAM MORRIS

AUGUSTE RODIN - Minotaure, version à la base carrée - bronze with brown and green patina - 24 x 28 1/2 x 27 in.

AUGUSTE RODIN

Donald Sultan’s Black and Blue from 2008 fits comfortably within both Pop art and Minimalism. The work is a sly reference to Warhol as if a polarized negative image of the Pop artist’s iconic Flower series. Working with unconventional use and application of paint, Sultan vacillates between abstraction and representational art, but always maintaining strong contrasts and powerful, simple statements. Sultan describes his work as "heavy structure, holding fragile meaning." Sultan’s work is represented in the permanent collections of many major museums in the United States and abroad, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and the Whitney Museum of American Art.

DONALD SULTAN

"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).
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<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.

HANS HOFMANN

Spring, an unusually large-scale oil painting by William Wendt, depicts a huge expanse of blue, almost cloudless California sky over a wide, flat plain of verdant grass. The only other adornments to this landscape are stands of tall, thin trees that, in the forefront, seem to tower over the far distant snow-capped mountaintop. Wendt’s Impressionist style is evident in the detailed brushwork that makes up the sky. Using short dashes of blue upon blue, Wendt builds the varying color from dark at the top to lighter blue as it nears the mountain on the horizon. Looking closely, the sky almost appears to be a mosaic, but from further back, the colors and strokes blend seamlessly to create its soft, pastel look.

WILLIAM WENDT

IRVING NORMAN - Liberation War Prisoners - oil on canvas - 72 x 90 in.

IRVING NORMAN

IRVING NORMAN - Man of Sorrow - oil on canvas - 84 x 60 in.

IRVING NORMAN

IRVING NORMAN - War Wounded - oil on canvas - 70 x 60 in.

IRVING NORMAN

FRANCIS CELENTANO - Undulating Units - acrylic on canvas - 36 x 90 in.

FRANCIS CELENTANO

JOSEPH KLEITSCH - Mission Cloisters, San Juan Capistrano - oil on canvas - 22 1/8 x 27 in.

JOSEPH KLEITSCH

FORREST MYERS - Pompeii - stainless steel - 37 x 33 x 64 in.

FORREST MYERS

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

NATHAN OLIVEIRA

ALEXANDER CALDER - Bug-Eyed Beastie - gouache on paper - 29 1/4 x 43 in.

ALEXANDER CALDER

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

ALEXANDER CALDER - Le Grand Rouge - gouache and ink on paper - 43 3/8 x 30 in.

ALEXANDER CALDER

ALEXANDER CALDER - L' Envolee - gouache and ink on paper - 43 3/8 x 30 in.

ALEXANDER CALDER

ALEXANDER CALDER - Cercles - gouache and ink on paper - 30 3/4 x 22 1/2 in.

ALEXANDER CALDER

RON ARAD - Before Summer - stainless steel welded chaise - 41 x 77 x 15 in.

RON ARAD

NATHAN OLIVEIRA - Seated Nude with Arms Raised - oil on canvas - 50 1/8 x 45 in.

NATHAN OLIVEIRA

Sculptural work by Theaster Gates is anchored in the artist’s long-standing commitment to social action and responsibility, rooted in his home city of Chicago. The wooden frame of "Lathe Black Box" from 2012 is made of wood from The Dorchester Project, one of his best-known pieces. The project transformed a dilapidated building in Chicago’s South Side into a community gathering place and a celebration of local culture. Gates has described this project as part of a “circular ecological system,” selling sculptural works from the material of these projects to finance the ongoing building renovations. In recent years, his creative efforts do not only consist of making fine art from construction materials, but also extend to creating construction materials as fine art.
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<br>Much of Gates’s work deals with history, memory, and renewal. The mirrored glass at the center of "Lathe Black Box" creates an ambiguous effect, confronting the viewer with their own reflection.

THEASTER GATES

LEANDRO ERLICH - Rain - steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati - 73 3/8 x 96 3/4 x 26 1/4 in.

LEANDRO ERLICH

IRVING NORMAN - Aspirations - oil on canvas - 90 x 54 in.

IRVING NORMAN

IRVING NORMAN - The Lawmakers, The Legislators - oil on canvas - 90 x 72 in.

IRVING NORMAN

IRVING NORMAN - Prison - oil on canvas - 56 x 46 in.

IRVING NORMAN

IRVING NORMAN - Prisoners - oil on canvas - 52 x 68 1/8 in.

IRVING NORMAN

IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.

IRVING NORMAN

IRVING NORMAN - City Image - oil on canvas - 124 x 44 in.

IRVING NORMAN

IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.

IRVING NORMAN

Considered a third-generation Abstract Expressionist, Judith Godwin’s work is influenced by color, gesture, emotions, and personal experiences. In 1953 she moved to New York to attend the Art Students League of New York and the Hans Hofmann School of Fine Arts. It was during this period that she embraced Zen living, which has continued to inspire her style and personal life. In the late 1950s, around the time this painting was created, Betty Parsons invited Godwin to join her gallery, Section Eleven.

JUDITH GODWIN

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

ELLIOTT HUNDLEY

IRVING NORMAN - To Be Remembered - oil on canvas - 90 x 48 in.

IRVING NORMAN

IRVING NORMAN - Thirty Pieces of Silver - oil on canvas - 90 x 54 in.

IRVING NORMAN

WILLIAM MORRIS - Rhyton - blown glass - 26 x 14 x 12 in.

WILLIAM MORRIS

The Merger - Carte de Triunfo - stainless steel and aluminum - 46 x 40 x 23 1/2 in.

The Merger

After producing a large cycle of works known as Contrasts of Forms, which infuse abstraction into genres of landscape, still life, and figure, Leger In the mid-1920s, was associated with the French formalist movement called Purism, which sought to strip Cubism of its decorative aspects. This is when he created Profil, Vase et Clef, adopting flatter colors and bold, black outlines in his work. From this point forward on, his art was essentially figurative. Profil, Vase et Clef was exhibited at Galerie Beyeler in Basel and illustrated in the catalog, and the provenance also includes Galerie Louise Leiris and Galerie Seroussi in Paris.

FERNAND LEGER

TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in.

TIM HAWKINSON

IRVING NORMAN - Mining - oil on canvas - 40 x 84 in.

IRVING NORMAN

IRVING NORMAN - Cityscape - oil on canvas - 74 1/8 x 37 1/2 in.

IRVING NORMAN

TADASUKE (Tadasky) KUWAYAMA - B-139 - acrylic on canvas - 47 x 47 in.

TADASUKE (Tadasky) KUWAYAMA

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

RICHARD ANUSZKIEWICZ

SERGEJ JENSEN - Men with Hats - canvas collage on canvas - 71 x 51 1/2 in

SERGEJ JENSEN

HARRY BERTOIA - Untitled (Suspended Willow) - steel and steel wire - 71 1/2 x 39 x 39 in.

HARRY BERTOIA

LEROY NEIMAN - The Bull Fighter - oil on panel - 40 x 48 in.

LEROY NEIMAN

NATHAN OLIVEIRA - Untitled - oil on canvas - 84 X 63 in.

NATHAN OLIVEIRA

HASSEL SMITH - Piano, Bass and Drums - oil on canvas - 67 7/8 x 48 1/4 in.

HASSEL SMITH

WILLIAM MORRIS - Artifact Pouch - blown glass - 20 x 20 x 20 in.

WILLIAM MORRIS

NATHAN OLIVEIRA - Woman - oil on canvas - 36 1/4 x 27 x 1 1/2 in.

NATHAN OLIVEIRA

CINDY SHERMAN - Untitled - color photograph - 34 x 23 1/4 in.

CINDY SHERMAN

JOANNA POUSETTE-DART - Red Desert #9 - acrylic on canvas over wood panels - 81 x 117 1/4 in

JOANNA POUSETTE-DART

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

IRVING NORMAN

American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

GEORGE CONDO - Girl With Bow Tie - oil on canvas - 39 1/4 x 28 3/4 in

GEORGE CONDO

GRACE HARTIGAN - Medieval Costumes - oil on linen - 72 x 84 in.

GRACE HARTIGAN

GRACE HARTIGAN - Renaissance Costumes - oil on linen - 72 x 84 in.

GRACE HARTIGAN

GRACE HARTIGAN - Caribbean Interior - oil on linen - 72 x 78 in.

GRACE HARTIGAN

TAL R - Grim Kalding Fra Finland - acrylic, ink and paper collage on canvas - 67 3/4 x 55 in.

TAL R

GRACE HARTIGAN - Chinese Calendar - oil on linen - 84 1/4 x 61 1/4 in.

GRACE HARTIGAN

GRACE HARTIGAN - Follies '27 - oil on linen - 77 3/4 x 60 in.

GRACE HARTIGAN

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

RODNEY MCMILLIAN

RODNEY MCMILLIAN - Flag - mixed media - 97 1/2 x 102 in.

RODNEY MCMILLIAN

GRACE HARTIGAN - Matador - oil on linen - 48 x 72 in.

GRACE HARTIGAN

CHARLES ARNOLDI - Destro - acrylic on canvas - 78 x 96 in.

CHARLES ARNOLDI

NORMAN ZAMMITT - East Wall - acrylic on canvas - 78 x 132 in.

NORMAN ZAMMITT

GRACE HARTIGAN - My Fair Lady - oil on linen - 60 x 48 in.

GRACE HARTIGAN

ED MOSES - Nambo Panel I & II - acrylic on canvas - 84 x 66 in.

ED MOSES

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

RICHARD DIEBENKORN

OSWALDO VIGAS - Formas Tensionales - oil, cardboard on masonite - 42 x 31 in.

OSWALDO VIGAS

This is the Portrait of Hedda Nova, painted by Joseph Kleitsch. The film industry provided plenty of commissions for Kleitsch, as he was contracted with the prominent LA dealer Earl Stendahl as an in-house portraitist at the time. Hedda was born Hedda Puscewski in Soviet Russia, what is now Ukraine. She became a silent film star, though she never transitioned into talking films due to her thick Russian accent. During the height of her acting career, she was still working hard on learning to speak English. She was married to American actor and director Paul Hurst from 1919 to 1953 when, sadly, he committed suicide after being diagnosed with terminal cancer. This portrait depicts Hedda in a lovely black and gold gown with gossamer sleeves. As a silent film actress, trained to emote without words, it is easy to imagine that her expressive eyes and dramatic hand at her chest are telling the viewer a story.

JOSEPH KLEITSCH

SANDRO CHIA - Poet, Painter - bronze - 72 x 30 x 54 in.

SANDRO CHIA

NATHAN OLIVEIRA - Gray Head in Grays and Blue - oil on canvas - 25 3/8 x 21 1/4 in.

NATHAN OLIVEIRA

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

RON ARAD

ROY LICHTENSTEIN - Bedroom - 10-color woodcut screenprint - 56 3/4 x 78 3/4 in.

ROY LICHTENSTEIN

DAVID MORRIS - Journey - stainless steel, steel base - 132 x 36 x 48 in.

DAVID MORRIS

Carl Andre is an American artist who helped pioneer minimalist sculpture and was the husband of famed and celebrated artist Ana Mendieta. This is a classic text piece from the early 1960s and is typical of his poems which are composed by selecting individual words from source texts, and then ordering them on the page according to simple and self-evident criteria, which, in this case, is by alphabetical listing. Aviator Charles Lindbergh deep fascinated Carl Andre whom he returned to as a source for his poetry. This work with its structured repetition like his famed sculptures reflect the minimalism and post-minimalism emerging in the 1960s and the 1970s including fellow concrete poet Christopher Knowles.

CARL ANDRE

GENE DAVIS - Licorice Stick - acrylic on canvas - 80 3/4 x 32 3/4 in.

GENE DAVIS

IRVING NORMAN - Totem of a Holy Family - oil on canvas - 90 x 19 3/4 in.

IRVING NORMAN

HERB ALPERT - Embrace - bronze with black patina - 83 x 27 x 27 in.

HERB ALPERT

YAYOI KUSAMA - Soaring Spirit - stainless steel balls and wire - 19 x 18 x 14 in.

YAYOI KUSAMA

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

HELMUT NEWTON

OSWALDO GUAYASAMIN - Atahualpa en Cajamarcas - oil on canvas - 28 x 19 1/2 in.

OSWALDO GUAYASAMIN

CHARLES ARNOLDI - Sticky Wicket - acrylic, modeling paste and sticks on plywood - 44 1/4 x 91 x 3 in.

CHARLES ARNOLDI

LUIS CRUZ AZACETA - The Journey - acrylic on canvas - 123 x 132 in.

LUIS CRUZ AZACETA

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus.
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<br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

MAX PELLEGRINI

KAY SAGE - Passionnément, Pas du Tout - assemblage - 12 1/4 x 9 1/4 in.

KAY SAGE

STEFAN KURTEN - Die Besten Jahre - oil on canvas - 74 3/4 x 57x 1 5/8 in.

STEFAN KURTEN

FRANCIS CELENTANO - Nineteen Hexagons - acrylic on canvas - 48 x 41 1/2 in.

FRANCIS CELENTANO

FRANCIS CELENTANO - Elliptical Kinetic Painting - acrylic on masonite - 48 x 48 x 6 1/2 in.

FRANCIS CELENTANO

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

N.C. WYETH

ARISTIDES DEMETRIOS - Embrace - stainless steel - 51 x 31 3/4 x 18 3/4 in.

ARISTIDES DEMETRIOS

IRVING NORMAN - Frosted Window - oil on canvas - 36 x 90 in.

IRVING NORMAN

MARVIN CONE - Barn Group Near Marion - oil on masonite - 11 1/2 X 23 7/8 in.

MARVIN CONE

ANDY WARHOL - Mao - color screen print on paper - 35 3/4 x 35 3/4 in.

ANDY WARHOL

STEPHEN PACE - #5757 - oil on canvas - 79 3/4 x 66 in.

STEPHEN PACE

Pablo Picasso's 1964 aquatint "Tete d'Homme au Maillot Raye" is one of a series of color aquatint portraits created just a decade before the artist's death in 1973.
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<br>Masterfully employing the aquatint and etching media, Picasso created this work after having acquired a lifetime worth of knowledge in working as an artist. Picasso helped shape the direction of Modern art, and the present work is a tangible symbol of the artist's genius. This piece is signed with a dedication to Picasso's friend and printer, Aldo Crommelynck.

PABLO PICASSO

Provenance:
<br>Purchased in 1985 from The Gallery Wall
<br>Private Collection, CA

DAN NAMINGHA

DANIEL SPRICK - Interior Still Life - oil on masonite - 48 x 40 in.

DANIEL SPRICK

LOUISE BOURGEOIS - Plate 5 of 9 from He Disappeared Into Complete Silence - engraving - 8 x 6 in.

LOUISE BOURGEOIS

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

HASSEL SMITH

JAMES WEEKS - Two Children - oil on canvas - 41 1/2 x 35 in.

JAMES WEEKS

GEORGE GARDNER SYMONS - White River Bank - oil on canvas - 25 1/4 x 30 in.

GEORGE GARDNER SYMONS

PATRICK WILSON - Meadowlark - acrylic on canvas - 86 x 70 x 2 in

PATRICK WILSON

ARISTIDES DEMETRIOS - Sempre Allegro - stainles steel - 101 1/4 x 35 1/2 x 37 in..

ARISTIDES DEMETRIOS

ARISTIDES DEMETRIOS - Joy of Being II - stainless steel - 72 x 21 1/2 x 14 in.

ARISTIDES DEMETRIOS

THOMAS NOZKOWSKI - Untitled - oil on linen on panel - 15 x 30 in.

THOMAS NOZKOWSKI

TOM WESSELMANN - Study for Bedroom Blonde with Green Wallpaper - paperboard cut out - 8 1/4 x 10 1/4 in.

TOM WESSELMANN

WOLFGANG PAALEN - Composition - oil, tempera and ink on canvas - 14 3/4 x 18 in.

WOLFGANG PAALEN

IRVING NORMAN - Rural Family - oil on canvas - 36 x 72 in.

IRVING NORMAN

A first-generation Abstract Expressionist, Charlotte Park lived next to Jackson Pollock and Lee Krasner who became close influences. Before moving to New York, Park lived in Washington D.C. and took classes with Cubist painter Wallace Harrison. Those Cubist influences are evident in her distinctive geometric and gestural forms. Her early 1950 works consisted mainly of black and white paintings, colored gouaches, and gestural drawings; here, in “Untitled,” we see an exploration of color, gesture, and form in this critical early period of her career. A year after this painting was completed, Park showed at the Whitney Museum of American Art’s “Annual Exhibition of Contemporary Painting.”

CHARLOTTE PARK

HASSEL SMITH - I Dreamt I Dwelt in Marble Halls - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

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

ARNE HIERSOUX

Contemporary Chinese artist Zhang Huan is best known for his provocative and challenging performance art. The detailed insects in this painting recall the artist's striking performance piece, 12 Square Meters (1994), in which he sat covered in honey and fish oil in an unkept public toilet, attracting flies and other insects. Here, canvas replaces flesh, allowing bugs to explore this human terrain. Earth Life No. 19 (2007) is meant to be a meditation on the ability of mind and spirit to overcome physical discomfort.

ZHANG HUAN

LEONID LAMM - State Power - oil on canvas - 68 3/8 x 66 x 1 in.

LEONID LAMM

MAX PELLEGRINI - Il Dormiento, La Caduta di Icaro a Torino - oil on canvas - 78 3/4 x 98 1/2 in.

MAX PELLEGRINI

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

DAVID MORRIS

HERB ALPERT - Tormenta del Sol (Sun Storm) - acrylic on canvas - 72 x 121 in.

HERB ALPERT

WILLIAM MORRIS - Suspended Artifact - blown glass - 30 x 26 x 10 in.

WILLIAM MORRIS

Zhu Yi Yong - Woman with a Fan - oil on canvas - 43 x 37 1/2 in.

Zhu Yi Yong

NANCY SPERO - The Modest Orgasms of the Middle Class - gouache, charcoal, and collage on paper - 25 x 20 in.

NANCY SPERO

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - 316 Revisited - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - In the Valley of the Kings - acrylic on canvas - 67 1/2 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 67 3/4 x 67 5/8 in.

HASSEL SMITH

HASSEL SMITH - Homage to the Headhunters - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - King Clone - acrylic on canvas - 67 3/4 x 67 1/2 in.

HASSEL SMITH

HASSEL SMITH - Untitled, 109-84 - acrylic on canvas - 67 5/8 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.

HASSEL SMITH

ROBERT MAPPLETHORPE - Orchids - dye-transfer print - 22 1/2 x 21 1/2 in.

ROBERT MAPPLETHORPE

HERB ALPERT - Tsunami - acrylic on canvas - 72 x 120 in.

HERB ALPERT

ALEX KATZ - Untitled - oil on masonite - 11 7/8 x 15 3/4 in.

ALEX KATZ

HASSEL SMITH - 9000 and 9 Nights - acrylic and graphite on canvas - 68 x 68 1/8 in.

HASSEL SMITH

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

HELMUT NEWTON

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

PETER SHELTON

PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

PETER SHELTON

JAE KON PARK - Untitled - oil on canvas - 55 1/4 x 55 1/2 in.

JAE KON PARK

Celebrated Hassel Smith moved through different styles over his long career including Abstract Expressionism, his “Measured” series, and Gestural Abstraction. This painting comes from his “Measured” period in which paintings encompassed geometric shapes and numbers on grids. Smith finds rhythms in the paintings through the intervals and sizes of the shapes. Among his friends were Clyfford Still and Mark Rothko. Smith lived in the Bay Area of California before moving to the UK, settling in Cornwall and Bristol. Heather James is proud to represent the estate of Hassel Smith.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - From A - B - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - The Kiss of Deaf - acrylic on canvas - 68 1/8 x 68 1/8 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

HASSEL SMITH

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.
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<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.

KARL BENJAMIN

HASSEL SMITH - Quilt Pattern - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - More and More about 9 - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - oil on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Arezzo Revisited - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in.

TOM WESSELMANN

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

ROBERT NATKIN

NATHAN OLIVEIRA - Hawk #11 - oil on canvas - 11 3/4 x 8 3/4 in.

NATHAN OLIVEIRA

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

KARL BENJAMIN

NATHAN OLIVEIRA - Standing Figure #2 - bronze - 26 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

JOSEPH KLEITSCH - Portrait of Ruth E. Bach - oil on panel - 39 1/2 x 26 3/4 in.

JOSEPH KLEITSCH

DAVID HARE - Night Sky - painted steel, steel, and bronze - 65 1/2 x 14 3/4 x 14 1/8 in.

DAVID HARE

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

HASSEL SMITH

WILLIAM THEOPHILUS BROWN - Jim Christiansen (Open Book) - acrylic on canvas - 38 x 37 7/8 in.

WILLIAM THEOPHILUS BROWN

ARNE HIERSOUX - Untitled - acrylic and paper on canvas - 71 x 94 in.

ARNE HIERSOUX

JAE KON PARK - Untitled - oil on canvas - 51 1/4 x 64 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 52 1/4 x 64 1/2 in.

JAE KON PARK

JOE ZUCKER - Interior #2 (Diptych) - acrylic on canvas and wood - 48 1/4 x 48 1/4 in.; 47 1/4 x 47 in.

JOE ZUCKER

JOE ZUCKER - Interior - acrylic and wood on canvas - 48 x 48 1/4 in.; 46 13/16 x 46 13/16 in.

JOE ZUCKER

ROBERT NATKIN - Apollo XL - acrylic on canvas - 88 x 116 1/4 in.

ROBERT NATKIN

IRVING NORMAN - Crossing the Bridge - oil on canvas - 90 x 60 in.

IRVING NORMAN

TIM HAWKINSON - Tusk - 132 jello molds on iron plate - 16 x 14 1/2 x 8 in.

TIM HAWKINSON

ARNE HIERSOUX - Yonder Cisco - acrylic and paper on canvas - 59 x 93 3/4 in.

ARNE HIERSOUX

MARTIN CREED - Work No. 2147 - acrylic on canvas - 16 x 20 in.

MARTIN CREED

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

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 44 1/8 x 57 1/4 in.

JAE KON PARK

DALE CHIHULY - Ikebana Diptych (from Burned Drawings series) - crushed charcoal, acrylic paint and pigment - 60 x 40 1/2 in. ea.

DALE CHIHULY

HENRY MOORE - Two Reclining Figures - charcoal, green chalk, brown conte, watercolor wash, and gouache on paper - 8 3/4 x 11 1/2 in.

HENRY MOORE

MICHAEL CORINNE WEST - The Day After - oil on canvas - 84 5/8 x 49 7/8 in.

MICHAEL CORINNE WEST

LORSER FEITELSON - Dancers - Magical Forms - oil on canvas - 36 x 40 in.

LORSER FEITELSON

DAMIEN HIRST - Pharmaceuticals - inkjet in colors - 52 x 43 in.

DAMIEN HIRST

SALVADOR DALI - Les Caprices De Goya de Dali - 80 drypoint etchings on heliogravures - sheet: 17 3/8 x 12 1/4 in.

SALVADOR DALI

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

BILL HENSON

THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.

THEASTER GATES

LEONORA CARRINGTON - Bayan - pencil on paper - 13 x 21 in.

LEONORA CARRINGTON

MARC CHAGALL - Bacchante - lithograph - 24 x 30 in.

MARC CHAGALL

THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

THEASTER GATES

JAE KON PARK - Untitled - oil on canvas - 44 1/4 x 57 3/8 in.

JAE KON PARK

GUILLERMO KUITCA - Untitled - oil on plywood - 18 1/4 x 25 5/8 in.

GUILLERMO KUITCA

EVAN PENNY - No One In Particular (Old) - silicone, pigment, hair on aluminum - 40 x 32 x 7 1/2 in.

EVAN PENNY

PETER YOUNG - #5 - oil on canvas - 60 x 132 in.

PETER YOUNG

IRVING NORMAN - Prisoner - oil on canvas - 54 x 20 in.

IRVING NORMAN

In this portrait by Joseph Kleitsch, the sitter is unknown, the painting titled only Woman in Pink. She is wearing a pink dress with white lace sleeves trailing down and into in her lap. She is holding a bit of the lace in her hands, almost absent-mindedly as she tilts her head toward the painter and gives him a small, amused smile. Her hair is swept into a modest updo, and the pink flushing her cheeks echoes the pink of her dress. Kleitsch’s technique in rendering the lace is fascinating, as he seems to have only fully painted the pattern of the lace and the rest is made up of a few light and minimal strokes of the brush, lending it a sheer quality.

JOSEPH KLEITSCH

MAURICE ASKENAZY

"Loading Supplies" is a scene of harbor workers stocking small boats with supplies, perhaps en route to load a larger steamer. In the foreground, a singular female figure stands before the cluster of men with her back to the viewer, while a group of anchored boats float on the motionless water in the background. The brightly painted boats and the fisherman dressed in their blue or orange slickers make for a colorful scene. The simple composition parallels the simplicity of the subject: a glimpse of everyday life and work in a coastal community.

GEORGE BRANDRIFF

Alson Clark painted "From the Ramparts" from atop Quebec City's Citadel, looking down upon the famous toboggan slide and boardwalk- the St. Lawrence River is in view as is the famous Chateau Frontenac Hotel. The snow-capped buildings line the river below, a perspectival choice perhaps influenced by his service as an aerial photographer in the US army during World War I. Clark masterfully uses the dynamic sweep of the slide from the lower right hand corner to draw the viewer into the center of the composition. In the immediate foreground, a pair of female walkers head towards the viewer on the path adjacent to the slide, the details of their faces and winter coats just barely suggested.

ALSON CLARK

IRVING NORMAN - Homeless 1 - oil on canvas - 48 x 60 in.

IRVING NORMAN

GEORGE CONDO - Abstract Face - oil on board - 15 7/8 x 11 3/4 in.

GEORGE CONDO

IRVING NORMAN - Homeless 2 - oil on canvas - 72 x 36 in.

IRVING NORMAN

ROBERT RAUSCHENBERG - Prime Pump from ROCI USA (Wax Fire Works Series) - color screenprint on paper and Lexan - 63 1/2 X 44 1/4 IN.

ROBERT RAUSCHENBERG

Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory.
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<br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014

MAX PELLEGRINI

Puccetto was a small yellow canary that sang from his cage in Pellegrini’s studio for twelve years. To him, tiny and frail, Pellegrini dedicated the large painting to emphasize the importance he had in his life.
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<br>– In conversation with Max Pellegrini, November 201

MAX PELLEGRINI

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.
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<br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

MAX PELLEGRINI

A young man and woman embrace one another, a woman holds a child, a sleeping baby holds a black and red thread, another young woman undresses, and an angel spreads its wings in this collage like composition. Together, these characters create a narrative in which young love, fate, and life are intertwined: the sleeping baby holds a red thread and black thread, reminiscent of the mythological three Fates, who spun life and death on their loom. These threads are physically connected to the young lovers, who embrace each other, wholly unaware of the hold that the infant has on them. A woman holding a child watches over the love of the youthful boy and girl, just as Mary and Jesus watch over and defend mankind. The merging of narratives and symbols is a common element in Pellegrini’s oeuvre, and is masterfully expressed here.

MAX PELLEGRINI

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

DONALD SULTAN

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

HASSEL SMITH - In Berkeley - acrylic on canvas - 70 x 49 in.

HASSEL SMITH

HASSEL SMITH - Eyeball to Eyeball - oil on canvas - 46 x 46 in.

HASSEL SMITH

ROLAND PETERSEN - Luncheon - oil on canvas - 24 1/4 x 26 3/8 in.

ROLAND PETERSEN

MASSIMO VITALI - Viareggio - c-print mounted on plexiglass - 59 1/8 x 73 1/2 in.

MASSIMO VITALI

PETER SHELTON - noarm. - plastic and acrylic - 45 x 15 3/4 x 8 in.

PETER SHELTON

JAE KON PARK - Untitled - oil on canvas - 38 x 51 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 38 1/4 x 51 1/2

JAE KON PARK

Paul Wonner is one of the most celebrated artists of the Bay Area Figurative movement, along with David Park, Elmer Bischoff, Richard Diebenkorn, and his partner William Theophilus Brown. The Bay Area Figurative Movement was a loose collection of artists that broke away from the dominant and overly-influential style of abstract expressionism, pushing considerations of what is modern away from abstraction once more onto the body and figuration. This painting comes from Wonner’s period in which he adopted the crisp realism of Dutch Baroque still life painting, populating his works with objects from everyday contemporary life. Acclaimed for his expressive figurative paintings and distinctive style of still life painting, Wonner had numerous solo exhibitions in New York, Los Angeles and San Francisco and his works are held at major museums throughout the United States, including the Smithsonian American Art Museum in Washington, D.C., the San Francisco Museum of Modern Art, and the Solomon R. Guggenheim Museum in New York. Heather James is proud to partner with the Crocker Art Museum to represent the estate of Paul Wonner and William Theophilus Brown.

PAUL WONNER

William Theophilus Brown, along with his partner Paul Wonner, is one of the most celebrated artists of the Bay Area Figurative movement, along with David Park, Elmer Bischoff, and Richard Diebenkorn. The inspiration to take chances and to try new mediums is evident in Brown’s works including his fearless examination of nude forms, bold colors, his shifts from sensual form to precise architectural landscapes, and even his experimentation during his last decade with collage and pure abstraction. This painting is a great example of Brown’s draftsmanship in its careful but bright study of the seated figure. Brown ran through many artistic circles and included among his friends, Samuel Barber, Igor Stravinski, Paul Hindemith, André Previn, Mary Sarton, Christopher Isherwood, and Don Bacardy. Heather James is proud to partner with the Crocker Art Museum to represent the estate of Paul Wonner and William Theophilus Brown.

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

IRVING NORMAN - Slum Youth - oil on canvas - 44 1/4 x 20 1/4 in.

IRVING NORMAN

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.

HELMUT NEWTON

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

HASSEL SMITH

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 48 1/8 in.

HASSEL SMITH

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

ANDY WARHOL

REYNOLDS BEAL - Kingstown, St. Vincent - oil on canvas - 26 x 36 in.

REYNOLDS BEAL

NORMAN ZAMMITT - Panel for Black to White - acrylic on canvas on pine board - 100 x 11 1/4 in.

NORMAN ZAMMITT

Mirror images of a cloaked figure embrace a bare-chested and bearded man, who is almost child-like in his relative stature. Their embrace mirrors that of Michelangelo’s Pieta, and the many similar depictions of Christ and the Madonna. A dark shade of blue casts a shadow over the composition, assuredly a temporal indicator, but possibly a reference to Picasso’s blue period as well, a major influencer on Pellegrini’s artwork. The wall panels behind the figures depict religious scenes, and remind the viewer of stained glass walls in churches and chapels. Light shines from windows in the city below, also illuminated by a full moon peaking over mountainous scenery.

MAX PELLEGRINI

From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”
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<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

MAX PELLEGRINI

In an abstracted image of St. Peter’s basilica in Rome, Pellegrini returns to religious narratives to express his “anti-ideological and anti-pauperist” impression of the church and its relationship with faith (Antonio Monda, “Interview with Max Pellegrini). In the lower half of the painting, the birth of Jesus is the central focus, while the life of the church is highlighted in the upper half. According to Pellegrini, he depicted the birth of Jesus in the style of a baroque 18th century Neapolitan nativity scene that can be interpreted “as a feast for the birth of faith.” This faith is conceived of as “the material support for the Popes’ power and of the Church’s glory,” represented in this painting by the Pope clutching the moon in his hand.
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<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

MAX PELLEGRINI

MAX PELLEGRINI - Il Cavallo di Padova - oil on canvas - 59 x 59 in.

MAX PELLEGRINI

MAX PELLEGRINI - La Geisha e il Cavaliere - oil on canvas - 63 x 51 in.

MAX PELLEGRINI

GUSTAVO LOPEZ ARMENTIA - Imágenes, Recuerdos y Soledades - acrylic on panel - 52 x 77 in.

GUSTAVO LOPEZ ARMENTIA

KENNETH NOLAND - Doors and Ghosts - unique monotype on paper - 78 1/2 x 42 1/2 in.

KENNETH NOLAND

KENNETH NOLAND - Doors and Ghosts #17 - unique monotype on paper - 78 3/4 x 43 in.

KENNETH NOLAND

ROBERT NATKIN - Untitled - acrylic on canvas - 60 x 60 in.

ROBERT NATKIN

HERB ALPERT - Flight 447 - acrylic and coffee on canvas - 64 x 96 in.

HERB ALPERT

ANDY WARHOL - Vote McGovern - screenprint - 42 x 42 in.

ANDY WARHOL

PAUL JENKINS - Phenomenon High Vortex - acrylic on canvas - 48 x 50 in.

PAUL JENKINS

JAE KON PARK - Untitled - oil on canvas - 34 x 43 1/4 in..

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 36 x 45 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 35 1/4 x 46 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 45 3/4 x 35 1/2 in.

JAE KON PARK

ALEXANDER CALDER - Compositions with Faces and Forms - ink on paper - 15 1/2 x 23 in. ea.

ALEXANDER CALDER

CARLOS LUNA - Iluminado - byzantine mosaic - 47 1/2 x 82 in.

CARLOS LUNA

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi on linen - 42 1/2 x 103 1/2 in.

KYOKO IBE

CARLOS LUNA - Gallo / Rooster - bronze - 27 1/2 x 7 1/2 x 16 in

CARLOS LUNA

Hand blown glass with multiple incalmo of colored glass and filligrana. Switching the axel of the glass bubble and adjoining two glass bubbles with raticallo technique. Engraved partially on the surface with different patterns.
<br>
<br>Lino Tagliapietra, a native to Murano, is one of the world's preeminent glass artists.

LINO TAGLIAPIETRA

FRANCISCO TOLEDO - Untitled - mixed media on paper - 8 x 10 1/4 in.

FRANCISCO TOLEDO

HERB ALPERT - Nuclear Winter - acrylic and coffee on canvas - 57 x 96 in.

HERB ALPERT

CHRISTIAN ECKART - Zootrope (Sandwers Curve) - lacquer on aluminum - 65 x 55 x 5 in.

CHRISTIAN ECKART

Jiang Guofang - Woman with a Red Scarf - oil on canvas - 20 7/8 x 25 5/8 in

Jiang Guofang

Jiang Guofang - Portrait of the Artist's Wife - oil on canvas - 20 7/8 x 25 5/8 in

Jiang Guofang

MABEL MAY WOODWARD - Beach Scene - watercolor on paper - 14 1/2 x 19 1/2 in.

MABEL MAY WOODWARD

MARC CHAGALL - The Yellow Sun - lithograph - 20 x 24 in.

MARC CHAGALL

FRED MITCHELL - Untitled - oil on canvas - 72 x 72 in.

FRED MITCHELL

WILLIAM THEOPHILUS BROWN - Untitled (Painting with Jumping Man and Snake) - acrylic on canvas - 38 x 42 in.

WILLIAM THEOPHILUS BROWN

IRVING NORMAN - Strange Lovers (The Hard Marriage) - ink and colored pencil on paper - 22 3/4 x 29 in.

IRVING NORMAN

JOSEPH KLEITSCH - Portrait of Charles F. W. Nichols - oil on canvas - 27 x 22 in.

JOSEPH KLEITSCH

WILLIAM THEOPHILUS BROWN - Untitled (Industrial Landscape with One Way Street) - acrylic on canvas - 54 x 76 in.

WILLIAM THEOPHILUS BROWN

LARI PITTMAN - Untitled - oil and acrylic on canvas - 95 x 65 in.

LARI PITTMAN

PAUL MANES - Minotaur - oil on canvas - 79 x 96 in.

PAUL MANES

JAMES ROSENQUIST - Drawing Study - oil pastel and pencil on paper - 35 x 22 1/2 in.

JAMES ROSENQUIST

ANDY WARHOL - Blackglama (Judy Garland) - screenprint on Lenox Museum Board - 38 x 38 in.

ANDY WARHOL

CHRISTIAN ROSA - Untitled - oil on canvas - 90 1/2 x 118 1/4 in.

CHRISTIAN ROSA

MEL RAMOS - Tomato Catsup; A.C. Annie; Lola Cola; and Tobacco Red - four offset lithographs printed in colors - 30 3/4 x 25 1/4 in. (each)

MEL RAMOS

ADAM EMORY ALBRIGHT - Two Boys with Cows "Coming Home" - oil on canvas - 35 3/4 x 59 3/4 i in.

ADAM EMORY ALBRIGHT

LOUISE NEVELSON - Untitled - wood and paper collage - 37 1/4 x 25 1/8 in.

LOUISE NEVELSON

REMBRANDT VAN RIJN - The Good Samaritan - etching - 10 x 8 1/8 in.

REMBRANDT VAN RIJN

HERB ALPERT - Robotic Revolution - acrylic on canvas - 60 x 84 in.

HERB ALPERT

HERB ALPERT - Salutation - acrylic on canvas - 60 x 84 in.

HERB ALPERT

HANS HOFMANN - Yellow Vase - oil on panel - 8 x 7 1/2 in.

HANS HOFMANN

ROLPH SCARLETT - Untitled - 1035 - oil on canvas - 15 x 16 in.

ROLPH SCARLETT

KARL BENJAMIN - Untitled - oil on canvas - 50 x 38 1/4 in.

KARL BENJAMIN

PAUL WONNER - Fruit and Kitchen Towels on Two Tables - acrylic and ink on paper - 38 1/4 x 26 3/4 in.

PAUL WONNER

JAE KON PARK - Untitled - oil on canvas - 35 1/2 x 45 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 36 x 46 in.

JAE KON PARK

Warhol began depicting the "Hammer and Sickle" in 1976 after seeing the symbol from the Soviet flag used in graffiti while visiting Italy. The icon represents the union of industrial and farm workers’ interests. To Warhol, the symbol was more Pop than politics. One of his assistants scoured books for reproductions and ultimately purchased a double-headed hammer and a sickle and arranged them in different positions to photograph. Warhol used the images for his series of silkscreens, which New York’s Castelli Gallery exhibited in 1977. His almost expressionist use of the hammer and sickle diffuses some of the Cold War tension that prevailed from the early 1940s through the 1980s.

ANDY WARHOL

ARISTIDES DEMETRIOS - The Eternal Flame - steel - 47 3/4 x 6 x 7 in.

ARISTIDES DEMETRIOS

JOSE MARIA SICILIA - Yellow Flower IV - acrylic on linen - 77 x 53 in.

JOSE MARIA SICILIA

PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in

PAUL JENKINS

KENNETH NOLAND - Winds 82-23 - painted monotype on handmade paper - 86 1/2 x 31 3/8 in.

KENNETH NOLAND

SAM FRANCIS - Ducat - acrylic on canvas - 5 1/2 x 8 3/4 in.

SAM FRANCIS

RICHARD ANUSZKIEWICZ - Arcade of Verdue - oil on canvas - 33 x 24 in.

RICHARD ANUSZKIEWICZ

MANUEL OCAMPO - Tratado De Enfermeria - oil on panel - 47 3/4 x 48

MANUEL OCAMPO

NATHAN OLIVEIRA - Runner (Ochre) - bronze - 17 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

JOE ANDOE - Untitled (Oak Leaves) - oil on canvas - 70 x 84 in.

JOE ANDOE

Pennsylvania native Shirley Goldfarb won a scholarship for study at the Art Students League of New York from 1952-1953. During this time in New York she frequented the Cedar Bar where other AbEx artists convened, then the following year moved to Paris. She remained there the rest of her life, developing her particular AbEx style that combines painterly action with light and color. There, she befriended contemporaries Joan Mitchell, Sam Francis, Alberto Giacometti, Man Ray, Max Ernst, Andy Warhol, and David Hockney. A portrait of Goldfarb by Hockney is now in the collection of the San Francisco Museum of Modern Art.

SHIRLEY GOLDFARB

NORMAN BLUHM - Untitled - acrylic on canvas - 28 x 24 in.

NORMAN BLUHM

ANTON HENNING - Untitled Drawing - mixed media on paper - 41 1/4 x 30 3/4 in.

ANTON HENNING

HERB ALPERT - East of the Sun - acrylic on canvas - 71 3/4 x 71 3/4 in.

HERB ALPERT

EDWARD LEE HENDRICKS - 6 Jacks - aluminum & urethane enamel with 6" spheres - 19 1/2 x 24 x 24 in.

EDWARD LEE HENDRICKS

CLEVE GRAY - Lateral F - acrylic on canvas - 24 x 36 in.

CLEVE GRAY

DAMIEN HIRST - The Souls on Jacob's Ladder Take Their Flight - color photogravure etching - 47 1/2 x 43 1/4 in.

DAMIEN HIRST

JOHN HENRY - Chief II - machined aluminum, gilded 23.5k rose gold - 39 x 35 x 16 in.

JOHN HENRY

SAM FRANCIS - Untitled - acrylic on gessoed masonite wood panel - 9 x 6 1/4 in.

SAM FRANCIS

KUMI SUGAI - 3 Heures D'Après Midi - acrylic on canvas - 24 x 19 3/4 in.

KUMI SUGAI

KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.

KEITH HARING

JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in.

JEFF KOONS

EDWARD HENRY POTTHAST - Rocky Pasture - oil on board - 12 x 16 in.

EDWARD HENRY POTTHAST

PABLO PICASSO - L'Atelier du Vieux Peintre (Old Painter's Studio) - lithograph - 17 x 24 in.

PABLO PICASSO

PABLO PICASSO - Man Uncovering a Woman (Homme dévoilant une femme) - etching/engraving - 16 x 12 1/2 in.

PABLO PICASSO

FRANCESCO CLEMENTE - Untitled - pastel on paper - 26 x 18 3/4 in.

FRANCESCO CLEMENTE

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

WILLIAM TUCKER

PABLO PICASSO - La Source - drypoint on thin Montval laid paper - 7 x 9 1/4 in.

PABLO PICASSO

MARC CHAGALL - Paysage Bleue - lithograph in colors - 20 3/4 x 26 3/4 in.

MARC CHAGALL

MERCEDES MATTER - Untitled - oil on canvas - 10 x 14 in.

MERCEDES MATTER

It wasn't until the age of 78 that Pablo Picasso experimented with linoleum cuts, turning them into a major vehicle for artistic expression. Picasso used ochers, browns and blacks, reminiscent of Greek vase painting, as the dominating color scheme , which displays his expressive carving style.
<br>
<br>Artist's Proof signed by hand in pencil, "Picasso" in lower right.
<br>Printed by Arnéra, Vallauris. Published by Berggruen for the deluxe edition of Jacques Prévert's book, " Diurnes", with découpages and photographs by André Villers.
<br>Catalogue reference: Bloch 1062

PABLO PICASSO

TOM WESSELMANN - Big Blonde - screenprint in colors on wove paper - 55 x 74 in.

TOM WESSELMANN

BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in.

BILLY AL BENGSTON

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

WILLIAM THEOPHILUS BROWN

CLARENCE HINKLE - Portrait of a Chinese Boy - oil on canvas - 36 x 30 in.

CLARENCE HINKLE

MARC CHAGALL - The Rabbi of Vitebsk (The Praying Jew) - etching and aquatint in colors on Chine-collé on Japan Paper - 27 5/8 x 21 in.

MARC CHAGALL

MAX PELLEGRINI - Resurrection no. 3: The Faun’s rebirth - oil on canvas - 39 1/4 x 51 in.

MAX PELLEGRINI

MARC CHAGALL - A Sequestered Garden - original lithograph in colors - 23 3/4 x 20 in.

MARC CHAGALL

ALEXANDER CALDER - El Circulo de Piedra - gouache and ink on paper - 20 1/2 x 15 1/2 in.

ALEXANDER CALDER

PAUL LAURITZ - Tree Shadowed Road - oil on canvas - 40 1/8 x 50 1/4 in.

PAUL LAURITZ

JACK YOUNGERMAN - White Open Round - oil on canvas - 72 in. diameter

JACK YOUNGERMAN

DAVID MORRIS - The Matador - cast steel - 43 1/2 x 15 1/2 in.

DAVID MORRIS

ZENG JIANYONG - Discipline-Reading Boy - Ink and Watercolor on Handmade Paper - 56 1/2 x 28 1/4 in.

ZENG JIANYONG

ZENG JIANYONG - Discipline-Flying Bird - ink and watercolor on handmade paper - 56 1/2 x 28 1/4 in.

ZENG JIANYONG

Like much of Dale Chihuly’s artwork, this six piece glass set is a play on the form and sensory effects created by sea life. A lovely pink hue is broken by amber tones emanating from the delicate spine of a clamshell and the sea life nestled within it. The gentle grooves of the shell breath life into the glass, as if suspended within water and ebbing and flowing with the current.
<br>
<br>These sea forms are the result of chance. Chihuly was experimenting with ribbed molds while working on his Basket series. In creating the ribbed molds, the forms looked similar to sea shells. At this point, according to Chihuly, "I changed the name of the series to Seaforms, which suited me just fine in that I love to walk along the beach and go to the ocean. And glass itself, of course, is so much like water. If you let it go on its own, it almost ends up looking like something that came from the sea.”

DALE CHIHULY

TONY DE LOS REYES - The Needle - oil on linen - 89 x 119 x 6 in.

TONY DE LOS REYES

Provenance
<br>Estate of the artist
<br>Forum Gallery, New York
<br>Barry Friedman Ltd., New York
<br>
<br>Exhibited
<br>London, Alon Zakaim Fine Art, Robert Marc: Reflections and Rediscovery, 11 March - 8 April 2011
<br>
<br>Literature
<br>Exhibition catalogue, Robert Marc: Reflections and Rediscovery, London, Alon Zakaim Fine Art/ E and R Cyzer Gallery, 2011, no. 21 (illustrated in colour)

ROBERT MARC

KENNETH NOLAND - Winds 82-08 - painted monotype on handmade paper - 86 x 32 in.

KENNETH NOLAND

LAWRENCE SCHILLER - Marilyn Monroe - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

JULIO SUSANA - Mariachi - oil on canvas - 63 x 73 in.

JULIO SUSANA

JULIO SUSANA - Enegia Solar - oil on canvas - 60 x 72 in.

JULIO SUSANA

JULIO SUSANA - Vida Musical - oil on canvas - 64 x 80 in.

JULIO SUSANA

RUSSELL YOUNG - Mountain - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

RUSSELL YOUNG

RUSSELL YOUNG - Wave - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

RUSSELL YOUNG

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 33 x 81 in.

KYOKO IBE

CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in.

CHARLES HERBERT WOODBURY

PAUL WONNER - Figure and Plant - oil on canvas - 48 x 40 in.

PAUL WONNER

RUBEN ALPIZAR - Untitled - acrylic on canvas - 57 x 38 in.

RUBEN ALPIZAR

WILLEM DE KOONING - Untitled - charcoal on vellum - 22 3/4 x 18 1/8 in.

WILLEM DE KOONING

JAE KON PARK - Untitled - oil on burlap - 39 1/2 x 35 1/2 in.

JAE KON PARK

FELIPE CASTANEDA - Mujer Hincada - black onyx - 15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA

FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA

FELIPE CASTANEDA - Pensando - marble - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

NAOTO NAKAGAWA - New York Post - oil on canvas - 56 x 70 1/8 in.

NAOTO NAKAGAWA

JAE KON PARK - Untitled - oil on canvas - 25 1/4 x 35 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 35 x 33 7/8 in.

JAE KON PARK

NAOTO NAKAGAWA - Aggressive Still Life - oil on canvas - 56 1/4 x 70 1/4 in.

NAOTO NAKAGAWA

NAOTO NAKAGAWA - Comb's Smile - oil on canvas - 90 x 72 1/2 x 1 3/4 in.

NAOTO NAKAGAWA

FELIPE CASTANEDA - Mujer con Guitarra - marble - 16 1/2 x 10 1/2 x 10 in.

FELIPE CASTANEDA

MARC CHAGALL - Plate 8, Anacreon - lithograph on Arches - 22 x 17 1/4 in.

MARC CHAGALL

KELTIE FERRIS - Untitled - oil, acrylic, oil pastel and spray paint on canvas - 30 1/4 x 30 1/4 in.

KELTIE FERRIS

SYLVIA PLIMACK MANGOLD - Gray Winter Glaze - oil on canvas - 30 x 40 in.

SYLVIA PLIMACK MANGOLD

ARISTIDES DEMETRIOS - Reaching for a Star - stainless steel welded - 34 1/4 x 8 7/8 x 5 3/4 in.

ARISTIDES DEMETRIOS

RUSSELL YOUNG - If You Believed They Put a Man on the Moon - indigo pigment screen print on felt in ten panels - 72 x 120 in.

RUSSELL YOUNG

IZIMA KAORU - Tominaga Ai Wears Prada - C - Print - 70 x 95 in.

IZIMA KAORU

RUSSELL YOUNG - Mountain - indigo pigment screen print on felt in 6 panels - 74 x 119 in.

RUSSELL YOUNG

RUSSELL YOUNG - Wave. Rage, rage against the dying of the light - indigo pigment screen print on felt in 6 panels - 73 1/2 x 119 1/2 in.

RUSSELL YOUNG

TONY DE LOS REYES - Border Compression #1 - oil and dye on linen - 78 x 108 1/4 in.

TONY DE LOS REYES

KARL BENJAMIN - Bars- Black, Yellow, Purple - oil on canvas - 48 x 16 in.

KARL BENJAMIN

KARL BENJAMIN - Bars- Black and Purple - oil on canvas - 48 x 16 in.

KARL BENJAMIN

PAUL WONNER - Untitled (Table with Fruit, Potatoes, Meat, and Flowers) - acrylic on paper - 38 1/2 x 27 in.

PAUL WONNER

NATHAN OLIVEIRA - Homage to Giacommetti (in same show) - watercolor on paper - 11 7/8 x 8 3/4 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Homage to Schoenberg - monotype - 29 3/4 x 22 1/4 in.

NATHAN OLIVEIRA

KEITH TYSON - Imagine That (from Studio Wall Drawing) - mixed media on paper - 61 3/4 x 49 5/8 in.

KEITH TYSON

IRVING NORMAN - Striptease - pencil and colored pencil on paper - 30 x 20 in.

IRVING NORMAN

LUDWIG SANDER - Mongohela - oil on canvas - 54 1/8 x 60 in.

LUDWIG SANDER

PETER DOIG - Surfer - colored etching - 55 7/8 x 35 1/4 in.

PETER DOIG

ED RUSCHA - Pepto-Caviar Hollywood - screenprint in colors on Copperplate Deluxe paper with Pepto-Bismol and caviar - 14 1/2 x 42 in.

ED RUSCHA

ANDY WARHOL - After the Party - screenprint - 21 1/2 x 30 1/2 in.

ANDY WARHOL

JAE KON PARK - Untitled - oil on canvas - 28 1/2 x 35 1/2 in.

JAE KON PARK

MARC CHAGALL - The Artist's Family - lithograph in colors - 24 1/2 x 18 1/2 in.

MARC CHAGALL

JOSE BEDIA - Caballo Ganador - acrylic on canvas - 69 3/4 x 92 in.

JOSE BEDIA

Sandra Mendelsohn Rubin - Valley View: Late Summer - oil on polyester - 4 x 7 1/8 in.

Sandra Mendelsohn Rubin

PABLO PICASSO - Deux Nus Assis - etching - 15 x 11 1/2 in.

PABLO PICASSO

PABLO PICASSO - Le Danseur - linocut in colors - image: 25 x 20 3/4 in. sheet: 29 1/2 x 24 3/8 in.

PABLO PICASSO

ADAM EMORY ALBRIGHT - Boy Standing with Fishing Pole - oil on canvas - 48 x 36 1/4 in.

ADAM EMORY ALBRIGHT

ADAM EMORY ALBRIGHT - Boy Sitting in Boat - oil on canvas - 48 x 36 1/4 in.

ADAM EMORY ALBRIGHT

BRUCE COHEN - Untitled, Interior with Daffodils and Blue Chair - oil on canvas - 54 x 36 in.

BRUCE COHEN

ROBERT FRAME - Untitled - oil on canvas - 40 x 48 in.

ROBERT FRAME

JAE KON PARK - Life and Roots - oil on canvas - 28 1/2 x 35 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 28 1/2 x 35 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 28 1/2 x 35 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 31 1/2 x 31 1/2 in.

JAE KON PARK

META GEHRING CRESSEY - Segovia Girl in Fiesta Costume, La Montera - oil on canvas - 24 x 20 in.

META GEHRING CRESSEY

RICARDO MAFFEI - Untitled - pastel on paper - 41 1/2 x 28 in.

RICARDO MAFFEI

JOSE BEDIA - Beteka Mpila - acrylic on canvas - 110 x 54 in.

JOSE BEDIA

FERNANDO CANOVAS - Sodom & Gomorrah - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

FERNANDO CANOVAS - Sodom - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

FELIPE CASTANEDA - Provinciana - white carrera marble - 20 7/8 x 13 1/4 x 10 1/4 in.

FELIPE CASTANEDA

SUSAN HUTCHINSON - Sorrow Floats - resin and acrylic on wood panel - 48 x 48 in.

SUSAN HUTCHINSON

KYOKO IBE - Hanging Sail - reinforced Kozo washi - 94 x 47 x 16 in.

KYOKO IBE

FERNAND LEGER - Marie l'Acrobate - color lithograph - image: 21 1/2 x 16 3/8 in. sheet: 23 7/8 x 19 5/8 in.

FERNAND LEGER

YANG MAOYUAN - Mexican Silver Grizzly - painting on paper - 26 1/4 x 37 1/2 in.

YANG MAOYUAN

CHRISTIAN ROSA - Untitled - oil on canvas - 71 x 82 1/2 in.

CHRISTIAN ROSA

RUSSELL YOUNG - Marilyn Crying - screenprint on linen with diamond dust - 62 3/4 x 48 in.

RUSSELL YOUNG

ARMAN - Untitled (Blue Over Brown) - mixed media - 39 x 32 1/2 x 4 1/2 in.

ARMAN

PENELOPE GOTTLIEB - Potentilia multijuja - acrylic and ink on panel - 78 x 84 in.

PENELOPE GOTTLIEB

GILBERT & GEORGE - Italian - mixed media - 46 1/4 x 32 1/4 in.

GILBERT & GEORGE

BRIAN ALFRED - McD's - acrylic on canvas - 80 x 110 in.

BRIAN ALFRED

JACKSON POLLOCK - Untitled - engraving with drypoint - 15 1/2 x 23 1/2 in.

JACKSON POLLOCK

TOMAS VU - Devil's Tower - mixed media on panel - 72 x 96 1/4 in.

TOMAS VU

TOMAS VU - Flatland - mixed media on panel - 72 x 96 1/8 in.

TOMAS VU

SALVADOR DALI - Tauromachie Surrealiste - complete portfolio of 7 etchings with Aquatint - 12 1/2 x 16 1/4 in.

SALVADOR DALI

RITA ACKERMANN - Fuck Your Cake - watercolor and charcoal on paper - 44 x 30 1/4 in.

RITA ACKERMANN

JOHN FRAME - Untitled - wood and mixed media - 53 x 40 x 6 3/4 in.

JOHN FRAME

CHRISTOPHER BROWN - Flight Pattern - pastel - 46 x 46 in.

CHRISTOPHER BROWN

MARC CHAGALL - Plate 11 - original color lithograph on lightweight paper - 16 1/4 x 12 1/4 in.

MARC CHAGALL

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

ENOC PEREZ

GUILLERMO MEZA - De La Tierra Tan Solo Brota - oil on canvas - 49 x 43 in.

GUILLERMO MEZA

KATHERINE PORTER - Ronde - oil on canvas - 94 x 72 in.

KATHERINE PORTER

NATHAN OLIVEIRA - Figure - monotype - 22 1/4 x 15 1/2 in.

NATHAN OLIVEIRA

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

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Imi #54 - watercolor and charcoal on paper - 24 x 19 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Girl with Teddy - watercolor and pencil on paper - 15 1/4 x 19 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Mask #6 (Maroon with Green Ear) - bronze and acrylic - 9 x 11 3/4 x 11 3/4 in.

NATHAN OLIVEIRA

LARRY BELL - Small Mirage Study #398 - vapor drawing on canvas - 30 x 30 in.

LARRY BELL

SAM FRANCIS - Untitled (Black and White Composition) - acrylic on paper - 23 3/4 x 17 3/4 in.

SAM FRANCIS

TIM HAWKINSON - Shoes - plaster and shoes - 14 x 7 x 6 in.

TIM HAWKINSON

DENNIS OPPENHEIM - Launching Station #1 - color pencil and pigment on paper - 76 x 50 in.

DENNIS OPPENHEIM

RAY SWANSON - Waiting for Mutton Stew - oil on canvas - 40 1/4 x 60 in.

RAY SWANSON

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

CHRISTIAN ROSA

MARC CHAGALL - Paysan au violun (Peasant with a Violin) - lithograph on Velin d'Arches paper - 14 1/2 x 11 1/2 in.

MARC CHAGALL

ROBERT FRAME - Summer Still Life - oil on canvas - 42 1/8 x 52 1/8 in.

ROBERT FRAME

JAE KON PARK - Untitled - oil on canvas - 31 3/4 x 27 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 25 1/4 x 19 1/2 x 1 in.

JAE KON PARK

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 30 3/4 x 62 5/8 in.

KYOKO IBE

CARL MORRIS - Tilted Plates - acrylic on canvas - 68 x 72 in.

CARL MORRIS

NORMAN ZAMMITT - Yellow to Violet II - acrylic on canvas - 40 1/2 X 9 1/4 in.

NORMAN ZAMMITT

UTA BARTH - Untitled (06.3) - mounted color photographs - 23 x 21 in. ea.

UTA BARTH

The painting, inspired by Antonio Canova’s sculpture Psyche Revived by Cupid’s Kiss, and Christ Carrying the Cross by Hieronymous Bosch, depicts a laureate male and a female enmeshed in a boa of roses. Canova’s sculpture represents Cupid and Psyche during an emotionally charged moment, in which Cupid awakens Psyche from death. His tender embrace is mimicked in this painting, however Psyche, appearing more realistic than sculpture-like, looks on. Hieronymous Bosch’s grotesque painting of Christ while he carries the cross looms over Cupid’s head. The grotesque work of Bosch is at odds with the Neoclassical inspiration from Canova, perhaps to convey the dark emotions that simmer beneath the façade of love.

MAX PELLEGRINI

MORRIS LOUIS - Untitled (Water Hyacinths) - acrylic resin on canvas - 16 x 20 in.

MORRIS LOUIS

GREGORY SUMIDA - Tree Trunks - watercolor on paper - 29 1/2 x 39 3/4 in.

GREGORY SUMIDA

MARC CHAGALL - Le Cirque M.505 - lithograph - 16 3/4 x 12 3/4 in.

MARC CHAGALL

PAUL JENKINS - Phenomena Violet Scent - oil on canvas - 14 x 18 in.

PAUL JENKINS

THOMAS WILLIAM JONES - Skagit Yellow - watercolor - 13 x 20 in.

THOMAS WILLIAM JONES

DAN NAMINGHA - Evening Horizon - oil on canvas - 34 x 70 in.

DAN NAMINGHA

JAE KON PARK - Untitled - resin and acrylic - 23 3/4 x 23 3/4 in.

JAE KON PARK

RUSSELL YOUNG - Brando Portrait - screenprint on linen with diamond dust - 62 5/8 x 47 3/4 in.

RUSSELL YOUNG

AMY SILLMAN - Untitled #7 - gouache, chalk, and pencil on etching on paper - 31 x 28 in.

AMY SILLMAN

GENIA CHEF - Boy, Fleeing from Storm - oil on canvas - 39 1/2 x 55 in.

GENIA CHEF

GENIA CHEF - The Beauty and the Beast - oil on canvas - 39 1/4 x 55 in.

GENIA CHEF

GENIA CHEF - Wild Orchid - oil on canvas - 70 3/4 x 70 3/4 in.

GENIA CHEF

KYOKO IBE - Akebono - Hogosho, pre-industrial time old paper, sumi ink for calligraphy, mica, natural indigo dye - 30 x 36 in. ea.

KYOKO IBE

ZENG JIANYONG - Spare Time 15 - ink and watercolor on handmade paper - 35 1/2 x 28 3/4 in.

ZENG JIANYONG

ZENG JIANYONG - Spare Time 16 - ink and watercolor on handmade paper - 35 1/2 x 28 3/4 in.

ZENG JIANYONG

ANNIE LAPIN - Perceived Marriage Tripartite Leave - acrylic and oil on canvas over panel - 96 x 69 in.

ANNIE LAPIN

CARLOS LUNA - Elefante - bronze - 10 1/4 x 13 7/8 x 7 1/4 in.

CARLOS LUNA

CONSTANCE MALLINSON - Couple - oil on paper - 95 x 52 1/2 in.

CONSTANCE MALLINSON

PROVENANCE:
<br>Acquired from artist California

ROBERT NATKIN

ROBERT NATKIN - Bern Series (#421) - acrylic on canvas - 34 x 46 in.

ROBERT NATKIN

LAWRENCE SCHILLER - Robert Kennedy, San Diego - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

VICTOR VAZQUEZ - El Pan Nuestro de Cada Dia - mixed media photography - 48 x 48 in.

VICTOR VAZQUEZ

JIAO XINGTAO - Wrapped Mao - fiberglass - 38 x 32 x 17 in.

JIAO XINGTAO

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

RICHARD ARTSCHWAGER

HERB ALPERT - Arrowhead - bronze - 37 x 12 x 12 in.

HERB ALPERT

HERB ALPERT - Radiance - bronze - 35 1/2 x 12 x 12 in.

HERB ALPERT

HERB ALPERT - Warrior - bronze - 35 x 12 x 12 in.

HERB ALPERT

PETER ANTON - Vibrant Selection - mixed media - 28 3/4 x 32 x 4 3/4 in.

PETER ANTON

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

RICHARD ARTSCHWAGER

GREGORY SUMIDA - Approaching Storm, New Branches - watercolor on watercolor board - 30 x 21 3/4 in.

GREGORY SUMIDA

GREGORY SUMIDA - Branches - watercolor on paper - 22 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Distant Shade, Knights Ferry, CA - watercolor - 21 1/2 x 29 3/4 in.

GREGORY SUMIDA

GREGORY SUMIDA - Fence Support - watercolor - 22 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Geese - watercolor - 22 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Hollow Tree, Hollow Trunk - watercolor on pressed board - 30 x 22 in.

GREGORY SUMIDA

GREGORY SUMIDA - Immutable Torso - watercolor on watercolor board - 22 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Supported - watercolor on watercolor board - 22 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Tree Study, Whittier, CA - watercolor on watercolor board - 30 x 22 in.

GREGORY SUMIDA

GREGORY SUMIDA - Tree Trunk and Barn - watercolor on pressed board - 24 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Tree with Bare Branches - watercolor - 22 x 30 in.

GREGORY SUMIDA

GREGORY SUMIDA - Vacated - watercolor on watercolor board - 22 x 30 in.

GREGORY SUMIDA

HERB ALPERT - Black Horizon - acrylic and coffee on canvas - 48 x 72 in.

HERB ALPERT

HERB ALPERT - El Toro Solitario (The Lonely Bull) - bronze - 17 x 33 1/2 x 14 in.

HERB ALPERT

HERB ALPERT - Eagle Falls - bronze - 41 1/2 x 10 x 10 in.

HERB ALPERT

HERB ALPERT - Magic Man - bronze - 43 x 8 x 8 in.

HERB ALPERT

HERB ALPERT - First Impression - bronze - 37 3/4 x 8 x 8 in.

HERB ALPERT

HERB ALPERT - Lazy Afternoon - acrylic on canvas - 72 x 48 in.

HERB ALPERT

ROBERT BECHTLE - Near Ocean View - watercolor on paper - 7 x 10 1/2 in.

ROBERT BECHTLE

ROBERT BECHTLE - Paros (6/7/96) - watercolor on paper - 9 x 12 in.

ROBERT BECHTLE

HERB ALPERT - Archangel - coffee and acrylic on canvas - 72 x 48 in.

HERB ALPERT

HERB ALPERT - Thinking Out Loud - acrylic on canvas - 48 x 72 in.

HERB ALPERT

ARMAND GUILLAUMIN - Quai de Bercy - oil on canvas - 13 1/2 x 22 3/4 in.

ARMAND GUILLAUMIN

DALE CHIHULY - White Seaform with Black Lip Wraps - blown glass - 5 x 11 1/4 x 9 1/2 in.

DALE CHIHULY

ROBERT FRAME - Still Life on Green Table - oil on canvas - 30 x 40 in.

ROBERT FRAME

JAE KON PARK - Untitled - oil on canvas - 25 7/8 x 31 3/4 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 24 x 31 in.

JAE KON PARK

FELIPE CASTANEDA - Mujer en Reposo - bronze - 14 x 9 x 15 3/4 in.

FELIPE CASTANEDA

FELIPE CASTANEDA - Mujer Peinandose - bronze - 16 1/4 x 11 3/4 x 11 in.

FELIPE CASTANEDA

JAE KON PARK - Untitled - oil on canvas - 22 3/4 x 29 1/2 in.

JAE KON PARK

FRANK STELLA - Inaccessible Island Rail - offset lithograph and screenprint in colors - 34 x 46 in.

FRANK STELLA

HERB ALPERT - Three Feathers - bronze - 38 x 20 x 9 in.

HERB ALPERT

HERB ALPERT - Falcon - bronze - 31 1/2 x 11 x 11 in.

HERB ALPERT

HERB ALPERT - Siblings - bronze - 43 x 14 x 11 in.

HERB ALPERT

HERB ALPERT - Two Heads Are Better Than One - bronze - 36 1/2 x 15 1/2 x 13 in.

HERB ALPERT

S.C. YUAN - The Guitar Player - oil on canvas - 43 x 43 in.

S.C. YUAN

MATTEO SANDONA - Gertrude and Boots - oil on canvas - 56 1/2 x 40 1/2 in.

MATTEO SANDONA

SANTIAGO CARBONELL - Untitled - oil on canvas - 48 x 48 in.

SANTIAGO CARBONELL

NATHAN OLIVEIRA - Head #8 - oil on panel - 14 x 11 in.

NATHAN OLIVEIRA

ROBERT NATKIN - Untitled - acrylic on canvas - 30 x 24 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - acrylic on canvas - 33 x 26 in.

ROBERT NATKIN

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

NATHAN OLIVEIRA

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

NATHAN OLIVEIRA

NORMAN BLUHM - Untitled - oil on paper mounted on board - 20 1/8 x 22 in.

NORMAN BLUHM

NATHAN OLIVEIRA - New Mexican Site #16 - monotype, hand-painted - 26 x 30 in.

NATHAN OLIVEIRA

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

NATHAN OLIVEIRA

MARK TOBEY - Untitled - sumi ink - 10 3/4 x 15 3/4

MARK TOBEY

CHARLES FINE - Fieldmarks (0168) - oil, ink, asphatum on mylar on linen on paper - 32 x 22 in. each

CHARLES FINE

JENE HIGHSTEIN - Untitled Drawing - pigment on graphite on paper - 63 x 59 3/4 in.

JENE HIGHSTEIN

SAUL KAMINER - La Peluquera - oil on canvas - 63 1/4 x 51 1/4 in.

SAUL KAMINER

KYOKO IBE - Untitled - Recycled ganpi paper fiber, old documents, mica and sumi - 26 1/2 x 60 in.

KYOKO IBE

WILLIAM LESTER STEVENS - A River in Winter - oil on canvas - 25 x 30 1/8 in.

WILLIAM LESTER STEVENS

RONALD DAVIS - Notched Slab - acrylic on PVC - 35 x 51 1/4 x 1 3/4 in.

RONALD DAVIS

KYOKO IBE - Screen - mixed media - 27 x 34 1/2 in. each

KYOKO IBE

MORRIS LOUIS - Untitled, Bird Perched Near House - oil on canvas - 32 x 26 in.

MORRIS LOUIS

JAE KON PARK - Untitled - oil on canvas - 24 x 28 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 24 x 28 3/4 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 24 x 28 3/4 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 24 x 28 3/4 in.

JAE KON PARK

PETER SHELTON - whitebeard - 41 x 7 x 6 1/2 in.

PETER SHELTON

PABLO PICASSO - La Danse des Faunes - lithograph on zinc - 18 1/4 x 22 1/4 in.

PABLO PICASSO

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

IRVING NORMAN

IRVING NORMAN - Shrapnel - pen and ink on artists board - 29 3/4 x 20 in.

IRVING NORMAN

BETTY GOLD - MA. V (Mallorca series) - powder coated steel - 24 x 22 x 15 3/4 in.

BETTY GOLD

JEFF KOONS - Girl with Lobster - color digital ditone print - 29 1/4 x 24 in.

JEFF KOONS

HERB ALPERT - Tuxedo - acrylic on canvas - 66 x 54 in.

HERB ALPERT

KYOKO IBE - Untitled, from the series... - Washi (Japanese handmade paper) - 24 1/4 x 54 in.

KYOKO IBE

ELLSWORTH KELLY - Pears III, (A.47) - lithograph - 35 3/4 x 24 1/2 in.

ELLSWORTH KELLY

JAE KON PARK - Life and Roots - oil on canvas - 25 1/2 x 20 5/8 in.

JAE KON PARK

JAE KON PARK - Life and Roots - oil on canvas - 28 x 20 1/2 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 19 1/4 x 19 3/4 in.

JAE KON PARK

ANDY WARHOL - I Dream of Genie with the Light Brown Shoes - offset lithograph with watercolor - 9 3/4 x 13 3/4 in.

ANDY WARHOL

KENNETH NOLAND - Diagonal Stripe VI-21 - handmade paper - 48 x 33 1/2 in.

KENNETH NOLAND

WILLARD DIXON - On the Way to Lake Isabelle - oil on canvas - 48 x 72 in.

WILLARD DIXON

FRANK GAVENCKY - Book Shelf - oil on board - 30 x 34 1/4 in.

FRANK GAVENCKY

CARLOS LUNA - Miel y Canela - gouache and charcoal on amate paper - 64 1/2 x 35 1/2 in.

CARLOS LUNA

DAVIS BIRKS - Home for Dinner & a Night of TV - acrylic on canvas - 68 x 50 1/4 in.

DAVIS BIRKS

BRUNO CECCOBELLI - Aiuola - mixed media on panel - 95 x 64 in.

BRUNO CECCOBELLI

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne III (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne II (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

KYOKO IBE - Untitled, from the series... - Washi, recycled ganpi paper fiber, old documents, mica and sumi - 23 3/4 x 46 1/2 in.

KYOKO IBE

CONSTANCE MALLINSON - Severed Limbs - oil on paper - 52 1/2 x 60 1/2 in.

CONSTANCE MALLINSON

KAORU MANSOUR - Pistachio, Peony and Chandelier #101 - mixed media on canvas - 72 x 60 in.

KAORU MANSOUR

RACHEL WHITEREAD - Untitled (Nets) - etched germansilver metal grating - 25 1/4 x 20 1/4 in.

RACHEL WHITEREAD

HERB ALPERT - Chicago - acrylic and coffee on canvas - 60 x 48 in.

HERB ALPERT

HERB ALPERT - Torso - acrylic on canvas - 48 x 60 in.

HERB ALPERT

RONALD DAVIS - Twelve Step Roto (Ray Trace Shape Series) - cel-vinyl acrylic copolymer & nova gel on birch plywood - 40 1/2 x 30 x 1 3/4 in.

RONALD DAVIS

JESUS RAFAEL SOTO - Paralelas Vibrantes (Serie Sintesis) - silkscreen on acrylic with two sheets separated by four metal rods - 17 x 10 x 5 1/2 in.

JESUS RAFAEL SOTO

DAVID MORRIS - First Egg - copper on polymer - 26 x 23 x 10 in.

DAVID MORRIS

DAVID MORRIS - Horn of Plenty I - nickel on polymer - 32 1/2 x 22 x 19 in.

DAVID MORRIS

DAVID MORRIS - Through the Looking Glass - nickel on polymer - 24 3/4 x 20 3/4 x 12 in.

DAVID MORRIS

GREGORY SUMIDA - Exposed, Uprooted - watercolor - 21 1/2 x 27 1/2 in.

GREGORY SUMIDA

PENELOPE GOTTLIEB - Hopea shinkeng (EX) - acrylic and ink on canvas - 78 x 66 in.

PENELOPE GOTTLIEB

HERB ALPERT - Night Vision - acrylic on canvas - 48 x 60 in.

HERB ALPERT

HERB ALPERT - Evolution - acrylic on canvas - 60 x 48 in.

HERB ALPERT

HERB ALPERT - Hidden Angel - acrylic and coffee on canvas - 60 x 48 in.

HERB ALPERT

HERB ALPERT - Blue Lagoon - acrylic on canvas - 60 x 47 3/4 in.

HERB ALPERT

DAN CHRISTENSEN - Blue Legacy - acrylic on canvas - 24 3/4 x 78 1/2 in.

DAN CHRISTENSEN

ELMER BISCHOFF - Untitled - gouache on paper - 20 x 26 in.

ELMER BISCHOFF

HERB ALPERT - Night Wind - acrylic and coffee on canvas - 60 x 48 in.

HERB ALPERT

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 23 1/2 x 46 1/2 in.

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 23 1/2 x 46 1/2 in.

KYOKO IBE

MORRIS LOUIS - Bowl of Bananas - oil on canvas - 16 1/2 x 17 5/8 in.

MORRIS LOUIS

MORRIS LOUIS - Reclining Woman - oil on canvas - 14 x 18 in.

MORRIS LOUIS

MORRIS LOUIS - Mulatta - oil on canvas - 20 1/8 x 15 in.

MORRIS LOUIS

MORRIS LOUIS - Untitled - oil on canvas - 12 x 10 in.

MORRIS LOUIS

SALVADOR DALI - La Pagode - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

SALVADOR DALI - Le Soleil - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

SALVADOR DALI - St.-Jacques-de-Compostela - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

SALVADOR DALI - La vache sacree - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

SALVADOR DALI - Le Vieil hippie - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

SALVADOR DALI - Le Cosmonaute - etching - 15 3/4 x 12 1/2 in.

SALVADOR DALI

BRUCE COHEN - Untitled, Interior with Night Sky and Bowl of Peaches - oil on canvas - 30 1/4 x 30 1/4 in.

BRUCE COHEN

BRUCE COHEN - Untitled, Interior with Lit Anemones and Tulips in the Shadow - oil on canvas - 30 1/4 x 30 1/4 in.

BRUCE COHEN

ARISTIDES DEMETRIOS - The Maestro: Le Conducteur - steel - 13 1/2 x 13 x 8 in.

ARISTIDES DEMETRIOS

WILLIAM GLEN CROOKS - Night and Day Café - oil on canvas - 48 x 36 in.

WILLIAM GLEN CROOKS

WILLIAM WEGMAN - Alder - Polaroid Polacolor print, mtnd - 26 x 20 3/4 in

WILLIAM WEGMAN

HELENA ADELE DUNLAP - The Fruit Server - oil on canvas - 40 x 36 in.

HELENA ADELE DUNLAP

JOHN HUBBARD RICH - Portrait of Tyrone Power's Sister - oil on canvas on panel - 12 5/8 x 10 3/8 in.

JOHN HUBBARD RICH

FRANK GAVENCKY - Winter in Chicago - oil on board - 38 x 46 in.

FRANK GAVENCKY

FRANK GAVENCKY - Salt Creek - oil on board - 30 1/2 x 42 1/4 in.

FRANK GAVENCKY

META GEHRING CRESSEY - Yellow Lilies - oil on canvas - 36 x 40 in.

META GEHRING CRESSEY

NATHAN OLIVEIRA - Head #5 - oil on panel - 8 x 6 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Head #6 - oil on panel - 8 x 6 in.

NATHAN OLIVEIRA

LINDA PERLMAN - The Snake River - Tibetan wool - 96 x 120 in.

LINDA PERLMAN

HENRI DE TOULOUSE-LAUTREC - Madame Marcelle Lender en Buste - lithograph in colors - 13 1/2 x 10 in.

HENRI DE TOULOUSE-LAUTREC

LOUISE BOURGEOIS - Untitled - glass hologram - 10 3/4 x 13 3/4 in.

LOUISE BOURGEOIS

NATHAN OLIVEIRA - Standing Figure - color sugar lift and spite bite aquatints with hard-ground etching - image: 45 x 36 in. sheet: 51 1/2 x 40 1/2 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Twin Runners - suger lift and spite bite aquatints with soft-ground etching - 45 x 36 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Twin Runners - suger lift and spite bite aquatints with soft-ground etching - 45 x 36 in.

NATHAN OLIVEIRA

LAWRENCE SCHILLER - Barbra Streisand (fur hat) - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

BETTY GOLD - Holistic #11 - bronze - 10 x 5 x 3 in.

BETTY GOLD

PABLO PICASSO - Portrait de Famille, Six Personnages - lithograph on wove paper - 22 1/4 x 30 in.

PABLO PICASSO

ADAM EMORY ALBRIGHT - Strawberry Girl - oil on wood - 26 x 30 1/4 in.

ADAM EMORY ALBRIGHT

ERIC JON HOLSWADE - Bird's Eye View - oil, flashe & gouache on cardboard - 65 x 78 in.

ERIC JON HOLSWADE

LUC LEESTEMAKER - 2010.8 - acrylic and mixed media on canvas - 54 x 52 in.

LUC LEESTEMAKER

CARL MORRIS - Untitled - acrylic on canvas - 82 x 30 in.

CARL MORRIS

RON REIHEL - Elutheria - cast resin, plaster, wood, canvas - 31 x 26 3/4 x 10 in.

RON REIHEL

LAWRENCE SCHILLER - Marilyn 12, No. 15 - chromogenic print - 30 x 40 in.

LAWRENCE SCHILLER

SOLD OUT EDITION - NO LONGER AVAILABLE

LAWRENCE SCHILLER

TIMOTHY TOMPKINS - Jungle v.1 - commercial enamel on aluminum - 48 x 80 in.

TIMOTHY TOMPKINS

GREGORY SUMIDA - Fresh Supply - watercolor - 15 x 22 in.

GREGORY SUMIDA

GREGORY SUMIDA - Out to Dry (or Paulette's Mop) - watercolor on pressed board - 15 x 21 1/2 in.

GREGORY SUMIDA

GREGORY SUMIDA - Padlocked - watercolor - 16 1.2 x 25 1/2 in.

GREGORY SUMIDA

HERB ALPERT - Rebound - acrylic on canvas - 60 x 40 in.

HERB ALPERT

ERIC JON HOLSWADE - White Flowers - oil on flashe - 60 x 55 in.

ERIC JON HOLSWADE

ADAM FUSS - Yellow Circle - photogram - 24 x 19 3/4 in.

ADAM FUSS

HARRY LEITH-ROSS - Middle Cove - oil on canvas on board - 8 1/4 x 10 3/8 in.

HARRY LEITH-ROSS

JOHN JOSEPH ENNEKING - Milton Blue Hills - oil on canvas - 12 x 18 in.

JOHN JOSEPH ENNEKING

ARISTIDES DEMETRIOS - Reaching for the Stars - bronze - 15 5/8 x 5 1/4 x 5 1/4 in.

ARISTIDES DEMETRIOS

IRVING NORMAN - Wine Bottle - graphite on paper - 18 7/8 x 11 5/8 in.

IRVING NORMAN

XIAOZE XIE - June 2001, J.T. - oil on canvas - 24 x 36 in.

XIAOZE XIE

THOMAS WILLIAM JONES - Along Springhetti Road - watercolor - 9 1/2 x 14 3/4 in.

THOMAS WILLIAM JONES

THOMAS WILLIAM JONES - Silvana Morning - watercolor - 9 1/4 x 14 1/2 in.

THOMAS WILLIAM JONES

FLOYD HILDEBRAND - California Street - oil on board - 24 1/8 x 29 1/4 in.

FLOYD HILDEBRAND

FRANK GAVENCKY - Seascape - oil on masonite - 24 x 29 7/8 in.

FRANK GAVENCKY

PAUL WONNER - Youth and Old Age, Artist and Model and Red Carpet - acrylic and pencil on paper - 14 1/2 x 19 1/2 in.

PAUL WONNER

PAUL WONNER - Park with Figures Around a Tree - acrylic and pencil on paper - 22 1/4 x 30 in.

PAUL WONNER

THOMAS WILLIAM JONES - Wayne County Thaw - watercolor on paper - 8 1/2 x 13 in.

THOMAS WILLIAM JONES

JEFF KOONS - Balloon Dog (Red) - cast porcelain with red reflective finish - 10 1/2 x 10 1/2 in.

JEFF KOONS

DEBORAH OROPALLO - Untitled - oil on canvas - 76 x 67 in.

DEBORAH OROPALLO

LESLIE KERR - Lover - oil on canvas - 60 x 50 in.

LESLIE KERR

JOHN STEZAKER - Untitled - film portrait collage - 10 1/4 x 7 7/8 in.

JOHN STEZAKER

PAUL JENKINS - Phenomena D.H. Lawrence Gala - watercolor on paper - 43 1/8 x 31 1/4 in.

PAUL JENKINS

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

PAUL JENKINS

PAUL JENKINS - Untitled - watercolor on paper - 43 1/8 x 31 1/8 in. .

PAUL JENKINS

Provenance:
<br>Imago Galleries, CA
<br>Private collection, CA (acquired from above)

STEVEN MCCALLUM

CHARLES FINE - Huitlacoche - encaustic on wood bee's wax - 19 x 11 x 3 in.

CHARLES FINE

PABLO PICASSO - Untitled - etching/engraving - 11 1/4 x 13 in.

PABLO PICASSO

ERIC JON HOLSWADE - For Forgetting - acrylic on panel - 42 3/4 x 32 5/8 in.

ERIC JON HOLSWADE

HENRI MATISSE - Le Repos du Modele - original lithograph on japon paper - 10 7/8 x 14 1/2 in.

HENRI MATISSE

GUSTAVE HEINZE - Store Front #122 - acrylic on masonite - 40 x 40 in.

GUSTAVE HEINZE

HAI BO - Untitled - photograph - 47 x 39 in.

HAI BO

MICAELA AMATO - Aljama - cast leaded glass - 22 x 24 x 15 in.

MICAELA AMATO

MICAELA AMATO - Red Fez - cast leaded glass - 20 x 18 x 18 in.

MICAELA AMATO

MICAELA AMATO - Nidea - green cast glass, head and shoulders - 15 x 16 1/2 x 9 in.

MICAELA AMATO

LUC BERNARD - Cinergy No. 2 - acrylic on canvas - 50 x 80 in.

LUC BERNARD

LUC BERNARD - Edges no. 13 - oil on canvas - 72 x 58 in.

LUC BERNARD

HANS BURKHARDT - Untitled - oil on canvas - 31 1/2 x 26 1/8 in.

HANS BURKHARDT

MICAELA AMATO - Persian Girl with Shells - cast glass - 12 x 7 x 9 1/2 in.

MICAELA AMATO

THOMAS WILLIAM JONES - After Halloween - watercolor on paper - 10 3/4 x 10 1/4 in.

THOMAS WILLIAM JONES

FRANK GAVENCKY - Small Prickly Pear - oil on board - 16 x 19 3/4 in.

FRANK GAVENCKY

THOMAS WILLIAM JONES - Snohomish Silhouette - watercolor on paper - 10 1/4 x 13 3/4 in.

THOMAS WILLIAM JONES

HUNTER S. THOMPSON - Self-Portrait, on the Road to Tijuana - gelatin silver print - 27 3/4 x 27 3/4 in.

HUNTER S. THOMPSON

RICHARD DEACON - La Plata No 1 - collage ink on paper on R type print - 31 x 45 in.

RICHARD DEACON

FRANCISCO ZUNIGA - Mujer de Pie con Rebozo - bronze - 15 1/2 x 7 1/2 x 4 in.

FRANCISCO ZUNIGA

CARLOS BETANCOURT - 53-03 of Crowns and Journeys - c-print surfaced mounted on plexiglass - 60 x 60 in.

CARLOS BETANCOURT

ADAM EMORY ALBRIGHT - Boy and Girl at Woodpile - oil on canvas - 24 x 18 in.

ADAM EMORY ALBRIGHT

JOHN ALTOON - Untitled (Kneeling Nude) - pastel, oil, crayon, and pencil on paper - 30 x 23 1/4 in.

JOHN ALTOON

ZALIKO BACHANASHVILL - Untitled - oil on canvas - 48 x 40 x 1 1/4 in.

ZALIKO BACHANASHVILL

LAUREN BENRIMON - Untitled - spray-paint and acrylic on canvas - 72 x 60 in.

LAUREN BENRIMON

DENNIS HOPPER - Bad - mixed media on canvas - 66 x 39 in.

DENNIS HOPPER

KAORU MANSOUR - Peach and Chandelier #112 - mixed media on canvas - 72 x 36 in.

KAORU MANSOUR

ED RUSCHA - Black Ants - silkscreen printed in colors on wood-veneered paper - 20 1/4 x 27 1/4 in.

ED RUSCHA

LAWRENCE SCHILLER - Marilyn 12, No. 17 - silver gelatin print - 30 x 40 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Barbra Streisand - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

FRANCISCO ZUNIGA - Seated Woman - watercolor on paper - 19 1/4 x 25 in.

FRANCISCO ZUNIGA

PETER BEARD - "Buy an elephant a drink" / "Water for wild animals" / "STARYO" natl. park, Kenya / ELEPHANTS' MEMOR - platinum print - 25 x 20 in.

PETER BEARD

HERB ALPERT - Dreamcatcher - acrylic on canvas - 48 x 48 in.

HERB ALPERT

DAVID MORRIS - Grounded Knot - steel - 17 1/2 x 28 x 20 in.

DAVID MORRIS

GREGORY SUMIDA - Plastic Feeder, Lockford, CA - watercolor - 12 x 22 in.

GREGORY SUMIDA

GREGORY SUMIDA - White Shack - watercolor on paper - 14 1/2 x 19 1/2 in.

GREGORY SUMIDA

ROBERT MOTHERWELL - Frontispiece from" A la Pintura" - aquatint - 25 3/4 x 37 3/4 in.

ROBERT MOTHERWELL

HERB ALPERT - Night Phantom - acrylic on canvas - 48 x 48 in.

HERB ALPERT

NATHAN OLIVEIRA - Untitled (Figurative Painting #1) - acrylic on paper - 40 5/8 x 27 1/2 in.

NATHAN OLIVEIRA

PAUL WONNER - Nude with Flowered Hat - watercolor on paper - 17 1/2 x 11 1/2 in.

PAUL WONNER

HERB ALPERT - Big Black - acrylic on paper - 44 x 60 in.

HERB ALPERT

GRACE HARTIGAN - Elizabeth Etched - aquatint (Ink Ground, Spite Bite) - 40 1/2 x 30 1/2 in.

GRACE HARTIGAN

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

ARISTIDES DEMETRIOS

ARISTIDES DEMETRIOS - Duet - metal - 9 1/2 x 8 1/2 x 7 in.

ARISTIDES DEMETRIOS

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

EDGAR SERRANO

Provenance:
<br>Black Dragon Society, Los Angeles, CA
<br>Private Collection, Los Angeles, CA

ELISA JOHNS

ABEL VENTOSO - MT - acrylic on metal - 41 x 41 x 3 in.

ABEL VENTOSO

PAUL WONNER - In a Park - acrylic and pencil on paper - 14 1/2 x 20 in.

PAUL WONNER

PAUL WONNER - Bathers After Cezanne - acrylic and pencil on paper - 14 3/4 x 20 1/8 in.

PAUL WONNER

PAUL WONNER - Park with Figures and Dogs - acrylic and pencil on paper - 15 x 22 in.

PAUL WONNER

NATHAN OLIVEIRA - Figure, Arm Stand - monotype - 17 1/2 x 15 1/4 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Nude I - monotype - 20 3/8 x 14 5/8 in.

NATHAN OLIVEIRA

ANNIE LEIBOVITZ - June Omura - gelatin silver print - 34 5/8 x 43 1/2 in.

ANNIE LEIBOVITZ

PAUL JENKINS - Untitled - watercolor on paper - 41 3/4 x 30 in.

PAUL JENKINS

DAN OSTERMILLER - Ice Bear - bronze - 9 x 16 in.

DAN OSTERMILLER

CARLOS LUNA - Match - gouache and charcoal on amate paper - 39 1/4 x 47 in.

CARLOS LUNA

Born in Winnipeg, Manitoba in Canada, Kaktins-Gorsline received his BFA from the University of Manitoba, with a double major in painting and video, and is currently working towards his MFA at Columbia University. He has been featured in solo and group exhibitions as well as numerous international art fairs. The artist’s work stems from a variety of media and disciplines, including paintings that synthesize the grotesque and the beautiful to create truly evocative imagery.
<br>
<br>Kaktins-Gorsline describes his work as an attempt to “short circuit traditional appeal towards transcendence and create images that anticipate their own annihilation.” The artist often uses oil paints on wooden panels to present his process of “ingestion, gestation and expulsion of imagery,” and bring together somewhat disparate information. Kaktins-Gorsline’s paintings seek to create “an ambivalent space in which the personal meets spectacle,” rather than “a space of escapism.” Often borrowing from his native Manitoban landscape, the artist delivers figurative paintings that are direct extensions of his process of “intuitive exploration.”

KRISJANIS KAKTINS-GORSLINE

MALCOLM FURLOW - Waiting for Columbus - oil on canvas - 58 x 46 x 1 1/2 in.

MALCOLM FURLOW

RUFINO TAMAYO - Luna y Sol - mixografia - 35 x 37 in.

RUFINO TAMAYO

RUFINO TAMAYO - Dos Hermanos - mixografia - 40 1/2 x 34 in.

RUFINO TAMAYO

RENE FRANCISCO RODRIGUEZ - Untitled - oil on canvas - 86 3/8 x 79 x 1 3/8 in.

RENE FRANCISCO RODRIGUEZ

ANN DIENER - Cathedral #1 - graphite, prismacolor, gouache and cut paper - 59 1/4 x 40 1/2 in.

ANN DIENER

ANDREW TAYLOR - Outside: San Fernando Night 1 - oil on canvas - 52 x 80 in.

ANDREW TAYLOR

ANDREW TAYLOR - Outside: San Fernando Night 2 - mixed media - 51 1/2 x 80 in.

ANDREW TAYLOR

SIDDHARTH PARASNIS - Cityscape - oil on canvas - 48 x 48 in.

SIDDHARTH PARASNIS

FERNAND LEGER - Femmes et Enfants a l'Accordeon
L'Accordion
of 10/Serigraphs. - original serigraph - image: 18 x 13 3/8 sheet: 21 7/8 x 14 7/8 in.

FERNAND LEGER

WILLIAM THEOPHILUS BROWN - Untitled (Nudes with Tree) (Woman and Child) - acrylic on canvas - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

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

PAUL WONNER

LUC BERNARD - Open no. 3 - oil and sumi ink on canvas - 38 1/2 x 73 3/4 in.

LUC BERNARD

LUC BERNARD - Open no. 2 - oil and sumi ink on canvas - 50 x 71 in.

LUC BERNARD

LAWRENCE SCHILLER - Clint Eastwood - Vintage Silver Gelatin Photograph - 11 x 14 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Paul Newman - vintage silver gelatin photograph - 14 x 11 in.

LAWRENCE SCHILLER

TIMOTHY TOMPKINS - 9.7.06 after David - commercial enamel on aluminum - 61 x 60 in.

TIMOTHY TOMPKINS

CHRISTIAN VINCENT - Post Opus 19 #2 - oil on canvas - 46 x 35 1/8 in.

CHRISTIAN VINCENT

PENELOPE GOTTLIEB - Phragmites australis (IAS) - acrylic and ink over John James Audubon print - 60 x 40 in.

PENELOPE GOTTLIEB

ARISTIDES DEMETRIOS - March of Glory - stainless steel - 11 5/8 x 9 x 6 in.

ARISTIDES DEMETRIOS

KAORU MANSOUR - Biwa (Loquat) #101 - mixed media on canvas - 42 x 72 in.

KAORU MANSOUR

JOAN MIRO - Ubu Roi (M.489) - lithograph - 19 x 25 3/4 in.

JOAN MIRO

JOAN MIRO - Ubu Roi - lithograph - 19 1/4 x 26 in.

JOAN MIRO

SHEPARD FAIREY - Levi's Edition Four Print Set - screenprint on paper - 24 x 18 in. ea.

SHEPARD FAIREY

PETER D. GERAKARIS - Dragon Tsunami Mask Remix - acrylic, iridescent pigments, and mixed media on canvas - 32 x 32 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Icarus Mask Remix - acrylic, iridescent pigments, and mixed media on canvas - 32 x 32 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Caribou Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Carnivale Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Piton Opera Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Junkanoo Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

LAWRENCE SCHILLER - Bobby Kennedy, Pg 25 - Platinum Print - 24 x 20 in.

LAWRENCE SCHILLER

JAE KON PARK - Untitled - oil on canvas - 18 x 21 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on painting - 18 x 21 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 18 x 21 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 21 x 18 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 18 x 21 in.

JAE KON PARK

JAE KON PARK - Untitled - oil on canvas - 21 x 18 in.

JAE KON PARK

HENRY RICHTER - Seascape - oil on canvas - 29 x 39 in.

HENRY RICHTER

GENEVE RIXFORD SARGEANT - Gypsy Woman - oil on canvas - 24 1/4 x 18 1/4 in.

GENEVE RIXFORD SARGEANT

JESSIE ARMS BOTKE - The Yellow Shawl - charcoal on paper - 17 1/4 x 13 1/4 in.

JESSIE ARMS BOTKE

PAUL JENKINS - Phenomena The Edge of Plume - watercolor on paper - 30 1/4 x 22 1/4 in.

PAUL JENKINS

WILLIAM THEOPHILUS BROWN - Untitled (Three Nudes One Seated) - acrylic on paper - 11 1/8 x 14 1/4 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Group of Nudes by the Pool) - acrylic on paper - 10 x 15 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Jamie Seated (Green Background) - acrylic and oil on canvas - 14 x 9 3/4 in.

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Two Nudes in Studio) - acrylic, gouache and pencil on
paper - 14 1/4 x 22 1/2 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Seated Figure) - charcoal and gouache on paper - 18 3/4 x 14 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Youth and Old Age - acrylic on paper - 14 1/2 x 16 5/8 in.

PAUL WONNER

PAUL WONNER - Artist and Model, Hands on Hips - acrylic and pencil on paper - 14 1/4 x 16 1/4 in.

PAUL WONNER

WILLIAM THEOPHILUS BROWN - Untitled (Landscape with Rocks) - oil on board - 11 x 14 in.

WILLIAM THEOPHILUS BROWN

ADAM EMORY ALBRIGHT - Two Girls with Spinning Wheel - oil on canvas - 18 x 24 in.

ADAM EMORY ALBRIGHT

FRANCISCO CORZAS - Untitled - gouache - 10 1/4 X 9 1/8 in.

FRANCISCO CORZAS

SHEPARD FAIREY - Bush Hell - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

KYOKO IBE - Hito with triangles - Hogosho, pre-industrial time old paper, sumi ink for calligraphy, mica, natural indigo dye - 49 x 24 1/2 in.

KYOKO IBE

KYOKO IBE - Hito with sun - Hogosho, pre-industrial time old paper, sumi ink for calligraphy, mica, natural indigo dye - 49 x 24 1/2 in.

KYOKO IBE

ZENG JIANYONG - Spare Time 22 - ink and watercolor on handmade paper - 20 1/2 x 20 1/2 in.

ZENG JIANYONG

MARUYAMA OSHIN - Silk Scroll of Rooster & Chicken - ink on color on silk - 82 x 26 in.

MARUYAMA OSHIN

RON REIHEL - Conversation - plaster, wood, canvas - 15 1/2 x 18 x 16 1/2 in.

RON REIHEL

The images from the "Longevity" series are from found travel photographs or screen grabs from various documentaries that were captured and manipulated via computer. Referencing the seascape paintings of J.M.W. Turner, the work explores the connection between the history of painting as social and historical recorder and the idea of images and documentaries as contemporary vehicles for the dissemination of social story telling.

TIMOTHY TOMPKINS

SHEPARD FAIREY - Zeppelin Mothership - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

HERB ALPERT - Anonymous Gift - acrylic and coffee on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Passer By - acrylic and coffee on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Mysterious Flower - mixed media - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Autumn Sunset - acrylic on canvas - 36 x 46 in.

HERB ALPERT

HERB ALPERT - Chromatic Motion - mixed media - 36 x 48 in.

HERB ALPERT

HERB ALPERT - Nocturne - acrylic and coffee on canvas - 36 x 60 in.

HERB ALPERT

HERB ALPERT - Illusion - acrylic on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Through the Looking Glass - acrylic on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Seven Moons - acrylic on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Mythical Transformation - acrylic and coffee on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Rings of Light - acrylic on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Light Dance - acrylic and coffee on canvas - 48 x 36 in.

HERB ALPERT

ERIC JON HOLSWADE - Clouds - oil on flashe - 33 x 44 3/4 in.

ERIC JON HOLSWADE

HERB ALPERT - Nesting Place - acrylic and coffee on canvas - 36 x 48 in.

HERB ALPERT

HERB ALPERT - Radiant Aura - acrylic and coffee on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Stormy Monday - coffee on canvas - 36 x 48 in.

HERB ALPERT

HERB ALPERT - Disorganized - coffee on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - Song Bird - acrylic on canvas - 48 x 36 in.

HERB ALPERT

HERB ALPERT - All In The Family - acrylic on canvas - 36 x 48 in.

HERB ALPERT

JOHNATHAN SCOTT - Jazz Player - oil on canvas panel - 16 x 20 in.

JOHNATHAN SCOTT

STEPHEN P. CURRY - Cardinal (Pomegranates) - oil on canvas - 39 1/4 x 50 in.

STEPHEN P. CURRY

Tony de los Reyes’ new series of rigorous, visually tactile paintings contemplate abstraction as the foundation of both color field painting and the establishment of the US Mexico border. The paintings are both visually stimulating and subtly provocative, the exhibition asserts the proclivity behind border-making and the aesthetic principles of abstraction are motivated by the same habitual pursuit of spatial order. De los Reyes theorizes that both abstract painting and border-making rely on the assumption that absolute space can be materialized through its transformation into a space of containment and law. In the Border Theory paintings, the artist investigates the indeterminate, layered structures of identity as found in the continuum of his location and profession.
<br>
<br>The imagery of the paintings reference sections of the US-Mexico border captured by satellite photography. Viewed from this perspective, regional landscapes are flattened into ambiguous areas of varying shape, color and tone. These types of surfaces, comparable to those found in post-war abstract painting, are re-contextualized through de los Reyes’ saturation of unprimed linen with multiple layers of fabric dyes. Above these fields of color, de los Reyes superimposes demarcations in oil, either through the use of singular, thin lines or gridded expanses of marks which explicitly refer to locations along the US-Mexico border. The resulting works imply how our perception of space, and the process of its utilization, forms the basis for both personal and political consciousness.

TONY DE LOS REYES

Ann Craven - Red Crescent Moon - oil painting - 14 1/8 x 14 1/8 in.

Ann Craven

Ann Craven - Full Moon with Clouds - oil on canvas - 14 x 14 in.

Ann Craven

RUSSELL YOUNG - Audrey Hepburn - screenprint on linen with diamond dust - 38 x 30 in.

RUSSELL YOUNG

JOHN CHRISTOPHER SMITH - Fisherman's Wharf, Monterey - oil on canvas - 26 x 34 in.

JOHN CHRISTOPHER SMITH

EDOUARD CHIMOT - Deux Nymphes - pastel drawing on woven paper - 41 x 30 1/2 in.

EDOUARD CHIMOT

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

ZHANG HUAN

MALCOLM FURLOW - Johnny Ringo - oil on canvas - 36 x 36 in.

MALCOLM FURLOW

ERIC JON HOLSWADE - Shooting Gallery - acrylic on panel - 32 x 48 in.

ERIC JON HOLSWADE

ERIC JON HOLSWADE - Your Move - acrylic on cardboard on wood panel - 27 3/4 x 40 1/4 in.

ERIC JON HOLSWADE

KAORU MANSOUR - Apperson #103 - collage, acrylic 22K gold leaf on canvas - 60 x 46 in.

KAORU MANSOUR

ROBERT FRAME - River Bluff - oil on canvas - 20 x 24 in.

ROBERT FRAME

KAORU MANSOUR - White Orchid #101 - collage, acrylic 22K gold leaf on canvas - 60 x 46 in.

KAORU MANSOUR

LUC BERNARD - Edges no. 6 - oil on canvas - 52 x 62 in.

LUC BERNARD

LUC BERNARD - Terre Blanche - acrylic on canvas - 60 x 48 in.

LUC BERNARD

LUC BERNARD - Connectivity No. 10 - oil on linen - 55 x 47 in.

LUC BERNARD

LUC BERNARD - Edges no. 3 - oil on canvas - 50 x 42 in.

LUC BERNARD

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

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 13 7/8 x 9 7/8 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Park with Two Figures - acrylic and pencil on canvas - 13 1/2 x 19 1/8 in.

PAUL WONNER

PAUL WONNER - Cityview - acrylic on paper - 16 1/4 x 13 5/8 in.

PAUL WONNER

PAUL WONNER - Bathers after Cezanne - acrylic and pencil on paper - 14 7/8 x 17 1/4 in.

PAUL WONNER

PAUL WONNER - Youth and Old Age, Artist and Model - acrylic and pencil on paper - 13 1/4 x 15 in.

PAUL WONNER

PAUL WONNER - Park with Figures - acrylic and pencil on paper - 15 x 22 in.

PAUL WONNER

Provenance:
<br>ACE Gallery, Los Angeles.
<br>Private collection acquired from the above.

DAVID AMICO

Tony de los Reyes’ 2006-2011 series Chasing Moby Dick analyzes the intersection of politics and culture through the lens of Herman Melville’s masterpiece (1851). Much like Captain Ahab’s hunt for Moby Dick, de los Reyes invasions America as “highly contentious and monomaniacal,” especially in light of former President George Bush’s singular hunt for Osama bin Laden. According to de los Reyes, "Melville knew that America, being ever-hungry, would not/could not stop at the ocean's edge. Part of the American spirit is to continue expanding, even to our detriment."
<br>
<br>This painting is named after the fictitious whaling ship, imagined by Melville, that Captain Ahab commands and leads on a three-year expedition while chasing Moby Dick. de los Reyes’ method creates a delicate balance between abstraction and realism that makes the ship appear almost ghostly. This quality may be a physical manifestation of the monomaniacal intention of Captain Ahab, and thus America, that cannot end, even after its own destruction.

TONY DE LOS REYES

KRISJANIS KAKTINS-GORSLINE - Dustr - oil on canvas - 60 x 64 in.

KRISJANIS KAKTINS-GORSLINE

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

KRISJANIS KAKTINS-GORSLINE

CARLOS LUNA - Sin titulo - mixed media on paper - 22 1/2 x 30 1/4 in.

CARLOS LUNA

CARLOS LUNA - Sin titulo - mixed media on paper - 22 1/2 x 30 1/2 in.

CARLOS LUNA

KAORU MANSOUR - Bougainvillea #108 - mixed media on canvas - 42 x 54 in.

KAORU MANSOUR

KAORU MANSOUR - Blackberry and Chandelier #111 - mixed media on canvas - 54 x 44 in.

KAORU MANSOUR

KAORU MANSOUR - Bottle Brush #116 - mixed media on canvas - 54 x 44 in.

KAORU MANSOUR

KENNETH NOLAND - Chevron - monotype on Japanese handmade paper mounted on board - 8 1/4 x 12 3/4 in.

KENNETH NOLAND

KENNETH NOLAND - Stripes - monotype on Japanese handmade paper mounted on board - 8 1/2 x 12 1/2 in.

KENNETH NOLAND

TIMOTHY TOMPKINS - Rest Stop v.2 - commercial enamel on aluminum - 45 x 60 in.

TIMOTHY TOMPKINS

The images from the "Longevity" series are from found travel photographs or screen grabs from various documentaries that were captured and manipulated via computer. Referencing the seascape paintings of J.M.W. Turner, the work explores the connection between the history of painting as social and historical recorder and the idea of images and documentaries as contemporary vehicles for the dissemination of social story telling.

TIMOTHY TOMPKINS

PETER VOULKOS - Untitled - ceramic - 6 3/4 x 7 x 7 in.

PETER VOULKOS

WILLIAM WEGMAN - Dog House - silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

ALEXANDER LIBERMAN - Untitled - cast aluminum - 14 x 8 x 13 1/2 in.

ALEXANDER LIBERMAN

PABLO PICASSO - Raphaël et la Fornarina XIII: Dans son fauteuil, le Pape en tire la langue, pl.308 - etching on Rives BFK - 5 3/4 x 8 1/4 in.

PABLO PICASSO

GREGORY SUMIDA - Brook's Bend - watercolor - 10 1/2 x 14 1/2 in

GREGORY SUMIDA

GREGORY SUMIDA - San Gabriel, CA - watercolor on watercolor board - 11 x 15 in.

GREGORY SUMIDA

PABLO PICASSO - Portrait de Famille, Six Personnages - lithograph - 18 1/4 x 25 3/4 in.

PABLO PICASSO

ROBERT BECHTLE - Santa Barbara Patio, 12/10/1982 - lithograph on Kensington handmade paper - 25 x 20 in.

ROBERT BECHTLE

KYOKO IBE - Untitled, from the series Once Upon a Time - recycled ganpi paper fiber, old documents, mica, indigo, and sumi - 41 3/4 x 18 x 13 1/2 in.

KYOKO IBE

KYOKO IBE - Untitled, from the series Once Upon a Time - recycled ganpi paper fiber, old documents, mica, indigo, and sumi - 38 3/4 x 17 x 13 3/4 in.

KYOKO IBE

KYOKO IBE - Untitled, from the series Once Upon a Time - recycled ganpi paper fiber, old documents, mica, indigo, and sumi - 41 1/2 x 17 1/2 x 15 in.

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 16 1/4 x 45 1/2 in.

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 16 1/4 x 45 1/4 in.

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 16 1/4 x 45 1/4 in.

KYOKO IBE

HANS BURKHARDT - Standing Nude - charcoal drawing - 24 x 18 in.

HANS BURKHARDT

LUC BERNARD - Edges no. 5 - oil on canvas - 42 x 50 in.

LUC BERNARD

LUC BERNARD - Edges no. 8 - oil on canvas - 42 x 50 in.

LUC BERNARD

LAWRENCE CARROLL - Untitled - mixed media on paper - 22 1/4 x 17 1/2 in.

LAWRENCE CARROLL

LAWRENCE CARROLL - Untitled - mixed media on paper - 22 1/4 x 17 1/2 in.

LAWRENCE CARROLL

LAWRENCE CARROLL - Untitled - mixed media on paper - 22 1/4 x 17 1/2 in.

LAWRENCE CARROLL

GINO SEVERINI - Composition (The Football) - original lithograph - 22 x 14 7/8 in.

GINO SEVERINI

WILLIAM WEGMAN - Open Window - large-format Polacolor print - 26 x 20 3/4 in

WILLIAM WEGMAN

PENELOPE GOTTLIEB - Castilleja cruenta standl - ink, acrylic and oil on canvas panel - 50 x 40 in.

PENELOPE GOTTLIEB

FREDERIC SCHWANKOVSKY - Coastal Scene - oil on canvas on board - 29 1/4 x 39 1/4 in.

FREDERIC SCHWANKOVSKY

MAX WIECZOREK - Girl in Mantilla - charcoal and pastel on board - 25 1/4 x 18 1/4 in.

MAX WIECZOREK

EDWARD HOPPER - To Mother from Ed - watercolor and ink on paper - 3 x 2 1/8 in.

EDWARD HOPPER

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

WILLIAM THEOPHILUS BROWN

VICTOR VASARELY - SIR-RIS positive - aluminum - 6 3/4 x 6 3/4 x 6 3/4 in.

VICTOR VASARELY

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

NATHAN OLIVEIRA

ANDREW MOORE - Red Chairs, Selwyn Theatre, New York - chromogenic print - 50 x 40 in.

ANDREW MOORE

ALISON MOFFETT - Forever More - graphite on paper - 74 3/4 x 58 in.

ALISON MOFFETT

UTAGAWA HIROSHIGE - Okabe: Utsu Mountain - color woodblock print; oban - 9 1/2 x 14 1/4 in.

UTAGAWA HIROSHIGE

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

JOHN MILLEI

LAUREN BENRIMON - Untitled - acrylic on canvas - 60 x 40 x 1 1/2 in.

LAUREN BENRIMON

WILLIAM WEGMAN - Double Portrait - silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

CARLOS BETANCOURT - Re-Collections XV - print on fine art paper - 48 x 48 in.

CARLOS BETANCOURT

Signed and numered lower right

CARLOS BETANCOURT

Signed and numbered lower right

CARLOS BETANCOURT

CARLOS BETANCOURT - Re-Collections XV - print on fine art paper - 48 x 48 in.

CARLOS BETANCOURT

CARLOS BETANCOURT - Re-Collections XVII - print on fine art paper - 48 x 48 in.

CARLOS BETANCOURT

CARLOS BETANCOURT - Re-Collections XV - print on fine art paper - 48 x 48 in.

CARLOS BETANCOURT

LUC BERNARD - Connectivity No. 4 - sumi ink and oil on canvas - 55 x 36 in.

LUC BERNARD

SHINGO FRANCIS - Open Space - gouache and acrylic on panel - 18 x 82 in.

SHINGO FRANCIS

Singas are the most important decorative element seen in Batak Toba houses.
<br>The word singa comes from Sanskrit and means “lion”. There are innumerable
<br>representations, but mostly, they just depict the head, which is significant for two
<br>reasons. Firstly, the Toba believe that it keeps misfortune, diseases and evil
<br>influences from the house and its inhabitants, and also that it can release positive
<br>beneficial powers for the good of the inhabitants. To the Batak the singa is a
<br>mythological primeval beast of no defined zoological species. The horn is often
<br>regarded as another memory of the world-tree. It rises above the head of the
<br>mythological underworld beast, which is imagined as the naga, the serpent or
<br>serpent-dragon.
<br>
<br>The Batak Toba people live in in the remote mountainous highlands in the western
<br>and eastern coastal region north of the equator, with many deep valleys carved by
<br>rivers and streams. Their homes are large rectangular buildings on massive
<br>wooden pillars with three levels, corresponding to the three spheres of the
<br>cosmos. The space for the animals below the living level symbolizes the underworld. The high roof above the living level is the abode of the gods and also sometimes the ancestors. The side beams of the house with the singa heads at their front ends support the room where people live and are thus comparable with the underworld dragon.

SUMATRA

RICHARD ANUSZKIEWICZ - Sequential V - screenprint on paper - 28 x 21 in.

RICHARD ANUSZKIEWICZ

DAVID MORRIS - Matador's Cape Maquette - blackened electroformed nickle on a heavily pigmented cast stone base - 12 1/2 x 17 1/4 x 10 3/4 in.

DAVID MORRIS

WILLIAM THEOPHILUS BROWN - Male Model in Studio - oil on paper - 14 x 17 in.

WILLIAM THEOPHILUS BROWN

LUC BERNARD - Edges no. 2 - oil on canvas - 48 x 40 in.

LUC BERNARD

JAE KON PARK - Untitled - oil on canvas - 11 x 13 1/2 in.

JAE KON PARK

WILLIAM THEOPHILUS BROWN - Up - acrylic on paper - 16 1/2 x 11 1/2 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Bathers after Cezanne - acrylic and pencil on paper - 12 x 16 3/8 in.

PAUL WONNER

PAUL WONNER - Youth and Old Age: Artist, Model, Pots of Flowers - acrylic and pencil on paper - 14 1/4 x 12 1/4 in.

PAUL WONNER

PAUL WONNER - Landscape with Bathers - acrylic and pencil on paper - 14 7/8 x 22 1/8 in.

PAUL WONNER

PAUL WONNER - Landscape with Bathers After Cezanne - acrylic and pencil on paper - 14 7/8 x 22 1/2 in.

PAUL WONNER

IRVING NORMAN - Untitled (Possible Study for "Liberation War Prisonerss") - pencil on paper - 14 x 16 1/2 in.

IRVING NORMAN

LUC BERNARD - Open #12 - oil on canvas - 52 1/4 x 29 1/4 in.

LUC BERNARD

TATIANA BOTTON - Taking Control - archival pigment print - 40 x 60 in.

TATIANA BOTTON

JANE HAMMOND - Snapshot Odyssey - color lithograph, digital, chine collé, collage - 30 x 39 1/2 in.

JANE HAMMOND

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

CARLOS LUNA

KAORU MANSOUR - Eucalyptus #200 - mixed media on canvas - 48 x 42 in.

KAORU MANSOUR

CARL MORRIS - Untitled - oil on canvas - 30 x 14 in.

CARL MORRIS

ANDREW TAYLOR - Outside: Evening 12 - oil on canvas - 48 x 48 in.

ANDREW TAYLOR

HERB ALPERT - Poise - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Optical Illusion - coffee on canvas - 24 x 36 in.

HERB ALPERT

DAVID MORRIS - Horn Plenty 2 - nickel plated polymer on a cast stone base - 18 1/2 x 9 1/4 x 11 in.

DAVID MORRIS

HERB ALPERT - Abracadabra - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Separate Tables - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Lonesome - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Frost Smoke - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Night Light - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Peninsula - acrylic and coffee on canvas - 24 x 36 in.

HERB ALPERT

LUIS JIMENEZ - Mustang - color lithograph - 47 1/2 x 31 1/2 in.

LUIS JIMENEZ

HERB ALPERT - Pebbles - acrylic on canvas - 24 x 36 in.

HERB ALPERT

HERB ALPERT - Have Mercy - acrylic and coffee on canvas - 36 x 24 in.

HERB ALPERT

RONALD DAVIS - Nine Square Slab - pixel dust behind acylic glass - 22 3/4 x 30 3/4 in.

RONALD DAVIS

RUSSELL YOUNG - Marilyn Portrait - screenprint on linen with diamond dust - 27 1/4 x 20 3/4 in.

RUSSELL YOUNG

IRVING NORMAN - Untitled (Possible Study for "Children #2) - graphite on paper - 10 7/8 x 13 5/8 in.

IRVING NORMAN

SARA GENN - Hyperion - acrylic on canvas - 50 x 40 in.

SARA GENN

SARA GENN - Sea Change - acrylic on canvas - 50 x 40 in.

SARA GENN

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

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Comedian(blk) - oil on canvas - 60 x 48 in.

KRISJANIS KAKTINS-GORSLINE

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

KRISJANIS KAKTINS-GORSLINE

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

KRISJANIS KAKTINS-GORSLINE

ALBERT RAFOLS-CASAMADA - Vertical I - oil on canvas - 21 3/4 x 18 1/8 in.

ALBERT RAFOLS-CASAMADA

PENELOPE GOTTLIEB - Phyllostachys nigra (IAS) - acrylic and ink over John James Audubon print - 38 x 25 1/2 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Solanum dulcamara (IAS) - acrylic and ink over John James Audubon print - 38 x 25 1/2 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Helianthus divaricatus (IAS) - acrylic and ink over John James Audubon print - 38 x 25 1/2

PENELOPE GOTTLIEB

ALEXANDER CALDER - Quilt - color lithograph - 22 x 29 1/2 in.

ALEXANDER CALDER

PAUL WONNER - In Lafayette Park V - acrylic and pencil on paper - 15 x 21 3/4 in.

PAUL WONNER

PAUL WONNER - Man and Dog in a Park - acrylic and pencil on paper - 15 x 22 1/2 in.

PAUL WONNER

CHRIS TRUEMAN - RLM - acrylic and acrylic spray paint on canvas - 36 x 60 1/4 in.

CHRIS TRUEMAN

PAUL WONNER - Andre Previn, LA - pencil on paper - 18 x 24 in.

PAUL WONNER

PAUL WONNER - Untitled - casein, pencil and crayola on paper - 17 3/4 x 23 3/4 in.

PAUL WONNER

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

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled (Seated Female Nude) - charcoal, pencil and wash on paper - 25 1/2 x 19 1/2 in.

WILLIAM THEOPHILUS BROWN

NATHAN OLIVEIRA - Copper Plate Nude 2 - color spit bite etching with aquatint - 16 x 12 3/4 in.

NATHAN OLIVEIRA

PAUL WONNER - Small Park on the Bay - acrylic and pencil on paper - 15 1/8 x 22 1/4 in.

PAUL WONNER

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

DAVID MACH

TSENG KWONG CHI - Oshima, Japan - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

CARLOS LUNA - Untitled - gouache on paper - 22 1/2 x 30 in.

CARLOS LUNA

CARLOS LUNA - Untitled - gouache on paper - 22 1/2 x 30 in.

CARLOS LUNA

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

CARLOS LUNA - Untitled - gouache on paper - 22 1/2 x 30 in.

CARLOS LUNA

CARLOS LUNA - Untitled - mixed media on paper - 30 x 22 1/2 in.

CARLOS LUNA

CARLOS LUNA - Untitled - gouache on paper - 22 1/2 x 30 in.

CARLOS LUNA

KYOKO IBE - Untitled, from the series, Once Upon a Time - Washi (Japanese handmade paper) - 23 3/4 x 23 5/8 in.

KYOKO IBE

TSENG KWONG CHI - London, England - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

KAORU MANSOUR - Iro(Hana) #502 - mixed media on canvas - 36 x 48 in.

KAORU MANSOUR

WILLIAM WEGMAN - On Mrs. Wegman's Couch - C-Print - 4 x 4 in.

WILLIAM WEGMAN

HERB ALPERT - Esperanza (Hope) - mixed media - 30 x 22 in.

HERB ALPERT

GINO SEVERINI - Commedia dell'Arte - original lithograph in eleven colors on paper - 27 1/4 x 20 3/4 in.

GINO SEVERINI

HERB ALPERT - Chat Room - acrylic on canvas - 25 x 31 in.

HERB ALPERT

GIORGIO DE CHIRICO - Il Trovatore - original lithograph in five colors on paper - 27 x 21 in.

GIORGIO DE CHIRICO

KYOKO IBE - Untitled - Recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2

KYOKO IBE

KYOKO IBE - Untitled - Recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2

KYOKO IBE

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2

KYOKO IBE

KYOKO IBE - Untitled - Recycled ganpi paper fiber, old documents, mica and sumi - 17 1/2 x 29 1/2

KYOKO IBE

NORMAN ROCKWELL - Extra Good Boys and Girls - collotype on paper - 27 1/2 x 21 1/2 in.

NORMAN ROCKWELL

ARTHUR LONERGAN - Untitled Bridge - oil on canvas - 15 3/4 x 19 3/4 in.

ARTHUR LONERGAN

JOSEPH ARENO - Miami Canal - oil on board - 10 3/4 x 14 in.

JOSEPH ARENO

ELLSWORTH KELLY - White Curve I - lithograph with pencil lines - 34 x 34 in.

ELLSWORTH KELLY

SEAN SCULLY - Mallorca Grey Wall - c-print mounted on plexi - 36 5/8 x 48 in.

SEAN SCULLY

SEAN SCULLY - Dominican Double Doors - c-print on plexiglass with UV laminant - 36 5/8 x 48 in.

SEAN SCULLY

NICHOLAS COLEMAN - Untitled - Two Bison near Spouting Geyser - oil on masonite - 14 x 20 in.

NICHOLAS COLEMAN

ANTONIO CIRINO

TERUKO YOKOI - Schlucht am Abend (Evening Gorge) - egg tempura and collage on paper - 24 1/2 x 18 1/4 in.

TERUKO YOKOI

FELANDUS THAMES - Gamtoos River - acrylic on canvas - 70 x 95 in.

FELANDUS THAMES

RONALD DAVIS - Square Red Frame - pixel dust behind acrylic glass - 24 x 24 in.

RONALD DAVIS

RONALD DAVIS - Square Green Frame - pixel dust behind acrylic glass - 24 x 24 in.

RONALD DAVIS

LUC BERNARD - Edges no. 14 - oil on canvas - 40 x 40 in.

LUC BERNARD

CHINA ADAMS - Glass Box #25 - artist's burdensome possessions - 15 x 15 1/2 x 15 1/2 in.

CHINA ADAMS

CHINA ADAMS - Glass Box - artist's burdensome possessions - 21 1/2 x 21 1/2 x 25 in.

CHINA ADAMS

LUC BERNARD - Open No. 9 - oil on canvas - 50 1/2 x 34 1/2 in.

LUC BERNARD

LUC BERNARD - Open no. 10 - oil on canvas - 50 1/2 x 34 3/4 in.

LUC BERNARD

LUC BERNARD - Connectivity No. 8 - oil on linen - 44 x 37 in.

LUC BERNARD

SHEPARD FAIREY - Hug Bombs - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

PETER D. GERAKARIS - Cosmos Vision Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 22 x 22 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Lunar Monkey Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 22 x 22 in.

PETER D. GERAKARIS

All 15 photographs sold as a set. Size of image without small white border: 16 1/2 x 11 in.
<br>Published on the occasion of the Keith Haring sculpture show "L'art a la Plage", St. Tropez, France, summer 2005.
<br>
<br>The set comes in a silk box with a copy of the newly publilshed Tseng Kwong Chi book.

TSENG KWONG CHI

KAORU MANSOUR - Iro (imi) #293 - mixed media on canvas - 30 x 40 in.

KAORU MANSOUR

KAORU MANSOUR - Iro (hana) #497 - mixed media on canvas - 30 x 40 in.

KAORU MANSOUR

KAORU MANSOUR - Ran #104 - mixed media on canvas - 36 x 36 in.

KAORU MANSOUR

PROVENANCE:
<br>Acquired from artist California

ROBERT NATKIN

LAWRENCE SCHILLER - Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963 - silver gelatin print - 16 x 20 in.

LAWRENCE SCHILLER

TIMOTHY TOMPKINS - Target Still Life - commercial enamel on aluminum - 47 x 60 in.

TIMOTHY TOMPKINS

JAMIE WYETH - Nureyev - color lithograph - 34 x 24 in.

JAMIE WYETH

JAMIE WYETH - Nureyev - color lithograph - 34 x 24 in.

JAMIE WYETH

SHEPARD FAIREY - World Odor - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

WILLIAM WEGMAN - Overview - color photo lithograph - 47 x 34 in.

WILLIAM WEGMAN

NORMAN ROCKWELL - She's My Baby - lithograph - 27 x 19 3/4 in.

NORMAN ROCKWELL

WILLIAM THEOPHILUS BROWN - Reclining Nude - acrylic and charcoal on paper - 14 x 17 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled - paper, ink, and acrylic washes - 11 1/4 x 14 3/8 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Untitled - ink and acrylic washes on paper - 11 1/8 x 14 7/8 in.

WILLIAM THEOPHILUS BROWN

ELMER BISCHOFF - Untitled - ink wash collage with drawing on verso on paper - 21 7/8 x 18 7/8 in.

ELMER BISCHOFF

ELMER BISCHOFF - Seated Nude - wash drawing on paper - 11 7/8 x 8 7/8 in.

ELMER BISCHOFF

KYOKO IBE - Untitled from "Once Upon a Time" Series - recycled ganpi paper fiber, old documents, mica, indigo, and sumi - 27 x 34 1/2 in.

KYOKO IBE

KYOKO IBE - Untitled from "Once Upon a Time" Series - recycled ganpi paper fiber, old documents, mica, indigo, and sumi - 27 x 34 1/2 in.

KYOKO IBE

PAUL WONNER - Women Reading - charcoal on paper - 14 x 17 in.

PAUL WONNER

HANS BURKHARDT - Nude Studies - color pastel - 24 x 18 in.

HANS BURKHARDT

F. MORTIMER LAMB - A Summer's Day - oil on board - 18 x 22 in.

F. MORTIMER LAMB

LUC BERNARD - Edges no. 12 - oil on canvas - 40 x 36 in.

LUC BERNARD

MASAKO TAKAHASHI - Untitled - oil on canvas - 32 x 26 in.

MASAKO TAKAHASHI

MASAKO TAKAHASHI - Untitled - oil on canvas - 33 3/4 x 26 in.

MASAKO TAKAHASHI

MASAKO TAKAHASHI - Untitled - oil on canvas - 25 x 21 1/8 in.

MASAKO TAKAHASHI

GEORGE MIYASAKI - Mescalero - mixed media on paper - 40 x 27 3/4 in.

GEORGE MIYASAKI

JAE KON PARK - About Ancient Korea - batik on fabric - 11 3/4 x 12 1/2 in.

JAE KON PARK

NORMAN ROCKWELL - The Art Critic - collotype on paper - 30 1/2 x 27 1/2

NORMAN ROCKWELL

WILLIAM WEGMAN - Fairy Godmother - Polacolor print on paper - 26 x 20 3/4 in.

WILLIAM WEGMAN

WILLIAM WEGMAN - Marigolds, Petunias, Meimaraners, etc. - photograph on paper - 6 3/4 x 13 in.

WILLIAM WEGMAN

PENELOPE GOTTLIEB - Hibiscadelphus wilderianus - ballpoint pen and graphite on paper - 59 1/4 x 39 1/4 in.

PENELOPE GOTTLIEB

ERIC JON HOLSWADE - It's Out There Somewhere - acrylic on cardboard mounted on wood panel - 26 x 28 3/4 in.

ERIC JON HOLSWADE

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Floor) - acrylic and charcoal on paper - 11 x 15 in.

WILLIAM THEOPHILUS BROWN

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

PAUL WONNER

PAUL WONNER - Trees and Rock on the Bay - acrylic and pencil on paper - 15 x 22 in.

PAUL WONNER

NATHAN OLIVEIRA - Acoma Hawk I - seven-color lithograph - 30 x 22 1/2 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Acoma Hawk IV - four-color lithograph - 30 1/8 x 22 1/8 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Acoma Hawk III - ten-color lithograph - 30 1/8 x 21 3/4 in.

NATHAN OLIVEIRA

NORMAN ZAMMITT - Black to White 36 - acrylic on canvas board - 16 x 12 in.

NORMAN ZAMMITT

ALBRECHT DURER - Betrayal of Christ (from the Engraved Passion) - original engraving - 4 5/8 x 3 in.

ALBRECHT DURER

SAM GILLIAM - Coffee Thyme (Black) - color lithograph, rubber stamp, and embossing on John Koller special HMP paper - 31 3/4 x 44 in.

SAM GILLIAM

WILLIAM WEGMAN - Armed Chair - color photo lithograph - 49 3/4 x 37 1/2 in.

WILLIAM WEGMAN

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

PAUL WONNER

TATIANA BOTTON - Tree of Life #9 - metal backing with metal clips with acrylic front - 60 x 40 in.

TATIANA BOTTON

TATIANA BOTTON - Tree of Life Landscape #3 - metal backing with metal clips with acrylic front - 40 x 60 in.

TATIANA BOTTON

TATIANA BOTTON - Shivers - photograph with metal backing, metal clips, and acrylic front - 40 x 60 in.

TATIANA BOTTON

TATIANA BOTTON - Water and Ice Details - metal backing with metal clips with acrylic front - 40 x 60 in.

TATIANA BOTTON

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

CARLOS LUNA

ANDREA MODICA - Treadwell - platinum palladium print - sheet: 11 3/8 x 8 1/2 in. image: 9 3/8 x 7 1/2 in.

ANDREA MODICA

ANDREA MODICA - Fountain, CO - platinum palladium print - sheet: 8 3/4 x 11 3/4 in. image: 7 1/2 x 9 3/8 in.

ANDREA MODICA

ERIC JON HOLSWADE - Untitled - oil on flashe - 22 1/2 x 30 in.

ERIC JON HOLSWADE

ED DEAN - Rune (Black) - powder coated steel - 20 1/2 x 16 3/4 x 3 in.

ED DEAN

TSENG KWONG CHI - Costumes at the MET - set of 12 photographs - 8 x 8 in.

TSENG KWONG CHI

BESSIE LIDDLE - Seven Sisters Dreaming and Kuniya Dreaming - oil on canvas - 58 5/8 x 20 in.

BESSIE LIDDLE

WILLIAM WEGMAN - Dog Cabin - silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

ERIC JON HOLSWADE - Soda - oil on flashe on cardboard - 27 1/4 x 28 1/4 in.

ERIC JON HOLSWADE

LUC BERNARD - Edges no. 7 - oil on canvas - 32 x 40 in.

LUC BERNARD

ARISTIDES DEMETRIOS - Kandinsky Horse - metal - 5 1/2 x 9 x 2 in.

ARISTIDES DEMETRIOS

CHRIS TRUEMAN - ZS - acrylic and acrylic spray paint on canvas - 36 x 38 3/4 in.

CHRIS TRUEMAN

ROGER THOMAS - Grenelle Arm Chairs - black lacquer finish and gold cord on muslin with original drawings - 38 x 24 x 24 in.

ROGER THOMAS

ROGER THOMAS - Grenelle Arm Chairs - black lacquer finish and gold cord on muslin with original drawings - 38 x 24 x 24 in.

ROGER THOMAS

RONALD DAVIS - Dark Tube - proprietary pixel dust on aluminum - 20 x 20 in.

RONALD DAVIS

RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in.

RONALD DAVIS

RONALD DAVIS - Large Lavender Slab - proprietary pixel dust on aluminum - 18 x 24 in.

RONALD DAVIS

ERIC JON HOLSWADE - Back - acrylic on panel - 32 x 18 5/8 in.

ERIC JON HOLSWADE

ALEX KATZ - Sunset: Lake Wesserunsett 4 - screenprint in five colors on American etching paper - 30 x 36 in.

ALEX KATZ

HANS BURKHARDT - Untitled, Figure Study - pastel on paper - 21 1/4 x 16 1/4 in.

HANS BURKHARDT

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x 12 1/4 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 3/4 x 17 3/4 in ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 15 x 20 in. ea.

JOSEF ALBERS

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 1/4 x 17 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x 15 3/4 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 x 6 1/2 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 6 3/4 x 6 3/4 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 11 1/4 x 11 1/2 in. right: 11 1/8 x 14 1/8 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 12 3/4 x 9 3/8 in. ea.

JOSEF ALBERS

Image size (without black border): 19 1/2 x 19 5/8 in.

TSENG KWONG CHI

KAORU MANSOUR - Ran #105 - mixed media on canvas - 48 x 24 in.

KAORU MANSOUR

LAWRENCE SCHILLER - Contact Sheet, Marilyn Monroe, "Something's Got to Give" - silver gelatin photograph - 20 x 24 in.

LAWRENCE SCHILLER

JOSEF ALBERS - Formulation: Articulation - screenprint - 8 1/8 x 15 1/4 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 1/4 x 13 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 9 1/2 x 11 in. right: 12 1/2 x 13 3/8 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 12 3/4 x 8 1/4 in. right: 8 1/2 x 13 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 10 x 12 3/8 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 x 15 1/2 in ea.

JOSEF ALBERS

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x10 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 13 x 17 5/8 in. right: 13 x 16 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 11 3/4 x 12 1/2 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 15 x 20 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 7 5/8 x 15 1/4 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 5/8 x 12 3/4 in. ea.

JOSEF ALBERS

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 x 11 3/4 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - left: 10 x 17 1/2 in. right: 6 x 10 1/2 in.

JOSEF ALBERS

PENELOPE GOTTLIEB - Byttneria ivorensis (EX) - acrylic and ink on canvas - 40 x 28 in.

PENELOPE GOTTLIEB

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 3/4 x 13 3/4 in. ea.

JOSEF ALBERS

ERIC JON HOLSWADE - Untitled - oil on flashe - 18 1/2 x 32 in.

ERIC JON HOLSWADE

WILLIAM THEOPHILUS BROWN - Seated Woman - ink on paper - 22 1/4 x 14 1/2 in.

WILLIAM THEOPHILUS BROWN

JAMES WEEKS - Nude Reclining on Bed - charcoal and wash on paper - 14 5/8 x 18 in.

JAMES WEEKS

FRANK LOBDELL - Untitled FL-121 - pen and wash on paper - 17 x 14 in.

FRANK LOBDELL

JAMES WEEKS - Seated Nude - charcoal on paper - 19 x 14 in.

JAMES WEEKS

Mary Jane Schmidt - Adobe Run 2 - acrylic on canvas - 40 x 60 in.

Mary Jane Schmidt

JAE KON PARK - Argentinian Frogs - batkin on fabric - 12 x 10 1/4 in.

JAE KON PARK

JAE KON PARK - About Patterns - batik on fabric - 9 1/4 x 11 in.

JAE KON PARK

JAE KON PARK - Birds of Spring - batik on fabric - 10 3/4 x 12 1/4 in.

JAE KON PARK

JAE KON PARK - Twice-drawn Bird - batik on fabric - 10 1/2 x 12 in.

JAE KON PARK

JAE KON PARK - About Ancient Korea - batik on fabric - 9 1/4 x 13 in.

JAE KON PARK

JAE KON PARK - Life - batik on fabric - 9 1/2 x 10 3/4 in.

JAE KON PARK

JAE KON PARK - About Ancient Mexico - batik on fabric - 10 x 9 1/2 in.

JAE KON PARK

JAE KON PARK - About Patterns - batik on fabric - 12 1/4 x 10 1/4 in.

JAE KON PARK

JAE KON PARK - Twice-drawn Bird - batik on fabric - 10 1/2 x 12 in.

JAE KON PARK

TAKASHI MURAKAMI - Doves and Hawks - offset lithograph in colors - 19 3/4 x 19 3/4 in.

TAKASHI MURAKAMI

TAKASHI MURAKAMI - Genki Ball - off set lithograph in colors - 19 3/4 x 19 3/4 in.

TAKASHI MURAKAMI

META GEHRING CRESSEY - Cactus Landscape - oil on panel - 16 x 11 5/8 in.

META GEHRING CRESSEY

ELSIE LOWER POMEROY - Elsie and Friends - oil on panel - 23 3/4 x 29 3/4 in.

ELSIE LOWER POMEROY

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

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Fruit and Kitchen Towels on Blue and White Kitchen Towel - acrylic on paper - 9 x 13 1/2 in.

PAUL WONNER

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

PAUL WONNER

IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

LYNDA BENGLIS - Dual Natures - lithograph with gold leaf on hand tinted paper - 31 1/4 x 24 in.

LYNDA BENGLIS

SHEPARD FAIREY - Big Brother City - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

VOLKER HUELLER - Mein Portrait im Jahre 2070 - etching, watercolor - 21 x 15.5 in.

VOLKER HUELLER

VOLKER HUELLER - Tangier - Etching, Watercolor - 21 x 15.5 in.

VOLKER HUELLER

KYOKO IBE - Hogosho 09-2 - Hogosho, pre-industrial time old paper, sumi ink for calligraphy, mica, natural indigo dye - 18 x 18 in.

KYOKO IBE

KYOKO IBE - Hogosho 09-1 - Hogosho, pre-industrial time old paper, sumi ink for calligraphy, mica,natural indigo dye - 18 x 18 in.

KYOKO IBE

KYOKO IBE - Untitled, from the series... - Washi, recycled ganpi paper fiber, old documents, mica and sumi - 17 3/4 x 17 3/4 in.

KYOKO IBE

KYOKO IBE - Untitled, from the series... - washi, recycled ganpi paper fiber, old documents, mica and sumi - 17 3/8 x 17 3/8 in.

KYOKO IBE

KYOKO IBE - Untitled, from the series... - Washi (Japanese handmade paper) - 18 1/8 x 18 in.

KYOKO IBE

FREDERICK KANN - Untitled - acrylic on board - 13 x 9 1/2 in.

FREDERICK KANN

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

MELVIN MARTINEZ

MARIO MOLLARI - Mujeres Trabajando - acrylic on canvas - 39 1/4 x 47 in.

MARIO MOLLARI

WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in.

WILLIAM WEGMAN

WILLIAM WEGMAN - Red Dog - C-Print - 3 3/4 x 3 3/4 in.

WILLIAM WEGMAN

WILLIAM T. WILEY - It's Only a Pay Per Moon - lithograph and woodcut additions on chamois - 47 3/4 x 38 in.

WILLIAM T. WILEY

SHEPARD FAIREY - Obey Wage Peace - screenprint on paper - 42 x 29 1/2 in

SHEPARD FAIREY

JACQUES LIPCHITZ - Couple ed Enfant - etching, engraving and aquatint - 12 3/4 x 9 1/4 in.

JACQUES LIPCHITZ

JOHN PFAHL - Australian Pines, Fort DeSoto, Florida (February 1977) - photograph - 8 x 10 in.

JOHN PFAHL

ED DEAN - Triple Treat - powder coated steel - 35 1/4 x 18 1/2 x 16 3/4 in.

ED DEAN

LUC BERNARD - Edges no. 11 - oil on canvas - 42 x 35 in.

LUC BERNARD

ARISTIDES DEMETRIOS - The Warrior Prince - metal - 8 5/8 x 3 1/4 x 1 in.

ARISTIDES DEMETRIOS

WILLIAM THEOPHILUS BROWN - Untitled (Nude Male on Floor) - acrylic on paper - 11 3/4 x 9 in.

WILLIAM THEOPHILUS BROWN

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

WILLIAM THEOPHILUS BROWN

JAMES ROSENQUIST - Wind and Lightning - etching - 22 1/2 x 39 1/2 in.

JAMES ROSENQUIST

PAUL WONNER - Model with Flowers - acrylic and pencil on paper - 5 x 19 in.

PAUL WONNER

TSENG KWONG CHI - Lake Louise, Canada - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

JAE KON PARK - The Mystery Series - ink on paper - 13 3/4 x 12 1/2 in.

JAE KON PARK

JAE KON PARK - America Series - ink on paper - 13 3/4 x 12 1/2 in.

JAE KON PARK

JAE KON PARK - Mystery of the Artic - ink on paper - 14 x 12 1/2 in.

JAE KON PARK

ROGER THOMAS - Perfected World 3 Candlestick - pastel on Dieu Donné handmade archival rag - 60 x 40 in.

ROGER THOMAS

ROSS BLECKNER - Untitled (Sphere and Moulding) - screenprint - 36 1/2 x 30 1/2 in.

ROSS BLECKNER

CLINTON HILL - Untitled - gouache on paper - 18 1/2 x 24 in.

CLINTON HILL

LAWRENCE LEE - There by Flight - India Ink, graphite, tea stains, pen and watercolor on paper - 32 x 32 in.

LAWRENCE LEE

KAORU MANSOUR - Succulent (dedlow) #102 - collage, acrylic and 22k gold leaf on canvas - 40 x 20 1/2 in.

KAORU MANSOUR

LAWRENCE SCHILLER - Marilyn Monroe and Wally Cox (in car) - Silver gelatin photograph - 24 x 20 in.

LAWRENCE SCHILLER

LORSER FEITELSON - Figure Evolving into Magical Forms - ink on paper - 8 1/2 x 11 in.

LORSER FEITELSON

GEORGES DE FEURE - Paris Almanach - original lithograhic poster printed in six colors - 31 x 23 1/4 in.

GEORGES DE FEURE

LUC BERNARD - Edges no. 15 - oil on canvas - 36 x 31 in.

LUC BERNARD

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Block) - pencil and wash on paper - 15 x 10 3/4 in.

WILLIAM THEOPHILUS BROWN

IRVING NORMAN - Untitled - graphite on paper - 9 x 11 5/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled - pencil on paper - 11 3/4 x 9 in.

IRVING NORMAN

ED DEAN - Ninja - rusted steel on black absolute granite - 16 x 16 1/2 x 9 in.

ED DEAN

SAKAI HOITSU - 100 Otafuku - Fine painting in ink, colors and gold on silk - 40 1/2 x 11 x 12 in.

SAKAI HOITSU

Image size (without white border): 19 5/8 x 12 1/2 in.

TSENG KWONG CHI

TSENG KWONG CHI - Francesco Clemente - C print - 16 x 20 in.

TSENG KWONG CHI

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

CARLOS LUNA - Talavera Plate - ceramic - 17 in. diameter

CARLOS LUNA

MARINO MARINI - Untitled (From Shakespeare I) - lithograph - 29 1/2 x 22 in.

MARINO MARINI

LEROY NEIMAN - Untitled - print - 28 x 21 in.

LEROY NEIMAN

ELIOT PORTER - Coyote Gulch, Escalante River, Glen Canyon, Utah - dye-transfer print - 15 3/4 x 12 1/4 in.

ELIOT PORTER

Provenance:
<br>Private Collection, CA

G. E. SMITH

EARL STALEY - Powwow 19: Intertribal - acrylic on canvas board - 19 x 16 3/4 in.

EARL STALEY

NORMAN ROCKWELL - Jarvis Rockwell - lithograph on paper - 21 1/2 x 15 1/2 in.

NORMAN ROCKWELL

WILLIAM CANNINGS - Burst II - five piece installation of inflated, polished aluminum - 9 1/2 x 13 x 12 in. ea.

WILLIAM CANNINGS

LAZAR KHIDEKEL - Suprematist Composition, #172 - watercolor - 10 3/4 x 8 1/4 in.

LAZAR KHIDEKEL

LAZAR KHIDEKEL - Architectonic Composition #135 - watercolor - 10 1/2 x 8 1/4 in.

LAZAR KHIDEKEL

ROBERT NATKIN - Untitled - watercolor on paper - 30 5/8 x 23 5/8 in.

ROBERT NATKIN

TAKASHI MURAKAMI - Accupuncture Painting "Opening Wide, Squeezing Tight" - Smell of Blood - offset lithograph in colors - 19 5/8 x 19 5/8 in.

TAKASHI MURAKAMI

TAKASHI MURAKAMI - In The Hearts Eye, A Universe - offset lithograph in colors - 27 5/8 x 32 3/4 in.

TAKASHI MURAKAMI

TAKASHI MURAKAMI - When Robbed of Four Limbs, Against All Odds, The Heart is Set Free - offset lithograph in colors - 27 5/8 x 32 3/4 in.

TAKASHI MURAKAMI

WILLIAM THEOPHILUS BROWN - Female Nude - charcoal on paper - 22 x 17 in.

WILLIAM THEOPHILUS BROWN

JAE KON PARK - Untitled - ink on paper - 10 3/4 x 9 1/2 in.

JAE KON PARK

JAE KON PARK - The Incan Sun - ink on paper - 10 1/2 x 9 1/2 in.

JAE KON PARK

JAE KON PARK - The Incan Sun - ink on paper - 10 3/4 x 9 1/4 in.

JAE KON PARK

JAE KON PARK - Life Roots - ink on paper - 12 1/4 x 9 in.

JAE KON PARK

WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in.

WILLIAM WEGMAN

JOAN NELSON - Untitled - acrylic ink and acrylic medium on paper - 2 7/8 x 2 7/8 in.

JOAN NELSON

TSENG KWONG CHI - George Condo - c print - 16 x 20 in.

TSENG KWONG CHI

TAKASHI MURAKAMI - Here Comes Media - offset lithograph in colors - 19 3/4 x 19 3/4 in.

TAKASHI MURAKAMI

PAUL WONNER - Sketchbook - watercolor - 7 1/4 x 4 1/4 in.

PAUL WONNER

HUGO BALLIN - Field Sketch - oil on canvas on board - 11 x 14 in.

HUGO BALLIN

RICHMOND KELSEY - The Old Boats - oil on canvas - 16 x 20 1/4 in.

RICHMOND KELSEY

JULIAN ORTEGA - Untitled - oil on canvas - 31 1/2 x 47 1/4 in.

JULIAN ORTEGA

WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Step) - pencil and wash on paper - 14 1/2 x 11 1/2 in.

WILLIAM THEOPHILUS BROWN

MARINE HUGONNIER - Mountain With No Name 3 (still from Ariana) - lambda print - 50 x 46 3/4 in.

MARINE HUGONNIER

IRVING NORMAN - Untitled - pencil on paper - 7 1/4 x 5 1/4 in.

IRVING NORMAN

ALEX MACLEAN - Surfers, Sunset Beach Hawaii - cibachrome print - 30 5/16 x 43 1/2 in.

ALEX MACLEAN

ED DEAN - Aeire (Black) - powder coated steel - 23 x 19 x 13 in.

ED DEAN

Tony de los Reyes’ new series of rigorous, visually tactile paintings contemplate abstraction as the foundation of both color field painting and the establishment of the US Mexico border. The paintings are both visually stimulating and subtly provocative, the exhibition asserts the proclivity behind border-making and the aesthetic principles of abstraction are motivated by the same habitual pursuit of spatial order. De los Reyes theorizes that both abstract painting and border-making rely on the assumption that absolute space can be materialized through its transformation into a space of containment and law. In the Border Theory paintings, the artist investigates the indeterminate, layered structures of identity as found in the continuum of his location and profession.
<br>
<br>The imagery of the paintings reference sections of the US-Mexico border captured by satellite photography. Viewed from this perspective, regional landscapes are flattened into ambiguous areas of varying shape, color and tone. These types of surfaces, comparable to those found in post-war abstract painting, are re-contextualized through de los Reyes’ saturation of unprimed linen with multiple layers of fabric dyes. Above these fields of color, de los Reyes superimposes demarcations in oil, either through the use of singular, thin lines or gridded expanses of marks which explicitly refer to locations along the US-Mexico border. The resulting works imply how our perception of space, and the process of its utilization, forms the basis for both personal and political consciousness.

TONY DE LOS REYES

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

NATHAN OLIVEIRA

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

NATHAN OLIVEIRA

PIERRE-AUGUSTE RENOIR - Femme Nue Assise - original soft ground etching - 9 7/8 x 7 3/4 in.

PIERRE-AUGUSTE RENOIR

RONALD DAVIS - A Cube - render on glass - 11 x 11 x 1/4 in.

RONALD DAVIS

SALVADOR DALI - Hell Canto 3 - wood engraving - 13 x 10 in.

SALVADOR DALI

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

WILLIAM THEOPHILUS BROWN

HANS BURKHARDT - Untitled - mixed media on paper - 22 1/2 x 15 in.

HANS BURKHARDT

TERUKO YOKOI - Untitled - egg tempera on paper - 11 x 14 3/4 in.

TERUKO YOKOI

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation (Diptych) - screenprint - Image: 10 1/4 x 15 3/4 in. , 12 1/4 x 15 3/4 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation (Diptych) - screenprint - 11 1/4 x 13 1/2 in. ea.

JOSEF ALBERS

JOSEF ALBERS - Untitled - screenprint - 46 3/4 x 24 1/2 in.

JOSEF ALBERS

SHEPARD FAIREY - Aung San Suu Kyi - offset print on paper - 36 x 24 in.

SHEPARD FAIREY

Invasive plant found in WY

PENELOPE GOTTLIEB

ROBERT INDIANA - Ten Works X Ten Painters - screenprint - 24 x 20 in.

ROBERT INDIANA

KRISJANIS KAKTINS-GORSLINE - Cheaques - oil on canvas - 37 x 33 3/8 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Lunna - Oil on Canvas - 36 1/4 x 33 3/4 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Dormah - oil on canvas - 36 x 34 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Untitled - oil on canvas - 36 1/2 x 33 in.

KRISJANIS KAKTINS-GORSLINE

LAWRENCE SCHILLER - Marilyn Monroe, "Something's Gotta Give" - silver gelatin print - 24 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Marilyn Monroe, "Something's Gotta Give" - silver gelatin print - 24 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - "Let's Make Love", Marilyn Monroe - silver gelatin photograph - 24 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Marilyn Monroe, "Something's Gotta Give" - silver gelatin print - 24 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Marilyn Monroe, "Something's Gotta Give" - silver gelatin print - 24 x 20 in.

LAWRENCE SCHILLER

EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Agnes Meyer - silver gelatin print - 9 1/4 x 7 1/4 in.

EDWARD STEICHEN

EDWARD STEICHEN - Anne Harding - silver gelatin print - 13 x 10 1/2 in.

EDWARD STEICHEN

TIMOTHY TOMPKINS - Wildflower Overlook - acrylic enamel on linen - 20 x 36 in.

TIMOTHY TOMPKINS

TIMOTHY TOMPKINS - Rolling Meadow - acrylic enamel on linen - 20 x 36 in.

TIMOTHY TOMPKINS

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

JOSEF ALBERS

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 1/8 x 13 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 15 x 20 in.

JOSEF ALBERS

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

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 1/2 x 16 in.

JOSEF ALBERS

JOSEF ALBERS - Formulation: Articulation - screenprint - 13 1/2 x 13 1/2 in.

JOSEF ALBERS

SHEPARD FAIREY - War By Numbers (Gold) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - War By Numbers (Red) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

JOSEF ALBERS - Formulation: Articulation - screenprint - 12 3/4 x 14 3/4 in.

JOSEF ALBERS

NORMAN ROCKWELL - Blacksmith Shop - monolithograph on paper - 8 x 23 3/4 in.

NORMAN ROCKWELL

EDWARD HAGEDORN - Red - gouache on paper - 24 x 18 in.

EDWARD HAGEDORN

EDWARD HAGEDORN - "Orange/Black Curled Figure" - gouache on paper - 24 x 18 in.

EDWARD HAGEDORN

DANA SCHUTZ - Relic - lithograph - 24 x 18 in.

DANA SCHUTZ

JAE KON PARK - America Series - batik on fabric - 6 1/2 x 6 3/4 in.

JAE KON PARK

JAE KON PARK - The Incan Sun - batik on fabric - 6 1/2 x 7 3/4 in.

JAE KON PARK

JAE KON PARK - The Mystery of America - batik on fabric - 6 x 8 1/4 in.

JAE KON PARK

EDWARD STEICHEN - Walden Pond - silver gelatin print - 9 x 13 in.

EDWARD STEICHEN

JOSEF ALBERS - Formulation: Articulation - screenprint - 13 x 13 1/2 in.

JOSEF ALBERS

JOAN NELSON - Untitled - acrylic ink and oil on paper - 2 x 1 1/2 in.

JOAN NELSON

KAORU MANSOUR - Black Chandelier - mixed media on wooden panel - 42 x 12 in.

KAORU MANSOUR

ELLIOT TORREY - Untitled - oil on canvas - 21 1/2 x 29 in.

ELLIOT TORREY

RENE MAGRITTE - Pierreries (Precious Stones) - color lithograph on Rives BFK - 17 1/2 x 23 5/8 in.

RENE MAGRITTE

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

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Two Figures in Bar (Fun & Games) - gouache - 5 3/4 x 4 in.

WILLIAM THEOPHILUS BROWN

WILLIAM THEOPHILUS BROWN - Two Cranes Take Flight (Into the Sunset) - gouache on paper - 11 x 14 1/2 in.

WILLIAM THEOPHILUS BROWN

IRVING NORMAN - Untitled - pencil on paper - 9 5/8 x 7 in.

IRVING NORMAN

IRVING NORMAN - Untitled - pencil on paper - 9 5/8 x 7 in.

IRVING NORMAN

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

EDWARD STEICHEN

EDWARD STEICHEN - Alfred Lunt and Lynn Fontanne - silver gelatin print - 13 1/4 x 10 in.

EDWARD STEICHEN

WILLIAM THEOPHILUS BROWN - Untitled (2 Cows) - acrylic on paper - 6 x 4 1/2 in.

WILLIAM THEOPHILUS BROWN

EDWARD STEICHEN - Three Apples - silver gelatin print - 10 1/4 x 13 in.

EDWARD STEICHEN

KRISJANIS KAKTINS-GORSLINE - Pulse - oil on canvas - 24 x 18 in.

KRISJANIS KAKTINS-GORSLINE

DAVID MACH - (small with yellow and black lines) - matchsticks - 5 1/2 x 2 3/4 x 3 1/2 in.

DAVID MACH

DAVID MACH - Matchead - matchstick - 5 1/2 x 2 3/4 x 3 3/4 in.

DAVID MACH

DAVID MACH - Matchstick Head (small yellow head and red shoulders) - matchsticks - 5 1/2 x 3 x 4 1/2 in.

DAVID MACH

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

DAVID MACH

ROGER THOMAS - Pimlico Spot Table - Antique Silver base with Bone Lacquer and Back Galaxy Granite Top - 27 x 24 (diameter) in.

ROGER THOMAS

HANS BURKHARDT - Untitled, portrait of artist in studio - pastel on paper - 25 x 19 1/2 in.

HANS BURKHARDT

SHEPARD FAIREY - Fredo - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHINGO FRANCIS - Interference (Green-Magenta) - oil on canvas - 24 x 18 in.

SHINGO FRANCIS

SHINGO FRANCIS - Interference (Magenta-Green) - oil on canvas - 24 x 18 in.

SHINGO FRANCIS

KRISJANIS KAKTINS-GORSLINE - Untitled - Oil on Canvas - 23 x 29 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Moutte - oil on canvas - 30 x 24 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Untitled 3 (hd) - oil on canvas - 24 x 20 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Untitled 2 (hd) - oil on canvas - 30 x 24 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Untitled 1 (hd) - Oil on Canvas - 24 x 20 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Carnation Polymer - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Autolysis Blush - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Boson Ghost - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Partical Decay - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Blue Osofakt - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Cobalt Crystalline - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KRISJANIS KAKTINS-GORSLINE - Wake - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

KAORU MANSOUR - Olive & Blue Chandelier #101 - mixed media - 20 x 20 in.

KAORU MANSOUR

LAWRENCE SCHILLER - Martin Luther King Jr. - Chromogenic print - 16 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Barbra Streisand, Pg 23 - Silver Gelatin Print - 16 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Joe DiMaggio & Joe DiMaggio Jr. at Marilyn Monroe's funeral - Silver Gelatin Print - 16 x 20 in.

LAWRENCE SCHILLER

LAWRENCE SCHILLER - Barbra Streisand during filming of "On A Clear Day…" - Silver Gelatin Photograph - 16 x 20 in.

LAWRENCE SCHILLER

PAULETTE TAVORMINA - Peaches and Hydrangeas, After G.G. - archival digital pigment print - 22 1/2 x 30 in.

PAULETTE TAVORMINA

PAULETTE TAVORMINA - Blackberries and Butterfly, After A.C. - archival digital pigment print - 22 1/2 x 30 in.

PAULETTE TAVORMINA

PAULETTE TAVORMINA - Roses and Figs - archival digital pigment print - 24 x 24 in.

PAULETTE TAVORMINA

DAVID WHARTON - Matchbox: The Tobacco Safety Match - watercolor on paper - 29 1/4 x 20 1/2 in.

DAVID WHARTON

DAVID WHARTON - Sacristy - watercolor on paper - 20 x 20 1/2 in.

DAVID WHARTON

SHEPARD FAIREY - Sonny - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

LINDA CONNER - Spanish Rider (Arizona) - toned gelatin silver photograph - 7 7/8 x 9 7/8 in.

LINDA CONNER

LINDA CONNER - Dots and Hands (Bluff, Utah) - toned gelatin silver photograph - 8 x 10 in.

LINDA CONNER

PENELOPE GOTTLIEB - Cattleya schilleriana (EW) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Cypripedium anethinum (VU) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Cyrtopodium punctatum (EN) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Thelymitra variegate (LC) - acrylic over aluminum - 24 x 20

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Sudamerlycaste cinnabarina (LC) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

PENELOPE GOTTLIEB - Dendrophyla lindenii (EN) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

TATSUZO SHIMAOKA - Untitled - painted and glazed ceramic - 12 x 11 x 11 in.

TATSUZO SHIMAOKA

JOAN NELSON - Untitled - acrylic ink and oil wax on paper - 1 3/4 x 1 in.

JOAN NELSON

KAORU MANSOUR - Pomegranate and Fig #101 - mixed media on wooden panel - 10 x 30 in.

KAORU MANSOUR

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

WILLIAM THEOPHILUS BROWN

DAVID DAWSON - Hockney in Freud's Studio - color print - 12 x 16 in.

DAVID DAWSON

CLARE RICHARDSON - Untitled I (from Sylvan) - c-print - 42 1/4 x 50 in.

CLARE RICHARDSON

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

IRVING NORMAN

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

IRVING NORMAN

PENELOPE GOTTLIEB - Paphiopedilum urbaniaum (CR) - acrylic over aluminum - 24 x 20 in.

PENELOPE GOTTLIEB

ANN DIENER - Small Expanse #3 - graphite, colored pencil, gouache, ink, and cut paper on paper - 22 1/2 x 30 in.

ANN DIENER

ANN DIENER - Small Expanse #2 - graphite, colored pencil, gouache, ink, and cut paper on paper - 22 1/2 x 30 in.

ANN DIENER

IRVING NORMAN - Pocket Sketch Pad - graphite on paper - 5 1/2 x 3 1/2 in.

IRVING NORMAN

TADAAKI KUWAYAMA - Untitled - silkscreen - 18 x 37 in.

TADAAKI KUWAYAMA

PAUL WONNER - Carton of Olives - acrylic on paper - 8 1/2 x 8 in.

PAUL WONNER

ANDREW TAYLOR - Outside: Lake Balboa 9 - Mixed Media - 24 x 24 in.

ANDREW TAYLOR

ROBERT WALKER - Space Monkey - carved acrylic on wood - 20 x 18 x 1 3/4 in.

ROBERT WALKER

SHEPARD FAIREY - Jonesy's Jukebox - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

WILLIAM THEOPHILUS BROWN - Untitled (Artist and Model in Studio)(Quiz) - acrylic on paper - 6 x 7 1/2 in.

WILLIAM THEOPHILUS BROWN

PAUL WONNER - Green Tomatoes - acrylic on paper - 6 1/4 x 9 in.

PAUL WONNER

IRVING NORMAN - Untitled - pen and ink on paper - 8 x 5 in.

IRVING NORMAN

SHEPARD FAIREY - Writing on the Wall (Cream) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Writing on the Wall (Red) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

WILLIAM THEOPHILUS BROWN - Untitled (Factory) (Two Silos) - pencil on paper - 11 1/2 x 14 1/2 in.

WILLIAM THEOPHILUS BROWN

LAWRENCE SCHILLER - Untitled - Silver Gelatin print on Fiber base Paper - 16 x 20 in.

LAWRENCE SCHILLER

ROBERT WALKER - Ceiling Fan #3 - carved acrylic on masonite - 16 x 20 x 1 5/8 in.

ROBERT WALKER

PABLO PICASSO - After Cranach Poster for Exhibition at Berggruen, Paris - lithograph in colors on paper - 29 1/2 x 20 1/4 in.

PABLO PICASSO

SHEPARD FAIREY - Commanda - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

ANDREW TAYLOR - Outside: Gums - Mixed Media on Acrylic - 25 x 29 in.

ANDREW TAYLOR

TIMOTHY TOMPKINS - Painted Landscape v.2 - Lightjet print on Fuji Gloss Archive paper and acrylic enamel paint - 30 x 40 in.

TIMOTHY TOMPKINS

TIMOTHY TOMPKINS - Painted Landscape v.1 - Lightjet print on Fuji Gloss Archive paper and acrylic enamel paint - 30 x 40 in.

TIMOTHY TOMPKINS

DANNY LYON - Mission, South Dakota - vintage gelatin silver print - 7 3/4 x 9 1/4 in.

DANNY LYON

KRISTOF WICKMAN - Untitled - cast aquaresin - 18 x 12 x 12 in.

KRISTOF WICKMAN

MARC CHAGALL - Spring Day - original lithograph in colors - 14 7/8 x 11 in.

MARC CHAGALL

WILLIAM CANNINGS - Cuffed II - inflated steel, phosphorun acrylic paint - 7 x 87 1/2 x 7 in.

WILLIAM CANNINGS

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

IRVING NORMAN

HERBERT SARTELLE - Desert Landscape - oil on canvas on board - 6 1/2 x 8 1/4 in.

HERBERT SARTELLE

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

IRVING NORMAN

BRUCE COHEN - Interior with Anemones on Tripod - pastel on paper - 10 x 6 5/8 in.

BRUCE COHEN

BRUCE COHEN - Interior with Silhouetted Tulips - pastel on paper - 10 1/2 x 8 1/2 in.

BRUCE COHEN

BRUCE COHEN - Interior with Tangerines and Anemones - pastel on paper - 10 x 10 in.

BRUCE COHEN

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

IRVING NORMAN

SARA GENN - Shhhh - acrylic on canvas - 24 x 18 in.

SARA GENN

TATIANA BOTTON - Bamboo Abstract 2 - Photograph with maple edges and non reflective acrylic - 13 1/4 x 59 7/8 in.

TATIANA BOTTON

TATIANA BOTTON - Bamboo Abstract 1 - Photograph with maple edges and non reflective acrylic - 7 1/2 x 59 7/8 in.

TATIANA BOTTON

TATIANA BOTTON - Bamboo Panoramic #1 - Photograph mounted on panel - 11 1/2 x 59 3/4 in

TATIANA BOTTON

TATIANA BOTTON - Bamboo Panoramic #3 - Photograph mounted on panel - 11 1/2 x 59 3/4 in.

TATIANA BOTTON

TATIANA BOTTON - Bamboo Panoramic #5 - Photograph mounted on panel - 11 1/2 x 59 3/4 in.

TATIANA BOTTON

TATIANA BOTTON - Bamboo Panoramic #4 - Photograph mounted on panel - 11 1/2 x 59 3/4 in.

TATIANA BOTTON

LAWRENCE LEE - My Chrysalis - India Ink, graphite, tea stains, pen and watercolor - 20 x 20 in.

LAWRENCE LEE

LAWRENCE LEE - 13 Warriors - india ink, graphite, tea stains, pen and watercolor - 20 x 20 in.

LAWRENCE LEE

WILLIAM THEOPHILUS BROWN - Blue Tower - mixed media on paper - 7 7/8 x 5 7/8 in.

WILLIAM THEOPHILUS BROWN

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

IRVING NORMAN

IRVING NORMAN - Untitled (War Study) - graphite on paper - 6 x 3 1/2 in.

IRVING NORMAN

SHEPARD FAIREY - Arkitip Issue 51 Box Set - screenprints on paper, book, stencil - 10 x 7 5/8 in.

SHEPARD FAIREY

SHEPARD FAIREY - Eagle Mountain - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Filth and Fury - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

ROBERT WALKER - Xerchav - carved acrylic on wood - 12 x 14 x 1 1/4 in.

ROBERT WALKER

ROBERT WALKER - Hard Drawing: White dots on blue woodblock - Ink, wood block collage on wood panel - 12 x 10 x 1 5/8 in.

ROBERT WALKER

SHEPARD FAIREY - Jordan Hall of Fame Portrait - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Jordan Chicago Bulls - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Kiss Me Deadly (Red) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Operation Oil Freedom (Black) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Operation Oil Freedom (Gold) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Smokey Robinson - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Two Sides of Capitalism - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Vintage Paster - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - War Is Over - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Kiss Me Deadly (Pattern) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

HERB ALPERT - Midnight Sunrise - acrylic on paper - 32 x 40 in.

HERB ALPERT

OSVALDO BUDET - Ché, Camilo, Fidel y yo... creo que llegábamos a la Habana… - graphite, diamond dust and glass on a photograph - 30 1/2 x 43 1/4 in.

OSVALDO BUDET

OSVALDO BUDET - My First Time with Obama - graphite, diamond dust, glass, acrylic and glitter on a photograph - 27 1/2 x 43 1/4 in.

OSVALDO BUDET

JOAN MIRO - The Fire Dance - original lithograph in colors - 14 7/8 x 22 in.

JOAN MIRO

ANTONY GORMLEY - Snowfall - monochrome - 27 3/8 x 39 1/5 in.

ANTONY GORMLEY

IRVING NORMAN - Pocket Sketch Pad - graphite on paper - 5 1/2 x 3 1/2 in.

IRVING NORMAN

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

IRVING NORMAN

FELANDUS THAMES - Untitled - acrylic on canvas - 24 X 24 in.

FELANDUS THAMES

WILLIAM CANNINGS - Bound - polished aluminum form with barbed wire - 22 x 11 x 8 3/4 in.

WILLIAM CANNINGS

LAWRENCE LEE - Broken Flower - India Ink, graphite, tea stains, pen and watercolor - 16 x 16 in.

LAWRENCE LEE

LAWRENCE LEE - Beast Tamers - India Ink, graphite, tea stains, pen and watercolor
or and on Paper - 16 x 16 in.

LAWRENCE LEE

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

IRVING NORMAN

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

IRVING NORMAN

SARA GENN - Portrait - acrylic on canvas - 20 x 16 in.

SARA GENN

SARA GENN - Velva - acrylic on canvas - 20 x 16 in.

SARA GENN

ROBERT WALKER - Card Reader #3 - Marker on heavy paper - 29 1/8 x 33 1/4 in.

ROBERT WALKER

LAWRENCE SCHILLER - Untitled - silver gelatin print on fiber base paper - 11 x 14 in.

LAWRENCE SCHILLER

ANN DIENER - Bourne #1 - graphite Prismacolor, ink and cut paper on paper - 14 x 16 in.

ANN DIENER

ANN DIENER - Bourne #5 - graphite, Prismacolor, ink and cut paper on paper - 13 3/4 x 16 1/4 in.

ANN DIENER

SHEPARD FAIREY - By Any Means Necessary (Red) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - By Any Means Necessary (Yellow) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - European Invasion Z-Trip - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Fiend Rocker (Black) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Fiend Rocker (Gold) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Gaslamp Killer - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Immigration Reform Girl (Spanish) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Alto Arizona - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

KAORU MANSOUR - Monkey ball #105 - mixed media on wood panel - 24 x 8 in.

KAORU MANSOUR

ROBERT WALKER - Breathing Sessions #14 - Ink on Paper - 28 x 36 in.

ROBERT WALKER

ROBERT WALKER - Hard Drawing: Bodhi Tree #1 - Ink, rubber door matt & bondo on wood - 12 x 10 x 1 5/8 in.

ROBERT WALKER

ROBERT WALKER - Hard Drawing: Blue & White Distortional - Iink & collage on wood - 12 x 10 x 1 5/8 in.

ROBERT WALKER

ROBERT WALKER - Hard Drawing: 3 Lavender circles with maze - Ink & acrylic on wood - 12 x 10 x 1 5/8 in.

ROBERT WALKER

SHEPARD FAIREY - It's Mourning in America - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Janes Addiction (Matt Goldman) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Jason Jessee - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Jasper Johns (Cream) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Jessica - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Legislative Influence For Sale - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Merry Karnowsky (10th Anniversary) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Obey Collage Girl - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Panther Power - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Pine Ridge (We Are Still Here) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Playboy (Offset) - offset lithograph on paper - 36 x 24 in.

SHEPARD FAIREY

SHEPARD FAIREY - Proud Parents (Offset) - offset print on paper - 34 1/8 x 24 1/8 in.

SHEPARD FAIREY

SHEPARD FAIREY - Relief for Haiti - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Your Eyes Here - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

ROBYN DENNY - Untitled - screenprint - 24 x 21 in.

ROBYN DENNY

ROBYN DENNY - Untitled - screenprint - 24 x 21 in.

ROBYN DENNY

ROBERT NATKIN - Untitled - lithograph on paper - 26 1/2 x 35 3/4 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 30 1/2 x 40 1/2 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 30 x 39 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 29 1/2 x 39 1/2 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph - 40 x 30 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 39 3/4 x 30 3/4 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 31 x 40 in.

ROBERT NATKIN

ROBERT NATKIN - Untitled - lithograph on paper - 29 x 38 in.

ROBERT NATKIN

HANS BURKHARDT - Crucifix - oil over monotype or oil on paper over a print - 11 x 7 5/8 in.

HANS BURKHARDT

JAE KON PARK - Nature's Mechanisms - print - 6 x 7 3/4 in.

JAE KON PARK

NORMAN ROCKWELL - Tom Sawyer - Dead Black Cat - collotype on paper - 19 x 15 in.

NORMAN ROCKWELL

IRVING NORMAN - Untitled - pen and ink on paper - 3 9/16 x 2 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled - pen and ink - 3 1/2 x 2 1/2 in.

IRVING NORMAN

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

IRVING NORMAN

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

IRVING NORMAN

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

IRVING NORMAN

IRVING NORMAN - Sketch Pad - graphite on paper - 6 x 3 7/8 in.

IRVING NORMAN

CARLOS BETANCOURT - Re-Collections Diamond Dust I - print on fine art paper - 24 x 24 in.

CARLOS BETANCOURT

CARLOS BETANCOURT - Re-Collections Diamond Dust IV - print on fine art paper - 20 x 20 in.

CARLOS BETANCOURT

GASTON DE LATENAY - Les Chasseuresses (the Huntresses) - color lithograph on paper - 25 1/8 x 19 3/8 in.

GASTON DE LATENAY

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

IRVING NORMAN

SHEPARD FAIREY - Sun Paper Print - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - World Police State Champs (Metropark) - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

TERUKO YOKOI - Untitled - egg tempera on paper - 5 3/4 x 4 1/8 in.

TERUKO YOKOI

TERUKO YOKOI - Untitled - egg tempera on paper - 6 3/4 x 4 1/8 in.

TERUKO YOKOI

LAWRENCE LEE - Specimens - India Ink, graphite, tea stains,pen and watercolor - 12 x 12 in.

LAWRENCE LEE

LAWRENCE LEE - Thirty Eyes - India ink, graphite, tea stains, pen and watercolor - 12 x 12 in.

LAWRENCE LEE

LOUISE NEVELSON - Façade Suite - photo lithograph - 23 1/4 x 17 3/4 in.

LOUISE NEVELSON

LOUISE NEVELSON - Façade Suite - photo lithograph - 23 1/4 x 17 3/4 in.

LOUISE NEVELSON

LOUISE NEVELSON - Façade Suite - photo lithograph - 23 1/4 x 17 3/4 in.

LOUISE NEVELSON

LOUISE NEVELSON - Façade Suite - photo lithograph - 23 1/4 x 17 3/4 in.

LOUISE NEVELSON

LYNN DAVIS - Machu Picchu - toned gelatin silver print - sheet: 14 x 11 in. image: 10 x 10 in.

LYNN DAVIS

LYNN DAVIS - Icebergs (Disco Bay, Greenland) - toned gelatin silver print - 13 1/4 x 11 in.

LYNN DAVIS

JULES PASCIN - Femininity - lithograph on paper - 11 x 8 in.

JULES PASCIN

IRVING NORMAN - Untitled - pen and ink on paper - 3 1/2 x 2 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled - pen and ink on paper - 3 3/8 x 2 7/16 in.

IRVING NORMAN

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

IRVING NORMAN

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

IRVING NORMAN

FELANDUS THAMES - Gold makes my teeth white - inkjet and acrylic on paper - 20 1/2 x 29 1/4 in.

FELANDUS THAMES

FELANDUS THAMES - Golden Octopus - inkjet on paper - 18 x 22 in.

FELANDUS THAMES

SHEPARD FAIREY - Stoked - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

JOAN MIRO - The Gardener's Daughter - original lithograph in colors - 15 x 11 in.

JOAN MIRO

KURT SELIGMANN - L'Opere (the Patient) - original etching - 19 1/2 x 14 in.

KURT SELIGMANN

KURT SELIGMANN - Le Charmeur d'Oiseaux (The Bird Charmer) - original etching - 19 1/2 x 14 in.

KURT SELIGMANN

IRVING NORMAN - Untitled (Head of Woman) - graphite on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Man Wearing Hat and Tunic) - pen on paper - 9 1/4 x 6 1/4 in.

IRVING NORMAN

SALVADOR DALI - Three Cloth Portfolios & Their Associated Table of Contents - three cloth portfolios and table of contents

SALVADOR DALI

IRVING NORMAN - Untitled (Stacked Heads) - graphite on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Two Sketches: Man Wearing Hat and Man Carrying Heart) - pen on paper - 9 1/8 x 6 1/4 in.

IRVING NORMAN

SHEPARD FAIREY - 11th Hour - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Soundclash of the Titans - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - Sun Paper Print - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

SHEPARD FAIREY - This Is Your Church - screenprint on paper - 18 x 24 in.

SHEPARD FAIREY

SHEPARD FAIREY - Untitled (This is Your God) - offset lithograph on paper - 34 x 36 in.

SHEPARD FAIREY

SHEPARD FAIREY - Urban Roots - screenprint on paper - 24 x 18 in.

SHEPARD FAIREY

IRVING NORMAN - Untitled (Abstract Head) - graphite on paper - 12 x 8 7/8 in.

IRVING NORMAN

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

IRVING NORMAN

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

IRVING NORMAN

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

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

CHARLES GATEWOOD - Fakir - original photograph - 14 x 11 in.

CHARLES GATEWOOD

CHARLES GATEWOOD - Body & Beyond - original photograph - 8 x 10 in.

CHARLES GATEWOOD

LAWRENCE LEE - Spotted Fox - India Ink, graphite, tea stains, pen and watercolor on paper - 8 x 8 in.

LAWRENCE LEE

LAWRENCE LEE - Cora - India Ink, graphite, tea stains, pen and watercolor on paper - 7 x 7 in.

LAWRENCE LEE

LAWRENCE LEE - Mother - India Ink, graphite, tea stains, pen and watercolor on paper - 7 x 7 in.

LAWRENCE LEE

LAWRENCE LEE - Big Lips - India Ink, graphite, tea stains, pen and watercolor - 7 x 7 in.

LAWRENCE LEE

ANDREW TAYLOR - Outside: Dampier 2 - monotype and encaustic on board - 12 x 12 in.

ANDREW TAYLOR

LELAND RICE - Wall Site Spray Booth (Laub Studio) - original photograph in colors - 20 x 24 in.

LELAND RICE

TATIANA BOTTON - Sand Shape #1 - photograph - 15 x 22 1/4 in.

TATIANA BOTTON

TATIANA BOTTON - Sand Dunes 7 - photograph - 15 x 22 1/4 in.

TATIANA BOTTON

TATIANA BOTTON - Sand Shape #2 - photograph - 15 x 22 1/4 in.

TATIANA BOTTON

GIACOMO MANZU - Artist and Model - original lithograph on paper - 20 1/4 x 14 3/4 in.

GIACOMO MANZU

CARLOS MERIDA - O Cotoxco, State of Tlaxcala - original lithograph in colors - 12 1/2 x 17 1/2 in.

CARLOS MERIDA

CARLO MARIA MARIANI - Niobe - original lithograph in colors on paper - 27 1/2 x 19 1/2 in.

CARLO MARIA MARIANI

SERGE POLIAKOFF - Untitled - original lithograph - 12 1/4 x 9 1/2 in.

SERGE POLIAKOFF

JOAN MIRO - L'Aigrette (The Plumed Hat) - original etching on paper - plate size: 4 3/4 x 3 9/16 in.

JOAN MIRO

BARBARA PREY - Winter Workshop - print on paper - 16 x 23 in.

BARBARA PREY

KYOKO IBE - Yugen hanging square tiles - Ganpi & Kozo fiber, recycled Washi paper, old documents, mica, indigo & sumi

KYOKO IBE

KYOKO IBE - Red and gold hanging squares - Hogosho, pre-industrial time old paper, sumi ink for calligraphy, mica, natural indigo dye

KYOKO IBE

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

WOJCIECH FANGOR

DENNIS OPPENHEIM - Sculpture Installation Photograph - print - 14 1/2 x 19 1/4 in.

DENNIS OPPENHEIM

DENNIS OPPENHEIM - Sculpture Installation Photograph - print - 14 x 18 1/2 in.

DENNIS OPPENHEIM

ELAINE DE KOONING - Untitled - ink on paper - 13 5/8 x 16 3/4 in.

ELAINE DE KOONING

ELAINE DE KOONING - Untitled - ink on paper - 13 5/8 x 16 3/4 in.

ELAINE DE KOONING

ELAINE DE KOONING - Untitled - acrylic on paper - 17 3/4 x 12 in.

ELAINE DE KOONING

ELAINE DE KOONING - Untitled - acrylic on paper - 17 5/8 x 12 in.

ELAINE DE KOONING

ELAINE DE KOONING - Untitled - oil pastel on paper - 9 x 11 3/4 in.

ELAINE DE KOONING

PAUL JENKINS - Phenomena Coriolis Wedge - oil on canvas - 66 x 77 in.

PAUL JENKINS

PAUL JENKINS - Phenomena Zodiac Violet - watercolor on paper - 40 x 29 in.

PAUL JENKINS

PAUL JENKINS - Phenomena Yoshihara Sound - watercolor on paper - 30 x 40 1/2 in.

PAUL JENKINS