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The stands are: The 32 H x 19-3/4 W x 19-3/4 D in.
<br>
<br>Rat: 27 7/8 x 12 7/8 x 20 7/8 in.
<br>Ox: 29 1/8 x 20 1/8 x 16 7/8
<br>Tiger: 25 7/8 x 14 7/8 x 16 7/8
<br>Rabbit: 27 7/8 x 9 7/8 x 18 7/8
<br>Dragon: 35 7/8 x 18 1/8 x 25 7/8
<br>Snake: 27 7/8 x 14 1/8 x 6 3/4
<br>Horse: 29 1/8 x 12 1/4 x 22
<br>Ram: 25 1/4 x 20 7/8 x 16 1/8
<br>Monkey: 27 1/8 x 12 7/8 x 14 7/8
<br>Rooster: 24 x 9 x 16 7/8
<br>Dog: 25 1/4 x 14 7/8 x 18 7/8
<br>Boar: 27 1/8 x 16 1/8 x 20 7/8

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

Created at a seminal point early in the artist’s career, Le Mont Riboudet a Rouen au Printemps by Claude Monet, depicts a beautiful landscape with flora, figures working in the fields, and haystacks. The aesthetic is comparable to that of Camille Pisarro and Alfred Sisley, Monet’s contemporaries also working en plein air at the time to capture nuances of the French countryside on canvas. The painting’s distinguished provenance includes Durand-Ruel and Gustave Caillebotte.

Le Mont Riboudet a Rouen au Printemps

21 1/2 x 28 5/8 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.
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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 CARL FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in.

ALEXANDER CALDER

39 ½ x 29 ¾ in.

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.

77 1/4 x 77 1/4 x 18 3/4 in.

acrylic and steel

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

A Whirling Square

acrylic on canvas

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.

1962 Plus 35 Nude Sketch II

43 x 58 5/8 in.

alkyd oil on canvas

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

45 7/8 x 60 1/8 in.

acrylic and tempera on canvas

AD REINHARDT - Untitled - oil on canvas - 40 x 32 in.

Nectarine (c. 1976) is an example of the large-scale steel sculpture for which Anthony Caro is best known. Considered to be a major influence in the development of modern sculpture, Caro was once a studio assistant to Henry Moore and sought inspiration from American sculptor David Smith. Often recognized for the revolutionary contribution of removing sculpture from pedestals and installing them directly on the ground, Caro places his work directly in the viewer’s space.

79 x 110 x 51 in.

rusted and varnished steel

ROBERT HENRI - Girl with Muff - oil on canvas - 57 1/4 x 38 3/4 in.

57 1/4 x 38 3/4 in.

N.C. Wyeth created this painting as an illustration for Daniel Defoe’s Robinson Crusoe (p. 270), part of the Scribner’s Classics series. The painting represents a pivotal scene in the novel in which Crusoe meets and rescues Friday, the indigenous man who becomes his companion. The scene here depicts Friday expressing his gratitude to Crusoe. Among the most noteworthy illustrators the United States has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew Wyeth produced some of the most celebrated realist works of 20th-century American art, admired for the emotional impact of their stories. N.C. Wyeth's mastery of visual narrative is on full display in this 1920 scene from classic literature.

"- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi

40 3/4 x 30 in.

JAMES ROSENQUIST - Untitled - oil on canvas laid on panel - 101 3/4 x 85 in.

JAMES ROSENQUIST

101 3/4 x 85 in.

oil on canvas laid on panel

RUDOLF BAUER - Larghetto III - oil and tempera on cardboard - 24 x 34 in.

oil and tempera on cardboard

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.

Cape Split, Maine

22 1/4 x 28 1/4 in.

Robert Motherwell is admired for his gestural contributions to Abstract Expressionism. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 demonstrates Motherwell’s intuitive approach to painting influenced by the automatic drawing of the Surrealists. His gestures in this painting are characterized by a suggestion of chance and accident: “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he said. “Thus painting, like music, tends to become its own content.”

ROBERT MOTHERWELL

acrylic on canvas

Born Robert Clark in 1928 in New Castle, Indiana, Robert Indiana is one of the most influential Pop artists of the 20th century. His work has become a pervasive visuality in American culture. Short, bold, and simple, it speaks to viewers through shared cultural touchstones, through word associations, and through its striking relationship to everyday graphics. Indiana first created his iconic “LOVE” imagery as a design for a Christmas card for the Museum of Modern Art in 1965, and few images since have captivated the public imagination so thoroughly. Shimmering in gold and accented in red, this sculpture takes on any symbolism the viewer can dream. Blending word and image, Indiana recognized language as a functional element of art.

35 7/8 x 36 x 18 in.

polychrome aluminum

https://www.youtube.com/watch?v=F0Di0eU9fr4&t=571s

RICHARD DIEBENKORN

53 1/2 x 40 1/2 in.

etching, aquatint and drypoint in colors on Somerset paper

RICHARD DIEBENKORN - Untitled - welded scrap iron - 20 1/4 x 42 1/4 x 29 1/2 in.

RICHARD DIEBENKORN

20 1/4 x 42 1/4 x 29 1/2 in.

welded scrap iron

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

JULIAN SCHNABEL

oil, resin, gesso, fabric and leather on seamed dropcloth

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

JULIAN SCHNABEL

oil, resin, gesso, fabric and leather on seamed dropcloth

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

GRANVILLE REDMOND

The Evening Desert

Andy Warhol, the most famous and infamous of Pop artists, first created his electric chair works in 1963, based on an image of the electric chair at Sing Sing Prison. He returned to the image for this 1971 set of prints and in which he put more prominence on the chair by cropping the image. Warhol repeats the image ten times and in different color combinations to produce a hypnotic and alluring effect. Warhol’s artworks helped define American culture while, like in Electric Chair, he meditated on the promises and dark-edge of media and consumer culture.

Electric Chairs

35 3/8 x 47 7/8 in. ea.

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

Double Silver Point Robes

53 1/2 x 96 in.

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

DAMIEN HIRST - Overwhelming Love - household gloss, butterflies - 36 x 60 in

Overwhelming Love

household gloss, butterflies

ANDREW WYETH - Star Route - watercolor on paper - 21 1/4 x 29 in.

21 1/4 x 29 in.

watercolor on paper

GARY HUME - Seabird - gloss paint on aluminum in four panels - 87 x 48 1/2 x 1 1/4 in. ea.

87 x 48 1/2 x 1 1/4 in. ea.

gloss paint on aluminum in four panels

SIMON HANTAI - Etude - oil on canvas - 37 x 30 5/8 in.

37 x 30 5/8 in.

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

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

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

With a Quick, Noiseless Stride, He Crossed the Narrow Space

30 1/4 x 20 1/8 in.

Jasper Johns is a seminal figure of modern art in America for his association with Neo-Dadaism and Pop art. Johns utilized familiar iconography as well as contradictory or paradoxical elements in his works, including flags, targets, letters, and numbers. This piece is one of the few sculptures from an artist who has had a large impact on the development of American art after WWII. The sculpture is both a satirical comment on critics who speak more than they see but also an exploration of art and language.

The Critic Sees

3 1/4 x 7 x 2 in.

wood, aluminum foil, ink, paper, metal, plexiglass

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.

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.

Two Seated Figures Against Wall

19 5/8 x 19 3/8 x 9 3/4 in.

bronze with brown patina

DAVIS CONE - River Oaks Theater - acrylic on canvas - 40 x 61 1/4 in.

River Oaks Theater

40 x 61 1/4 in.

acrylic on canvas

EDWARD HOPPER - Church and Landscape - oil on canvas - 10 x 14 in.

Church and Landscape

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 challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media.

Untitled (Portrait)(Boy)

65 3/4 x 48 3/4 in.

inkjet on canvas

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

MATTHEW MONAHAN

107 x 62 x 27 in.

ANSELM KIEFER - The Fertile Crescent - mixed media on board - 39 1/2 x 29 1/2 in.

The Fertile Crescent

39 1/2 x 29 1/2 in.

mixed media on board

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

Poesie der Destruktion

24 x 24 x 5 1/2 in.

mixed media on canvas

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

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

STERLING RUBY - Big Grid / Solo Tear - welded brass - 84 x 84 x 36 in.

Big Grid / Solo Tear

84 x 84 x 36 in.

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

21 1/2 x 15 x 9 7/8 in.

cold-painted, patinated and enameled bronze and chryselephantine

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.

acrylic on canvas

Argentinian-born artist Leonor Fini worked alongside surrealists in Paris, and her work exudes surrealistic themes and fantastical imagery that engages with the unconscious. Throughout her work there are themes of magic and myths that showcase women not as object, but as agents of their own desires, exemplified here in Sphinx Ariene from c. 1970. The Sphinx is an archetype that she uses often in her work, which is about women as active and powerful beings. Fini is considered among the 20th century’s greatest surrealist artists. Three of her works were included in the landmark exhibition “Fantastic Art, Dada, Surrealism” in 1936 at the Museum of Modern Art.

28 1/4 x 22 1/4 in.

mixed media (miraflage) on paper on canvas

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

MERET OPPENHEIM

9 1/2 x 7 1/2 in.

horse hair and photo collage on title page

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)

159 x 72 x 4 in.

acrylic on canvas

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

78 3/4 x 70 7/8 x 4 3/4 in.

iron, canvas and enamel

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Ramos’s Peek-A-Boo portfolio is a well-known series by the artist, positioning the viewer to observe the pin-up girl figures through a keyhole shape surrounded by black. The series is noted for the confident and direct gazes of its subjects as well as the commentary it provides on the sexualization of a traditional art historical motif: the nude female figure. Alongside fellow Pop artists like Andy Warhol, James Rosenquist, and friend Roy Lichtenstein, Ramos provided a visual language for audiences to understand and experience the proliferation of commercial images that exploded in post-war America.

Peek-a-boo Chris: The Lost Painting of 1965 #56

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

JOHN PHILIP FALTER

tempera on board

Roy Lichtenstein’s style of Pop art was inspired by comic strips, in which he created images through a combination of mechanical reproduction and hand-drawing. He used iconic images and cultural influences to create striking action images, often with captions and onomatopoeic exclamations, much as one would find in comics. This screenprint is from a group of seven Reflections prints and in each, the image is obscured by color and patterns resembling the reflected light as if behind glass. Inspired by trying to photograph a work by Robert Rauschenberg behind glass, Lichtenstein appropriated images from his past and thus brings the appropriation of Pop art full circle.

ROY LICHTENSTEIN

Reflections on Crash

59 1/8 x 75 in.

lithograph, screenprint, relief, and metalized PVC collage

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

Untitled (Totem Pole)

97 x 12 3/8 x 12 3/8 in.

oil on canvas stretched over cardboard cylinders

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

65 x 58 x 40 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.

ROBERT RAUSCHENBERG

Berm (Hoarfrost)

62 1/2 x 35 1/2 in.

solvent transfer on fabric with cardboard

Enoc Perez is a Puerto Rican artist who brings aesthetic pleasure to painting. Nude, an oil on canvas from 2012-2013, is a layered composition of shapes in a palette of soft colors. The work synthesizes Perez’s process of bringing sensual pleasure and vibrant color to nudes.

80 x 60 3/4 in.

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

WILLIAM KENTRIDGE

World on its Hind Legs

64 x 26 x 30 in.

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.

34 1/2 x 35 31/2 x 3 1/8 in.

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.

Untitled (Cloth and Paint Work #2)

15 1/2 x 16 in.

rope and oil on canvas

Pre-eminent surrealist Frida Kahlo created paintings and drawings that conjured up a vision of herself and of her world. Kahlo’s drawings are rare owing to the fact they were meant as gifts and mementos for friends, as this drawing of Diego Rivera was. Rivera was Kahlo’s husband and with whom she had a strong but explosive relationship. This portrait is a playful example of her thoughts on her husband. This drawing was included in the Detroit Institute of Art’s exhibition on the year Frida Kahlo and Diego Rivera spent in the city and the drawing showcases Kahlo’s emerging voice as an artist.

Portrait of Diego Rivera

charcoal on paper

MAURICE PRENDERGAST - Sunday in the Park - oil on panel - 11 1/2 x 16 in.

MAURICE PRENDERGAST

Sunday in the Park

11 1/2 x 16 in.

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

77 x 46 x 46 in.

bronze, painted stainless steel

TAKASHI MURAKAMI - Eye Ball Pink - acrylic on canvas layed on wood - 24 x 23 3/4 x 2 in.

TAKASHI MURAKAMI

24 x 23 3/4 x 2 in.

acrylic on canvas layed on wood

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

ROLAND PETERSEN

Girl with Trees

71 x 59 1/2 in.

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.

oil on linen canvas

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

glass hologram set

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

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

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

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

Standing Male Figure

70 x 13 3/4 x 19 in.

polychrome plaster and wood

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.

Franco-Del #1 & #3

79 1/2 x 110 1/2 in.

acrylic on canvas

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

Self-Portrait, 2000

58 1/3 x 48 in.

screenprint on paper

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

Fallow Deer Situla

16 x 23 1/2 x 13 in.

N.C. Wyeth is regarded as a father of American Illustration, and his prolific career was marked by artworks with distinctive personality and majestic storytelling. In Don, Pointer Dog (1902), the artist brings his sense of majesty to a personal context. Wyeth was twenty years old when he painted the charming canine portrait, a special commission for a family he met in Massachusetts while on a walking trip with his brothers.

Don, Pointer Dog

17 1/4 x 22 1/4 in.

oil on canvas board

Untitled (Hologram Suite) by Louise Bourgeois contains eight individual glass holograms initially created by the artist in 1998 and fully realized in 2014. The imagery includes lovers, chairs, a bell jar, and enclosures. These elements reoccur in many of the artist's installations and are related to her interest in physical and emotional isolation and sexuality. The images recorded within these holograms were created from original Bourgeois sculptures. Encoded on glass and activated by light, the images appear only when illuminated at a particular angle, and they come to life with a red glow.

LOUISE BOURGEOIS

dimension variable

suite of 8 glass holograms

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

Minotaure, version à la base carrée

Conceived circa 18

24 x 28 1/2 x 27 in.

bronze with brown and green patina

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

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.

73 3/8 x 96 3/4 x 26 1/4 in.

steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati

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.

Five Hundred Terms for Charles A. Lindbergh

ink on paper on board

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

34 x 23 1/4 in.

color photograph

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

Carte de Triunfo

46 x 40 x 23 1/2 in.

stainless steel and aluminum

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

72 x 48 x 1 3/4 in.

wood and mixed media

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

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

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

Barn Group Near Marion

11 1/2 X 23 7/8 in.

oil on masonite

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

Girl With Bow Tie

39 1/4 x 28 3/4 in

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

Grim Kalding Fra Finland

67 3/4 x 55 in.

acrylic, ink and paper collage on canvas

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

RODNEY MCMILLIAN

97 1/2 x 102 in.

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

PABLO PICASSO - Fumer III - color aquatint - 20 1/4 x 15 in.

20 1/4 x 15 in.

Pat Steir is a celebrated American painter and printmaker, best known for her Waterfall paintings of dripped, splashed, and poured paint. This large work on paper completed in 1985 is characterized by her usual sense of spontaneity and unpredictability, embracing nature as an active force in art. Recalling the explosive power of waves, the work on paper references the art historical tradition of 19th century artists Ando Hiroshige and Gustave Courbet, re-imagining their previous depictions of the irrepressible sea. This drawing was featured in the Museum of Modern Art’s 1985 exhibition, New Works on Paper 3. Steir’s large wave drawings comprise a distinct body of work from the mid 1980s, after which she began to experiment with the poured canvases that became waterfall paintings.

Untitled (After Courbet and Hiroshige)

colored pencil, pencil, gesso and charcoal on paper

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

80 3/4 x 32 3/4 in.

acrylic on canvas

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

19 x 18 x 14 in.

stainless steel balls and wire

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

Rue Aubriot, Paris 1975

13 1/4 x 8 7/8 in.

vintage gelatin silver print

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

LUIS CRUZ AZACETA

acrylic on canvas

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

Passionnément, Pas du Tout

12 1/4 x 9 1/4 in.

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

Die Besten Jahre

Painted in 2001/20

74 3/4 x 57x 1 5/8 in.

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

FRANCIS CELENTANO

Elliptical Kinetic Painting

48 x 48 x 6 1/2 in.

acrylic on masonite

Part of the post-war Abstract Expressionist movement, Paul Jenkins was renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew on wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy, and all of which inspired him to preface the titles of his works with the word “Phenomena,” followed by an evocative word or phrase. 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.” His combination of chance and control reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of colors, in other words, a phenomenon. Paul Jenkins was friends with Willem de Kooning and even took over de Kooning’s loft near Union Square in New York City.

Phenomena Silver Sinister

76 5/8 x 59 1/4 in.

acrylic on canvas

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

Tewa Plaza at First Mesa

JAMES WEEKS - Two Children - oil on canvas - 411/2 x 35 in.

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

71 x 82 1/2 in.

LOS CARPINTEROS COLLECTIVE - Basket (Diptych) - watercolor - 30 x 81 in.

LOS CARPINTEROS COLLECTIVE

Basket (Diptych)

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

WOLFGANG PAALEN

14 3/4 x 18 in.

oil, tempera and ink on canvas

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

JOANNA POUSETTE-DART

81 x 117 1/4 in

acrylic on canvas over wood panels

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

canvas collage on canvas

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

68 3/8 x 66 x 1 in.

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

Woman with a Fan

43 x 37 1/2 in.

ANISH KAPOOR - Untitled - gouache and acrylic on paper - 19 7/8 x 25 7/8 in.

19 7/8 x 25 7/8 in.

gouache and acrylic on paper

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

The Modest Orgasms of the Middle Class

gouache, charcoal, and collage on paper

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

ROBERT MAPPLETHORPE

22 1/2 x 21 1/2 in.

dye-transfer print

TOON KELDER - Untitled - oil on canvas - 44 1/2 x 57 1/2 in.

44 1/2 x 57 1/2 in.

KARL BENJAMIN - #32 - oil on canvas - 31 x 62 in.

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

58 1/2 x 16 x 16 in.

cast bronze, patinaed or painted oil

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

acrylic on canvas

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

LORSER FEITELSON

Dancers - Magical Forms

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

49 1/2 x 68 1/2 in.

CB/JPC SH143 N23A, type C photograph

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

LEONORA CARRINGTON

pencil on paper

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

GUILLERMO KUITCA

18 1/4 x 25 5/8 in.

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

No One In Particular (Old)

40 x 32 x 7 1/2 in.

silicone, pigment, hair on aluminum

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

40 1/2 x 28 1/4 in.

BARBARA KRUGER - Picture/Readings - text and photograph - 15 1/4 x 39 in.

Picture/Readings

15 1/4 x 39 in.

text and photograph

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

Kingstown, St. Vincent

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

GUSTAVO LOPEZ ARMENTIA

Imágenes, Recuerdos y Soledades

acrylic on panel

GUSTAVE MOREAU - Sapho - watercolor and pencil - 14 7/8 x 7 in.

watercolor and pencil

PAUL GAUGUIN - Pencil Study for "We Greet Thee, Mary" - pencil on paper - 11 3/4 x 7 1/4 in.

Pencil Study for "We Greet Thee, Mary"

c. 1891 (Tahiti)

11 3/4 x 7 1/4 in.

pencil on paper

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

oil and acrylic on canvas

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

CHRISTIAN ECKART

Zootrope (Sandwers Curve)

65 x 55 x 5 in.

lacquer on aluminum

JACK JEFFERSON - Mission #20 - oil on canvas - 77 x 50 in.

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

acrylic and paper on canvas

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

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

Untitled - 1035

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

RICHARD ANUSZKIEWICZ

Arcade of Verdue

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

Untitled Drawing

41 1/4 x 30 3/4 in.

mixed media on paper

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

EDWARD LEE HENDRICKS

19 1/2 x 24 x 24 in.

aluminum & urethane enamel with 6" spheres

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

39 x 35 x 16 in.

machined aluminum, gilded 23.5k rose gold

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

4 5/8 x 5 1/2 in.

ink on illustration board

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

32 x 25 1/4 in.

screenprint with digital inkjet on Somerset paper

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

EDWARD HENRY POTTHAST

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

FRANCESCO CLEMENTE

26 x 18 3/4 in.

pastel on paper

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

BILLY AL BENGSTON

Syltkakor Draculas

acrylic on canvas

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

FRANCOISE GILOT - Femme au Telephone - charcoal on paper - 25 5/8 x 19 5/8 in.

FRANCOISE GILOT

Femme au Telephone

25 5/8 x 19 5/8 in.

charcoal on paper

ALICE RAHON - Los Amigos del Sabado (El Viento en la Playa) - oil and sand on canvas - 23 3/4 x 20 in.

Los Amigos del Sabado (El Viento en la Playa)

23 3/4 x 20 in.

oil and sand on canvas

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.”

11 x 22 x 15 in.

JOSE GURVICH - Cabeza de Hombre - oil on panel - 9 x 9 in.

Cabeza de Hombre

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)

29 1/2 x 41 1/4 in.

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

acrylic on canvas

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

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

90 x 72 1/2 x 1 3/4 in.

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

30 1/4 x 30 1/4 in.

oil, acrylic, oil pastel and spray paint on canvas

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

SYLVIA PLIMACK MANGOLD

Gray Winter Glaze

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

Sandra Mendelsohn Rubin

Valley View: Late Summer

oil on polyester

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

ADAM EMORY ALBRIGHT

Boy Standing with Fishing Pole

48 x 36 1/4 in.

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

META GEHRING CRESSEY

Segovia Girl in Fiesta Costume, La Montera

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

acrylic on canvas

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

FERNANDO CANOVAS

63 5/8 x 51 1/4 in.

acrylic on canvas

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

SUSAN HUTCHINSON

resin and acrylic on wood panel

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.

Marie l'Acrobate

image: 21 1/2 x 16 3/8 in. sheet: 23 7/8 x 19 5/8 in.

color lithograph

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

Mexican Silver Grizzly

26 1/4 x 37 1/2 in.

painting on paper

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

Untitled (Blue Over Brown)

39 x 32 1/2 x 4 1/2 in.

CLEVE GRAY - Red Traverse - acrylic on linen - 17 3/4 x 12 3/4 in.

17 3/4 x 12 3/4 in.

acrylic on linen

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

GILBERT & GEORGE

46 1/4 x 32 1/4 in.

BRIAN ALFRED - McD's - acrylic on canvas - 80 x 110 x 1 5/8 in.

80 x 110 x 1 5/8 in.

acrylic on canvas

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

JACKSON POLLOCK

15 1/2 x 23 1/2 in.

engraving with drypoint

DIETZ EDZARD - Jeune Homme Reveur (Self Portrait) - oil on canvas - 45 x 25 3/4

Jeune Homme Reveur (Self Portrait)

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

44 x 30 1/4 in.

watercolor and charcoal on paper

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

53 x 40 x 6 3/4 in.

wood and mixed media

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

CHRISTOPHER BROWN

CLAES OLDENBURG - NYC Pretzel - acrylic on corrugated cardboard - 21 x 28 3/4 in.

CLAES OLDENBURG

21 x 28 3/4 in.

acrylic on corrugated cardboard

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

acrylic on canvas

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

Untitled (06.3)

23 x 21 in. ea.

mounted color photographs

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.

Rimembranze: dal bacio del Canova alla Salita al Calvario di Bosch….

29 1/4 x 32 in.

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

Le Cirque M.505

16 3/4 x 12 3/4 in.

KAY ROSEN - Fit (Peg Hole) - color pencil on paper - 20 1/4 x 18 3/4 in.

20 1/4 x 18 3/4 in.

color pencil on paper

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

The Beauty and the Beast

39 1/4 x 55 in.

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

35 1/2 x 28 3/4 in.

ink and watercolor on handmade paper

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

Perceived Marriage Tripartite Leave

acrylic and oil on canvas over panel

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

Bern Series (#421)

acrylic on canvas

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

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

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

37 x 12 x 12 in.

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

Vibrant Selection

28 3/4 x 32 x 4 3/4 in.

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

20 1/8 x 22 in.

oil on paper mounted on board

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

Near Ocean View

watercolor on paper

ARTHUR BOWEN DAVIES - Within A Fence of Gold and Blue - oil on canvas - 15 1/2 x 13 in.

ARTHUR BOWEN DAVIES

Within A Fence of Gold and Blue

15 1/2 x 13 in.

SIGMUND MENKES - Rabbis Study - oil on canvas - 15 x 18 in.

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

FELIPE CASTANEDA

Mujer Peinandose

16 1/4 x 11 3/4 x 11 in.

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

ELLSWORTH KELLY

Pears III, (A.47)

35 3/4 x 24 1/2 in.

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

On the Way to Lake Isabelle

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

Home for Dinner & a Night of TV

68 x 50 1/4 in.

acrylic on canvas

GEORGES BRAQUE - Feuillage en Couleur - etching in colors - image: 17 1/4 x 14 7/8 in. sheet: 24 1/4 x 19 3/4 in.

Feuillage en Couleur

image: 17 1/4 x 14 7/8 in. sheet: 24 1/4 x 19 3/4 in.

etching in colors

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

BRUNO CECCOBELLI

mixed media on panel

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

CONSTANCE MALLINSON

52 1/2 x 60 1/2 in.

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

Through the Looking Glass

24 3/4 x 20 3/4 x 12 in.

nickel on polymer

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

DAN CHRISTENSEN

24 3/4 x 78 1/2 in.

acrylic on canvas

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

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

Untitled, Interior with Lit Anemones and Tulips in the Shadow

30 1/4 x 30 1/4 in.

TADAAKI KUWAYAMA - Untitled - acrylic on canvas - 26 x 20 1/4 in.

TADAAKI KUWAYAMA

26 x 20 1/4 in.

acrylic on canvas

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

WILLIAM GLEN CROOKS

Night and Day Café

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

ERIC JON HOLSWADE - Bird's Eye View - Oil, Flashe & Gouache on cardboard - 65 x 78 in.

ERIC JON HOLSWADE

Bird's Eye View

Oil, Flashe & Gouache on cardboard

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

LUC LEESTEMAKER

acrylic and mixed media on canvas

YVES KLEIN - Untitled (IKB stamps) - IKB pigment on 6 postal stamps - 2 1/8 x 1 7/8 in.

Untitled (IKB stamps)

2 1/8 x 1 7/8 in.

IKB pigment on 6 postal stamps

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

24 x 19 3/4 in.

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

HARRY LEITH-ROSS

8 1/4 x 10 3/8 in.

oil on canvas on board

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

JOHN JOSEPH ENNEKING

Milton Blue Hills

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

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

STEVEN MCCALLUM

Unlikely Resonance

78 x 66 x 1 in.

acrylic on canvas

CHARLES FINE - Huitlacoche - Encaustic on Wood Bee's Wax - 19 x 11 x 3 in.

19 x 11 x 3 in.

Encaustic on Wood Bee's Wax

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

Le Repos du Modele

10 7/8 x 14 1/2 in.

original lithograph on japon paper

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

Store Front #122

acrylic on masonite

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

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

22 x 24 x 15 in.

cast leaded glass

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

Untitled (Kneeling Nude)

30 x 23 1/4 in.

pastel, oil, crayon, and pencil on paper

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

ZALIKO BACHANASHVILL

48 x 40 x 1 1/4 in.

LAUREN BENRIMON - Untitled - spray-paint and acrylic on canvas - 72 x 60 x 2 1/4 in.

LAUREN BENRIMON

72 x 60 x 2 1/4 in.

spray-paint and acrylic on canvas

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

mixed media on canvas

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

94 x 47 x 16 in.

Reinforced Kozo washi

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

"Buy an elephant a drink" / "Water for wild animals" / "STARYO" natl. park, Kenya / ELEPHANTS' MEMOR

approx. 25 x 20 in.

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

NATHAN OLIVEIRA

Untitled (Figurative Painting #1)

40 5/8 x 27 1/2 in.

acrylic on paper

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

SIDDHARTH PARASNIS - Cityscape - oil on canvas - 48 x 48 in.

SIDDHARTH PARASNIS

JESÚS MOROLES - Grinding Stone - Texas pink and black granite - 12 1/4 x 13 1/2 x 8 1/2 in.

12 1/4 x 13 1/2 x 8 1/2 in.

Texas pink and black granite

TOMAS SANCHEZ - Untitled - pastel on paper - 5 1/2 x 4 1/2 in.

5 1/2 x 4 1/2 in.

pastel on paper

PETER D. GERAKARIS - Carnivale Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

Carnivale Mask Remix

acrylic, iridescent pigments, & mixed-media on canvas

FRANCISCO CORZAS - Untitled - gouache - 10 1/4 X 9 1/8 in.

FRANCISCO CORZAS

10 1/4 X 9 1/8 in.

MARUYAMA OSHIN - Silk Scroll of Rooster & Chicken - Ink on Color on Silk - 82 x 26 in.

Silk Scroll of Rooster & Chicken

Edo Period, 19th C

Ink on Color on Silk

RON REIHEL - Conversation - plaster, wood, canvas - 15 1/2 x 18 x 16 1/2 in.

15 1/2 x 18 x 16 1/2 in.

plaster, wood, canvas

STEPHEN P. CURRY - Cardinal (Pomegranates) - oil on canvas - 39 1/4 x 50 in.

STEPHEN P. CURRY

Cardinal (Pomegranates)

39 1/4 x 50 in.

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

Border Theory (Rio Grande/Zona Desolada)

66 x 42 1/2 in.

Dye and oil on linen

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

Full Moon with Clouds

ROBERT FRAME - River Bluff - oil on canvas - 20 x 24 in.

Provenance:
<br>ACE Gallery, Los Angeles.
<br>Private collection acquired from the above.

CARLOS LUNA - Sin titulo - Mixed media on paper - 22 1/2 x 30 1/2 in.

22 1/2 x 30 1/2 in.

Mixed media on paper

KAORU MANSOUR - Bottle Brush #116 - mixed media on canvas - 54 x 44 in.

Bottle Brush #116

mixed media on canvas

KENNETH NOLAND - Stripes - monotype on Japanese handmade paper mounted on board - 8 1/2 x 12 1/2 in.

8 1/2 x 12 1/2 in.

monotype on Japanese handmade paper mounted on board

ALEXANDER LIBERMAN - Untitled - cast aluminum - 14 x 8 x 13 1/2 in.

ALEXANDER LIBERMAN

14 x 8 x 13 1/2 in.

LAWRENCE CARROLL - Untitled - mixed media on paper - 22 1/4 x 17 1/2 in.

LAWRENCE CARROLL

22 1/4 x 17 1/2 in.

mixed media on paper

PENELOPE GOTTLIEB - Castilleja cruenta standl - ink, acrylic and oil on canvas panel - 50 x 40 in.

PENELOPE GOTTLIEB

Castilleja cruenta standl

ink, acrylic and oil on canvas panel

CARLOS BETANCOURT - Re-Collections XV - print on fine art paper - 48 x 48 in.

CARLOS BETANCOURT

Re-Collections XV

print on fine art paper

SHINGO FRANCIS - Open Space - gouache and acrylic on panel - 18 x 82 in.

gouache and acrylic on panel

WOLF KAHN - Dark Strip at the Base - pastel on paper - 8 x 10 in.

Dark Strip at the Base

pastel on paper

LUC BERNARD - Edges no. 4 - oil on canvas - 48 x 40 in.

SAM GILLIAM - Back to Lattice II - mixed media - 22 x 29 1/2 in.

Back to Lattice II

22 x 29 1/2 in.

JANE HAMMOND - Snapshot Odyssey - color lithograph, digital, chine collé, collage - 30 x 39 1/2 in.

Snapshot Odyssey

30 x 39 1/2 in.

color lithograph, digital, chine collé, collage

LUIS JIMENEZ - Mustang - color lithograph - 47 1/2 x 31 1/2 in.

47 1/2 x 31 1/2 in.

color lithograph

ALBERT RAFOLS-CASAMADA - Vertical I - oil on canvas - 21 3/4 x 18 1/8 in.

ALBERT RAFOLS-CASAMADA

21 3/4 x 18 1/8 in.

ALEXANDER CALDER - Quilt - color lithograph - 22 x 29 1/2 in.

ALEXANDER CALDER

22 x 29 1/2 in.

color lithograph

AUBE ELLÉOUËT - Les 3 stations - collage on paper - 15 3/4 x 19 11/16 in.

AUBE ELLÉOUËT

15 3/4 x 19 11/16 in.

collage on paper

TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

Monument Valley, Arizona

silver gelatin print

CHUL-HYUN AHN - Forked Series #14 - light box - 21 3/4 x 21 3/4 x 4 1/2 in.

Forked Series #14

21 3/4 x 21 3/4 x 4 1/2 in.

GIORGIO DE CHIRICO - Il Trovatore - original lithograph in five colors on paper - 27 x 21 in.

GIORGIO DE CHIRICO

original lithograph in five colors on paper

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

NORMAN ROCKWELL

Extra Good Boys and Girls

27 1/2 x 21 1/2 in.

collotype on paper

CHINA ADAMS - Glass Box - artist's burdensome possessions - 21 1/2 x 21 1/2 x 25 in.

21 1/2 x 21 1/2 x 25 in.

artist's burdensome possessions

ELMER BISCHOFF - Untitled - ink wash collage with drawing on verso on paper - 21 7/8 x 18 7/8 in.

21 7/8 x 18 7/8 in.

ink wash collage with drawing on verso on paper

F. MORTIMER LAMB - A Summer's Day - oil on board - 18 x 22 in.

F. MORTIMER LAMB

GEORGE MIYASAKI - Mescalero - mixed media - 40 x 27 3/4 in.

GEORGE MIYASAKI

40 x 27 3/4 in.

TATIANA BOTTON - Shivers - Photograph with metal backing, metal clips, and acrylic front - 40 x 60 in.

Photograph with metal backing, metal clips, and acrylic front

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.

sheet 8 3/4 x 11 3/4 in. image 7 1/2 x 9 3/8 in.

platinum palladium print

BESSIE LIDDLE - Seven Sisters Dreaming and Kuniya Dreaming - oil on canvas - 58 5/8 x 20 in.

Seven Sisters Dreaming and Kuniya Dreaming

58 5/8 x 20 in.

ARISTIDES DEMETRIOS - Kandinsky Horse - metal - 5 1/2 x 9 x 2 in.

ARISTIDES DEMETRIOS

Kandinsky Horse

5 1/2 x 9 x 2 in.

RONALD DAVIS - Glass Box - proprietary pixel dust on aluminum - 20 x 20 in.

proprietary pixel dust on aluminum

JOSEF ALBERS - Formulation: Articulation - screenprint - 11 3/4 x 11 3/4 in. ea.

Formulation: Articulation

11 3/4 x 11 3/4 in. ea.

FRANK LOBDELL - Untitled FL-121 - pen and wash on paper - 17 x 14 in.

Untitled FL-121

pen and wash on paper

LYNDA BENGLIS - Dual Natures - lithograph with gold leaf on hand tinted paper - 31 1/4 x 24 in.

31 1/4 x 24 in.

lithograph with gold leaf on hand tinted paper

VOLKER HUELLER - Tangier - Etching, Watercolor - 21 x 15.5 in.

Etching, Watercolor

FREDERICK KANN - Untitled - acrylic on board - 13 x 9 1/2 in.

acrylic on board

MELVIN MARTINEZ - Bubble - mixed media on paper - 14 x 18 in.

MELVIN MARTINEZ

mixed media on paper

MARIO MOLLARI - Mujeres Trabajando - acrylic on canvas - 39 1/4 x 47 in.

Mujeres Trabajando

39 1/4 x 47 in.

acrylic on canvas

JACQUES LIPCHITZ - Couple ed Enfant - etching, engraving and aquatint - 12 3/4 x 9 1/4 in.

JACQUES LIPCHITZ

Couple ed Enfant

12 3/4 x 9 1/4 in.

etching, engraving and aquatint

JOHN PFAHL - Australian Pines, Fort DeSoto, Florida (February 1977) - photograph - 8 x 10 in.

Australian Pines, Fort DeSoto, Florida (February 1977)

CLINTON HILL - Untitled - gouache on paper - 18 1/2 x 24 in.

18 1/2 x 24 in.

gouache on paper

GEORGES DE FEURE - Paris Almanach - original lithograhic poster printed in six colors - 31 x 23 1/4 in.

GEORGES DE FEURE

31 x 23 1/4 in.

original lithograhic poster printed in six colors

JAE KON PARK - About Patterns - batik on fabric - 12 1/4 x 10 1/4 in.

12 1/4 x 10 1/4 in.

batik on fabric

ED DEAN - Ninja - rusted steel on black absolute granite - 16 x 16 1/2 x 9 in.

16 x 16 1/2 x 9 in.

rusted steel on black absolute granite

SAKAI HOITSU - 100 Otafuku - Fine painting in ink, colors and gold on silk - 40 1/2 x 11 x 12 in.

Meiji Period c.190

40 1/2 x 11 x 12 in.

Fine painting in ink, colors and gold on silk

MARINO MARINI - Untitled (From Shakespeare I) - lithograph - 29 1/2 x 22 in.

Untitled (From Shakespeare I)

29 1/2 x 22 in.

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

Coyote Gulch, Escalante River, Glen Canyon, Utah

1971, printed 1980

15 3/4 x 12 1/4 in.

dye-transfer print

LAZAR KHIDEKEL - Architectonic Composition #135 - watercolor - 10 1/2 x 8 1/4 in.

Architectonic Composition #135

10 1/2 x 8 1/4 in.

HANS BURKHARDT - Untitled - mixed media on paper - 22 1/2 x 15 in.

22 1/2 x 15 in.

mixed media on paper

GEORGE ORTMAN - Ten Works X Ten Painters - screenprint - 24 x 20 in.

Ten Works X Ten Painters

EDWARD HAGEDORN - Comet - gouache on paper - 18 x 24 in.

EDWARD HAGEDORN

gouache on paper

EDWARD CORBETT - Provincetown with White - ink and titanium pigment on paper - 13 1/2 x 18 1/2 in.

Provincetown with White

13 1/2 x 18 1/2 in.

ink and titanium pigment on paper

JOAN NELSON - Untitled - acrylic ink and oil on paper - 2 x 1 1/2 in.

acrylic ink and oil on paper

DAVID MACH - (small with yellow and black lines) - matchsticks - 5 1/2 x 2 3/4 x 3 1/2 in.

(small with yellow and black lines)

5 1/2 x 2 3/4 x 3 1/2 in.

SHEPARD FAIREY - Afrocentric (Red) - screenprint on paper - 24 x 18 in.

Afrocentric (Red)

screenprint on paper

R.C. GORMAN - Chief's Blanket St. I - lithograph - 20 x 16 in.

Chief's Blanket St. I

KRISJANIS KAKTINS-GORSLINE - Autolysis Blush - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

Autolysis Blush

LAWRENCE SCHILLER - Barbra Streisand, Pg 23 - Silver Gelatin Print - 16 x 20 in.

LAWRENCE SCHILLER

Barbra Streisand, Pg 23

Silver Gelatin Print

LINDA CONNER - Spanish Rider (Arizona) - toned gelatin silver photograph - 7 7/8 x 9 7/8 in.

Spanish Rider (Arizona)

7 7/8 x 9 7/8 in.

toned gelatin silver photograph

MARISOL ESCOBAR - Colt 45 - acrylic on cast paper - 40 x 6 x 3 in.

MARISOL ESCOBAR

acrylic on cast paper

DANNY LYON - Mission, South Dakota - vintage gelatin silver print - 7 3/4 x 9 1/4 in.

Mission, South Dakota

7 3/4 x 9 1/4 in.

vintage gelatin silver print

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.

My First Time with Obama

27 1/2 x 43 1/4 in.

graphite, diamond dust, glass, acrylic and glitter on a photograph

WILLIAM CANNINGS - Bound - polished aluminum form with barbed wire - 22 x 11 x 8 3/4 in.

WILLIAM CANNINGS

22 x 11 x 8 3/4 in.

polished aluminum form with barbed wire

ANN DIENER - Bourne #1 - graphite Prismacolor, ink and cut paper on paper - 14 x 16 in.

graphite Prismacolor, ink and cut paper on paper

TONY DELAP - Untitled - colored pencil, gouache and graphite collage on paper - 19 1/4 x 25 1/2 in.

19 1/4 x 25 1/2 in.

colored pencil, gouache and graphite collage on paper

ROBYN DENNY - Untitled - screenprint - 24 x 21 in.

GASTON DE LATENAY - Les Chasseuresses (the Huntresses) - color lithograph on paper - 25 1/8 x 19 3/8 in.

GASTON DE LATENAY

Les Chasseuresses (the Huntresses)

25 1/8 x 19 3/8 in.

color lithograph on paper

LOUISE NEVELSON - Façade Suite - photo lithograph - 23 1/4 x 17 3/4 in.

LOUISE NEVELSON

23 1/4 x 17 3/4 in.

photo lithograph

LYNN DAVIS - Icebergs (Disco Bay, Greenland) - toned gelatin silver print - 13 1/4 x 11 in.

Icebergs (Disco Bay, Greenland)

13 1/4 x 11 in.

toned gelatin silver print

JOAN MIRO - The Gardener's Daughter - original lithograph in colors - 15 x 11 in.

The Gardener's Daughter

original lithograph in colors

CHARLES GATEWOOD - Body & Beyond - original photograph - 8 x 10 in.

CHARLES GATEWOOD

original photograph

LAWRENCE LEE - Big Lips - India Ink, Graphite, Tea Stains, Pen and Watercolor - 7 x 7 in.

India Ink, Graphite, Tea Stains, Pen and Watercolor

LELAND RICE - Wall Site Spray Booth (Laub Studio) - original photograph in colors - 20 x 24 in.

Wall Site Spray Booth (Laub Studio)

original photograph in colors

GIACOMO MANZU - Artist and Model - original lithograph on paper - 20 1/4 x 14 3/4 in.

Artist and Model

20 1/4 x 14 3/4 in.

original lithograph on paper

CARLOS MERIDA - O Cotoxco, State of Tlaxcala - original lithograph in colors - 12 1/2 x 17 1/2 in.

O Cotoxco, State of Tlaxcala

12 1/2 x 17 1/2 in.

original lithograph in colors

CARLO MARIA MARIANI - Niobe - original lithograph in colors on paper - 27 1/2 x 19 1/2 in.

CARLO MARIA MARIANI

27 1/2 x 19 1/2 in.

original lithograph in colors on paper

SERGE POLIAKOFF - Untitled - original lithograph - 12 1/4 x 9 1/2 in.

SERGE POLIAKOFF

12 1/4 x 9 1/2 in.

original lithograph

BARBARA PREY - Winter Workshop - print on paper - 16 x 23 in.

Winter Workshop

WOJCIECH FANGOR - Red Moons 2 - oil on canvas - 71 x 26 in.

WOJCIECH FANGOR

DENNIS OPPENHEIM - Sculpture Installation Photograph - print - 14 x 18 1/2 in.

DENNIS OPPENHEIM

Sculpture Installation Photograph

14 x 18 1/2 in.

ELAINE DE KOONING - Untitled - oil pastel on paper - 9 x 11 3/4 in.

ELAINE DE KOONING

oil pastel on paper

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