WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in. WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in. WILLIAM WEGMAN - Three Dolls - Silver gelatin print - 7 1/4 x 6 3/4 in.
Three Dolls19827 1/4 x 6 3/4 in. Silver gelatin print
General Electric Corporate Collection Heather James Fine Art



Similar Artworks

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. 
<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. 
<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.


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.
<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.  
<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.


“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.
<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.


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


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.


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.


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. 
<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.


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.


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


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


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


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


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


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


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


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


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


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


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


Ann Craven - Full Moon with Clouds - oil on canvas - 14 x 14 in.

Ann Craven

TATIANA BOTTON - Taking Control - archival pigment print - 40 x 60 in.


<br>Acquired from artist California


WILLIAM WEGMAN - Fairy Godmother - Polacolor print on paper -  26 x 20 3/4 in.


CHRIS TRUEMAN - ZS - acrylic and acrylic spray paint on canvas - 36 x 38 3/4 in.


LAWRENCE SCHILLER - Contact Sheet, Marilyn Monroe, "Something's Got to Give" - Silver Gelatin Photograph - 20 x 24 in.


ELIOT PORTER - Coyote Gulch, Escalante River, Glen Canyon, Utah - dye-transfer print - 15 3/4 x 12 1/4 in.


JOAN NELSON - Untitled - acrylic ink and acrylic medium on paper - 2 7/8 x 2 7/8 in.