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ALEXANDER CALDER (1898-1976)

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ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in. ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in. ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in. ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in.
ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in.
The Palm Tree194739 ½ x 29 ¾ in. oil on canvas
Provenance
Perls Galleries, New York, New York
Private Collection, Miami, Florida in 1974 (acquired from the above)
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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

JULIAN SCHNABEL - Untitled - oil, resin, gesso, fabric and leather on seamed dropcloth - 96 x 120 in.

JULIAN SCHNABEL

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

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

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

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

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

GEORGE CONDO

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

ALEX KATZ

ROBERT GRAHAM - Elisa - cast bronze, patinaed or painted oil - 58 1/2 x 16 x 16 in.

ROBERT GRAHAM

ALEXANDER CALDER - Untitled - gouache and ink on paper - 81 3/4 x 37 1/2 in.

ALEXANDER CALDER

RAIMONDS STAPRANS - Untitled - oil on canvas - 28 x 34 in.

RAIMONDS STAPRANS

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

ADAM EMORY ALBRIGHT

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

ROLPH SCARLETT

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

KEITH HARING

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

PABLO PICASSO

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

CHARLES HERBERT WOODBURY

ARTHUR BOWEN DAVIES - Standing Nude - oil on canvas - 15 1/4 x 10 1/4 in.

ARTHUR BOWEN DAVIES

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

FRANK GAVENCKY

JOAN MIRO - Femme-Oiseau II - soft-ground and aquatint on Rives vellum - 17 1/2 x 21 in.

JOAN MIRO

PABLO PICASSO - Peintre Espagnol Faisant le Portrait d'une Femme Nue, sous la Forme d'un Homme Barbu à la Faise - etching/engraving - 10 x 12 3/4 in.

PABLO PICASSO

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

FRANK GAVENCKY

HENRY RICHTER - Seascape - oil on canvas - 29 x 39 in.

HENRY RICHTER

JESSIE ARMS BOTKE - Untitled - charcoal on paper - 17 1/4 x 13 1/4 in.

JESSIE ARMS BOTKE

NORMAN ROCKWELL - Extra Good Boys and Girls - collotype on paper - 27 1/2 x 21 1/2 in.

NORMAN ROCKWELL

PABLO PICASSO (AFTER) - Marlborough (Galleria d'Arte, Rome) - lithography, etching and serigraphy - 39 x 24 1/2 in.

PABLO PICASSO (AFTER)

NORMAN ROCKWELL - Tom Sawyer - Dead Black Cat - collotype on paper - 19 x 15 in.

NORMAN ROCKWELL