Impressionist and Modern



"Le Château d'Antibes" is a defining Impressionist work that conveys the movement's fascination with the effects of natural light.  The work is considered one of Monet's strongest works from the Antibes series, and would later serve as an inspiration for Vincent van Gogh, who was particularly interested in the series.  
<br>Looking at the similar views from the catalogue raisonné, this painting is the culmination of Monet's continual study of the light and reflection of the fort, as well as the most beautiful and most grand.  This view of Antibes is the epitome of what Monet aimed to create during his visit to Antibes and represents his artistic intention better than any of the other paintings from this time.
<br>During 1888, while in Antibes, Monet wrote a letter to his soon to be wife, Alice Hoschedé and said: "What I will bring back from here will be pure, gentle sweetness: some white, some pink, and some blue, and all this surrounded by the fairylike air."


JEFF KOONS - Smooth Egg with Bow (Magenta/Violet) - mirror-polished stainless steel with transparent color coating - 83 1/2 x 76 5/8 x 62 in.


VINCENT VAN GOGH - La Chaumière et une Paysanne Sous les Arbres - oil on canvas - 19 3/8 x 18 1/4 in.


"Jerusalem Stabile (Intermediate Maquette)" is registered in the archives of the Calder Foundation, New York, under application number A-12794. This piece is a maquette of the much larger Jerusalem Stabile, the last monumental sculpture that Alexander Calder made. The 72-foot-long monumental sculpture was installed on Mt. Herzl in Jerusalem in 1977 and was intended to serve as a symbol of modernity, to improve the quality of life in Jerusalem, and to raise cultural awareness. Scaled versions have been exhibited around the world, including the Huntington Library in San Marino, the 2006 Public Art Fund exhibition entitled, “Alexander Calder in New York,” the University of Pennsylvania, and the Rijksmuseum in Amsterdam.


WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.


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


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


"Tête de Femme" is based upon one of Miró’s most utilized themes. He characterized his sculptures as being from the ‘truly phantasmagoric world of living’ which is, undoubtedly, intended as a term of endearment. Yet "Tête de Femme" seems to evince something less monstrous or grotesque and instead presents in more sobering light as a free-standing, monolithic presence suggesting essential nature, if not a monumental one. Its attributions are fixed, intrinsic, and suggestive of its innateness; a strikingly austere design that adheres to Miró’s resistance to a classic bourgeois concept of ideal beauty. While it does not suggest a simple ‘female figure’ designation, there is plenty of referential material in the curves, domed protrusions, and a central depression suggesting a birthing matrix that in sum, evokes a celebration of fecundity and the creation of life. In any event, any tether to representational reality is a tenuous one, yet one that is calculated to stimulate the imagination and evoke unconscious primordial references and long-forgotten mythologies.
<br>Likely, Miro viewed this lustrous surface as fair compensation for its absence of color for which he is so well known. The impression is one that never suggests the sculptures of Miró are in any way derived from his painting, yet nor are they a complete deviation from that form of expression. Ultimately, it provides strong evidence that Miró was as engaged and involved in an intense dialogue with free-standing form as he ever was as a younger man working as a painter. "Tête de Femme" is cast in an edition of four, one of which was installed at the Yorkshire Sculpture Garden 2012 landmark exhibition "Miró: Sculptor."


JOAN MIRO - Oiseau, Insecte, Constellation - oil on canvas - 50 3/4 x 38 1/8 in.


FRANCIS PICABIA - Lunis - oil on canvas - 25 1/2 x 20 1/2 in. .


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


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


CAMILLE PISSARRO - Le Quai de Pothuis a Pontoise - oil on canvas - 18 1/8 x 21 7/8 in.


"The Busy Bee" (1875), demonstrates Homer's influential excellence in watercolor. He began working in the medium in 1873, painting scenes of children and the daily lives of everyday people. Homer's prolific work in watercolor helped to establish it as a serious artistic medium.
<br>This piece is from the reconstruction era and depicts a single figure. The boy depicted in "The Busy Bee" is a model that appears repeatedly in Homer's work from this period, including some of the most widely celebrated reconstruction era paintings like "Dressing for the Carnival" (1877) at the Metropolitan Museum of Art. Nearly all of Homer’s works from the reconstruction era south are in museum collections. Another painting of the same model, "Taking Sunflower to Teacher" (1875), is in the Georgia Museum of Art.
<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.


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. 
<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. 
<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."


Gustave Caillebotte’s paintings of his country home at Yerres display soft brushwork and a pastel palette typical of the Impressionists. Although closely associated with that movement, Caillebotte drew inspiration from other approaches as well, resulting in a style closer to Realism than many of his contemporaries. He aimed to paint the world as he observed it, producing works that resisted theatricality in favor of a more grounded sense of reality. His noteworthy urban scenes employ flatter colors and dramatic perspectives inspired by Japanese wood block prints. One such example, created in the same year as the present work, is one of his best-known paintings, "Paris Street; Rainy Day" at the Art Institute of Chicago.
<br>Caillebotte did not only contribute his painting to the Impressionist movement, but also became a crucial benefactor upon receiving a sizable inheritance. He helped to fund exhibitions, purchased works for his own collection, and even paid rent for Claude Monet’s studio. 
<br>This canvas from 1877 belonged to the personal collection of American Impressionist Mary Cassatt until her death in 1926. Here, Caillebotte’s delicate paint handling compliments his measured use of color. Naturalistic hues of the artist’s garden and the valley beyond – a bed of cool green and blue that divide the canvas into contrasting swaths of heavy and light tones – underscore the details touched by light.


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


PABLO PICASSO - La Communiante Avec Missel - oil on canvas - 25 5/8 x 21 1/2 in.


RICHARD PRINCE - Untitled (Cowboy) - c-print - 60 x 90 in.


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.
<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.


James Rosenquist's contributions to Pop Art's development, along with his contemporaries Andy Warhol, Jasper Johns, and Roy Lichtenstein, would leave an indelible mark on art history. Rosenquist's humble beginnings as a billboard painter were a stark contrast to his widely acknowledged status as one of the greatest artists of his generation at the time of his death in 2017.  
<br>"Samba School" (1986) is a billboard-scale work imbued with a sense of movement and color, much like the dance that inspired the painting. Rosenquist's iconic work, "F-111" (1964-65) at the Museum of Modern art in New York, shares a similar sense of scale and visual energy. Rosenquist's developments in the 1960s and 1970s led to a high level of proficiency in working with these large paintings from which a distinct and powerful visual language emerge.
<br>This painting was featured in the 1987 Oliver Stone film "Wall Street" as well as the 2003-2004 exhibition, "James Rosenquist: A Retrospective," which traveled between the Menil Collection and the Museum of Fine Arts Houston, the Guggenheim Museum in Bilbao, and featured prominently at the Guggenheim Museum in the artist's beloved New York City.


TAKASHI MURAKAMI - Want to Hold You - acrylic on canvas - 59 x 59  in.


"Spindly Locusts" (1936) depicts the placid Cape Cod Landscape, Hopper's favored summer destination. Trips to the Cape would be an escape for the artist; the frenetic life Hopper led in New York City required periods of peace, tranquility, and self-reflection. He painted this piece en plein air near Pamet Point Road in Wellfleet, Massachusetts.
<br>In this landscape composition, Hopper explores space and light. Gail Levin, the foremost authority on the life and work of Edward Hopper, wrote: "Light was the language through which Hopper expressed the forms and views before him. His watercolors were simply recordings of his observations, painted almost entirely out-of-doors, directly before his subject matter" (Edward Hopper: A Catalogue Raisonné, New York, 1995, p. 65-6).  
<br>The scarcity of Edward Hopper's work available privately is notable, and "Spindly Locusts" is a remarkable example in excellent condition. Out of the 357 watercolors Hopper created, 215 are in museum collections worldwide, where they will likely remain. Of his oil paintings, only 45 are in private collections out of the 366 that exist. The present work offers a unique opportunity for a collector to be only the third owner of this watercolor in its 80+ year history since its creation in 1936.


Andy Warhol's portrait of Dorothy Blau highlights the close ties between them and is evidence of how each pushed the other. Blau was a close friend of Andy Warhol and a pillar of the art scene in Miami. She has the rare distinction of being a repeated subject in Warhol's work as he created portraits of her two times, three years apart. This blue canvas presents a younger Blau in her first Warhol portrait in 1983.
<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.