MENU

SEARCH

Min Price:

Max Price:

Home
About
Artwork
Artists
Exhibitions
Viewing Room
Publications
Press
Sell
Contact

Home
About
Artwork
Artists
Exhibitions
Viewing Room
Publications
Press
Sell
Contact

Featured

View By: Artists Categories Price

"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>
<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>
<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."

Le Château d'Antibes

31 7/8 x 45 in.

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.

Smooth Egg with Bow (Magenta/Violet)

83 1/2 x 76 5/8 x 62 in.

mirror-polished stainless steel with transparent color coating

AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.

Abstract Painting, 1959

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

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

WILLEM DE KOONING

Woman in a Rowboat

47 1/2 x 36 1/4 in.

oil on paper laid on masonite

"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>
<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."

Tête de Femme (Déesse)

1970 (cast 1988)

66 x 36 1/2 x 30 in.

bronze with black patina

"Apres-midi d'aout a Veneux," 1881 was painted in Veneux-Nadon, close to Moret-sur-Loing on the river Loing's left bank where Sisley lived from 1880-82. Landscape scenes such as this show the artist's keen observational sense and desire to show the atmospheric effects of changing light throughout the day.
<br>
<br>The diffused light and its effects on the leaves and surface of the water are hallmarks of Impressionism. The jewel-like quality of the paint and light effects rank the scene among the finest examples of Sisley's work during this period.
<br>
<br>Dr. Julius Elias was an early owner of this Alfred Sisley painting. A noted author and art historian and one of the earliest collectors of Impressionism in Germany, Dr. Elias collected the finest examples of Impressionism, which showcased the dynamic nature of the art movement.
<br>
<br>The Tate Museum, London, has in its permanent collection a sister painting to the present work, titled "The Small Meadows in Spring" (1880). The Tate painting captures the same scene from a different perspective, during a different time of day, and with much more cloud cover.

Apres-midi d'aout a Veneux

21 1/4 x 28 3/4 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>
<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>
<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.

FREDERICK FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

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>
<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>
<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.

Milkshake & Sandwiches

16 x 19 3/4 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>
<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>
<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.

watercolor and gouache on paper

"The Great White Throne, Zion" from 1901 is a luminous canvas from one of the most important painters of the American landscape. Thomas Moran depicted his landscape subjects with a majestic and sublime quality, and he drew inspiration from travels throughout the American West. This painting presents the expansive monolith at Zion National Park in southwestern Utah. The sheer power of nature and the immensity of natural world emerge in Moran's compositions.
<br>
<br>Moran was a member of the "Hudson River School," a group of painters responsible for reinventing the concept of landscape painting, in which observation within nature became the central element to creating a painting.
<br>
<br>This painting has been in the same private collection for over 40 years.

The Great White Throne, Zion

oil on canvas laid on panel

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>
<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>
<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.

GUSTAVE CAILLEBOTTE

Vue du Jardin de l’Artiste et de la Vallée de Yerres

19 1/8 x 25 1/2 in.

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

ALEXANDER CALDER

39 ½ x 29 ¾ in.

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

Untitled (Cowboy)

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>
<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.

"Good-bye, Mistress Friendly-Soul!"

44 1/8 x 32 1/8 in.

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

TAKASHI MURAKAMI

Want to Hold You

acrylic on canvas

The Japanese Nio, or “benevolent kings,” are figures that were placed outside Buddhist temples, on each side of the entrance, to ward off evil spirits, demons, and thieves from the late Muromachi to early Edo periods — or roughly 1467 to 1652.
<br>
<br>The Nio are Indian in origin — manifestations of Vajrapani Bodhisattvas. By some accounts, they protected the Buddha when he traveled throughout India.
<br>
<br>These figures are approximately 500 years old, according to carbon-14 dating conducted on the objects. They were once installed in a famous home that was photographed for the cover of a Frank Lloyd Wright book.
<br>
<br>Each figure is named after a cosmic sound. The closed-mouth figure is Ungyo, who utters “un” or “om,” meaning death. He is also called Nareen Kongo and is said to be a form of the Indian god Vishnu. With his tightly closed mouth and tensed both arms, he represents latent might. The open-mouthed partner is Misshaku Kongo (Agyo), who sounds “ah,” meaning birth. He is equated to the Indian deity Vajrapani, whose name means “thunderbolt holder.” He bares his teeth, raises his fist, and holds a Kongosho, which is a symbol of the power he represents.
<br>
<br>The Nio are constructed in the traditional multi-block design. Old works were conventionally repaired bit by bit, over time, as individual blocks shrank at different rates or were damaged by insects. Damaged blocks were removed, like pieces of a jigsaw puzzle, and replaced with exact copies of the piece. It is common to find figures with repairs spanning many years, as is the case with these particular pieces. This pair was originally lacquered. Though none of the lacquer survives, there is evidence of the gesso-like layer on the surface of each figure.
<br>
<br>It is interesting to note that this pair — each figure standing 71 inches tall — is a close copy of the Nio guarding the south gate of the Todaiji in Japan. However, the Todaiji pair, completed in 1203, stands 26 feet tall.
<br>
<br>In both examples, the classic, fierce and threatening expressions punctuate their purpose as protectors of the Buddhist temple.

Pair of Wooden Temple Figures, Nio

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

JAMES ROSENQUIST

Vanity Unfair for Gordon Matta Clark

62 3/4 x 43 x 2 3/4 in.

CAMILLE PISSARRO - Le Pere Melon Fendant du Bois - gouache on linen - 12 5/8 X 9 3/4 in.

CAMILLE PISSARRO

Le Pere Melon Fendant du Bois

12 5/8 X 9 3/4 in.

gouache on linen

ED RUSCHA - Six Oh - oil on canvas - 24 x 30 in.

ANSEL ADAMS - The Tetons and the Snake River, Grand Teton National Park - silver gelatin print - 31 x 41 in.

The Tetons and the Snake River, Grand Teton National Park

1942, printed c. 1

silver gelatin print

"Tongue" (2008) is a contemporary take on biomorphic abstraction, which was first popularized in the first quarter of the 20th century by artists including Jean Arp and Joan Miro. The work measures an astounding 26 feet tall and utilizes Not Vital's signature highly finished and highly polished aesthetic sense to great effect. The sculpture seems to absorb its surroundings with its mirror-like surface, an apparent contradiction because it is a modern material.
<br>
<br>The cow tongue is a particular subject of interest for the artist, as he was licked by one once, an experience he describes as alien and shocking. Tongues are tools for tasting, a sensory experience, much like the experience of seeing a sculpture.
<br>
<br>"Tongue" has remained in the same private collection since the creation of the work. Another example of "Tongue" (which was created in an edition of 3) was shown to great acclaim at the Yorkshire Sculpture Park in the United Kingdom, 21 May 2016 - 1 January 2017. Non Vital is represented in numerous museum collections including, the Bibliothèque Nationale, Paris, France, The Museum of Modern Art (MoMA), New York, The Solomon R. Guggenheim Museum, New York, USA.

307 x 67 x 59 in.

stainless steel

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

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015. This painting has remained in the same private collection since its creation.
<br>
<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>
<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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

Fernando Botero, best known for his voluptuously rotund human figures, was born in Medellín, Colombia on April 19, 1932. He held his first solo exhibition in 1951 in Bogota at the age of 19 and made enough money to travel to Spain where he studied at the Real Academia de Bellas Artes de San Fernando in Madrid.
<br>
<br>While studying painting in Madrid in the early 1950s, Botero made his living by copying paintings housed in the Prado Museum—particularly those of his idols at the time, Francisco de Goya and Diego Velázquez—and selling them to tourists.
<br>
<br>In "Dibujo a la Manera de Velasquez" (1960), Botero appears to be riffing on Velázquez's "El bufón don Diego de Acedo," one of the renowned Spanish painter's portraits of jesters and "men of pleasure" painted to decorate the royal palaces. That painting has been in the Prado Museum in Madrid, Spain, since 1819.

FERNANDO BOTERO

Dibujo a la Manera de Velasquez

60 1/2 x 47 1/2 in.

charcoal and pastel on cardboard

At the start of the 20th century, Granville Redmond traveled to Arizona and New Mexico to paint scenes for the Santa Fe Railroad. This painting depicts an expansive desert landscape with two Native Americans at a campfire. A Los Angeles Herald journalist who visited Redmond's studio in 1903 called this painting a “jewel set in dull gold.”
<br>
<br>"The Evening Desert" is included in the 2020 exhibition at the Crocker Art Museum: "Granville Redmond: The Eloquent Palette." It is the largest retrospective of Redmond’s work ever assembled and the first retrospective for the artist in over 30 years.

GRANVILLE REDMOND

The Evening Desert

98 3/4 x 79 1/4 in.

acrylic on canvas

"The Ash Blonde" (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes.
<br>
<br>Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.

25 1/2 x 20 1/2 in.

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

Gabriel Orozco is one of the preeminent artists working today. A native Mexican, Orozco gained initial recognition in the 1990s through his artistic creations across a wide range of media, including sculpture, drawing, photography, and installation works. Orozco had a significant mid-career traveling retrospective that ended in 2011 at the Tate Modern. He is widely regarded as one of the most innovative artists of our time.
<br>
<br>“Samurai Tree - Invariant Gold 2” (2005) is part of the “Samurai Tree” series, the genesis of which was an exploration into the geometry of the circle in drawings Orozco produced on graph paper before 2004.
<br>
<br>“I thought that by establishing some rules, I could build up a structure that behaves like a sculpture,” says the artist, “so it’s a flat mobile maybe, or it’s a diagram that’s rotating and moving. And behaving not like a painting, in a way.”

Samurai Tree - Invariant Gold 2

47 1/4 x 47 1/4 in.

acrylic on canvas

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

Siberian Sleighriders

46 1/2 x 39 1/2 in. in.

oil on canvas on board

Born on July 29, 1950, in Gallipolis, OH, Holzer received her BFA from Ohio University in 1972 and her MFA from the Rhode Island School of Design in 1975. The artist fully embraces sculpture and mixed media works, seamlessly shifting from her monumental "word displays" to more intimate works such as "Survival: Hide under water…" (1989).
<br>
<br>Holzer's use of the red granite medium reframes the conversation about works of art in stone, a medium traditionally associated with antiquity and classical sculpture. The inclusion of typography and wordplay in this medium recalls a theme in Holzer's oeuvre, such as her renowned "Truisms" series, and expands the potential of language in art. Holzer is included in countless museum collections worldwide, including the Museum of Modern Art, New York, where her "Granite Bench" (1986) is featured prominently in their sculpture garden.

Survival: Hide under water…

17 1/8 x 42 1/4 x 18 in.

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color.
<br>
<br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

ELAINE DE KOONING

Untitled (Totem Pole)

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

oil on canvas stretched over cardboard cylinders

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

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

WOJCIECH FANGOR - SU 10 - oil on canvas - 50 x 50 in.

WOJCIECH FANGOR

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>
<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>
<br>This piece was the only sculpture included in the 2008 exhibition "Diebenkorn in New Mexico" at the UNM Harwood Museum of Art in Taos. Since his first retrospective in 1976 at the Albright-Knox Art Gallery in Buffalo, New York, Diebenkorn has found a place in over 50 museum collections worldwide and is recognized as a major creative force of the 20th Century.

RICHARD DIEBENKORN

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

welded scrap iron

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

Gottlieb was a first-generation member of the Abstract Expressionists. “Blue on Black” is from his trademark “Burst” series. Like fellow Ab Ex artists including Pollock who settled into their signature style late in their careers, it was not until 1956 that Gottlieb focused on these burst paintings.
<br>
<br>This painting showcases the lyricism that he found within the “Burst” paintings by simplifying color and form. In this painting, the shapes and color coalesce to produce harmony and depth within the visual landscape of the canvas.
<br>
<br>Gottlieb had an amazing 56 solo exhibitions during his long career and his works are included in over 140 museums throughout the world.

ADOLPH GOTTLIEB

24 x 18 7/8 in.

acrylic on paper laid on canvas

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

River Oaks Theater

40 x 61 1/4 in.

acrylic on canvas

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

MATTHEW MONAHAN

107 x 62 x 27 in.

Aaron Curry's sculptural work adapts planar forms into a 3-dimensional surface, reminiscent of the large civic sculpture of Alexander Calder. Curry views his work as representing some aspect of life, even if it is abstract -- the human body and the guitar are cited as two of his favorite sources of inspiration.
<br>
<br>"Yellow Bird Boy" (2010) measures nearly 10 feet tall and is among the largest of Curry's sculptures. Curry sees the viewer and sculpture's interaction as critical, exploring the relationship of scale between the human body and his large sculptures.
<br>
<br>The 2018 solo exhibition of Curry's work at the Bass Museum of Art, Miami, and the 2019 exhibition at the McNay Art Museum, San Antonio, were well received by visitors and critics alike. Curry is represented in several important museum collections worldwide including, High Museum of Art, Atlanta, Los Angeles County Museum of Art, the Montreal Museum of Fine Arts, the Museum of Contemporary Art, Chicago, the San Francisco Museum of Modern Art, and the Hammer Museum, Los Angeles.

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

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

Big Grid / Solo Tear

84 x 84 x 36 in.

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

WOJCIECH FANGOR

SADAMASA MOTONAGA - Untitled - oil on canvas - 16 x 12 1/2 in.

SADAMASA MOTONAGA

16 x 12 1/2 in.

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

Untitled (Portrait)(Boy)

65 3/4 x 48 3/4 in.

inkjet on canvas

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

25 x 17 1/2 x 2.25 in.

emulsion, acrylic, sand, clay and photographic paper on cardboard

A significant figure in the illustration world during his time, John Philip Falter worked for McCall's, Life magazine, Look, Good Housekeeping and illustrated 129 covers for The Saturday Evening Post during his career.
<br>
<br>"Spring Light" from 1969 exemplifies Falter's aim to visually preserve what he saw to be a diminishing facet of American life. He famously described his artwork and process: “It has been my hope to record what is probably the last of the great tradition of farming, of river life, of the domestic life so closely related to it, and of the small bits of peace and serenity that only exist close to nature. In treating what is, to me, a profoundly appealing subject, I have tried to be completely impersonal; it has been my wish to observe and record, to document and to commend the poetic way of life I have observed in many parts of America, from the Amish men of Pennsylvania to the cat fishermen of the Missouri River.”

JOHN PHILIP FALTER

tempera on board

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

ROLAND PETERSEN

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

WILLIAM KENTRIDGE

North Polar Chart

CHRISTOPHER WOOL - Untitled (T8) - alkyd and flashe on aluminum on board - 12 x 12 in.

CHRISTOPHER WOOL

alkyd and flashe on aluminum on board

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

65 x 58 x 40 in.

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

62 x 1 7/8 x 1 7/8 in. ea.

chrome-plated aluminum

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

EDGAR ALWIN PAYNE

Peaks of St. Gervais

"Still Life," 1962-63 was acquired directly from the artist's estate by the current owner. The fact that Matter held this painting in her private collection for nearly 40 years is a testament to how highly she valued the work.
<br>
<br>The market for works by women abstract expressionist artists has been increasing tremendously over the past few years; Mercedes Matter is priced at an obtainable level today- while her contemporaries are bringing exponentially higher sums.
<br>
<br>Mercedes Matter used visual sources for her paintings (still lifes and figures) but decomposed her objects into complete abstraction. Her focus was on capturing the energy and relationship between objects and spaces.
<br>
<br>Matter was a founding member of the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues, Matter studied under Hans Hoffman. The latter taught Push/Pull the concept related to a painting composition and became a fundamental principle of the movement.

MERCEDES MATTER

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

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

149 x 23 x 30 1/2 in.

copper and bronze

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

NATHAN OLIVEIRA

Couple with Red

50 1/8 x 42 in.

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

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

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

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

Figure in a Tub

42 x 30 1/4 x 24 1/4 in.

Romanian-born twins Gert and Uwe Tobias (b. 1973) collaborate on projects including woodcuts, sculptures, collages, and drawings. They studied in Germany and live and today work in Cologne. Murals influenced by Socialist-era style mingle with Romanian folklore, myths, and legends to inspire their work.
<br>
<br>Folk art, using decorative motifs such as flowers, plants, patterns, embroidery, and domestic objects, are a recurring theme in the work. Print-making processes create unique works, most often using woodcuts to stamp pigment onto canvases. They are also known for using unconventional objects to create their works (most notably, they have used a typewriter to create drawings).

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

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

39 1/8 x 40 3/8 in.

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

9 5/8 x 6 3/4 in.

brush and India Ink on paper

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

32 x 23 x 78 in.

bronze and steel

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western.
<br>
<br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

DAVID NOVROS - BARRANCA I - acrylic on canvas - 99 1/4 x 117 1/2 in.

99 1/4 x 117 1/2 in.

acrylic on canvas

BERNARD BUFFET - Église de Sainte-Marine - oil on canvas - 28 7/8 x 39 1/8 in.

Église de Sainte-Marine

28 7/8 x 39 1/8 in.

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

ink wash on paper

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

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

Mycenaean Goddess

61 x 22 x 15 1/2 in.

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

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

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

37 x 33 x 64 in.

stainless steel

"Bouquets de Fleurs" (1901) is a glowing Post-Impressionist still life. As the revolutionary wave of Impressionism receded from its apex, artists such as Henri Manguin, Henri Matisse, Kees van Dongen, Louis Valtat, and others emerged as part of the new avant-garde in Europe. These “Fauves,” or roughly translated “wild beasts,” would attack their canvases with a bold and vibrant new palette. This completely new way of painting was not initially celebrated by critics, or the artistic elite, but is today recognized among the most innovative and original artistic movements of the 20th Century.
<br>
<br>The present work, painted just before the revolution of Fauvism took hold, demonstrates a critical transitionary period in Modern Art. The subject is depicted with a masterful compositional sense and attention to spatial relationships. Manguin’s competency in composition would allow him to experiment freely with color during the first decade of the 20th Century. The slightly later but comparable Manguin still life “Flowers” (1915) is in the permanent collection of the Hermitage Museum, St. Petersburg, Russia.

Bouquets de Fleurs

25 7/8 x 21 5/8 in.

"View of the Mountains from the Nihon Alps Salada Road" from 2007 is a stylized video work reminiscent of 19th-century Japanese woodblock prints. Roadways, highways, and country roads have long been a favored subject for Opie; here, this interest is brought to life with a fresh and crisp 21st-century aesthetic.
<br>
<br>Opie is a master at setting up environments in his art; the idea of place and setting are crucial to his message. Opie discusses his work as an evolution, a circle of sorts. Each piece leaves an impact on all future works, even if it is in a small way. A 2020 solo exhibition of Opie's work at the Berardo Museum in Lisbon, Portugal, featured several video pieces comparable to the present work.

View of the Mountains from the Nihon Alps Salada Road

44 1/2 x 26 1/8 x 3 1/2 in. each/installed 44 1/2 x 52 1/4 x 3 1/2 in.

computer film, two LCD screen, and PC

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

Beauty of Eve, 1989 is a return for Jules Olitski to the thick, dramatic impasto style surfaces he was painting in the 1950's. The work is an homage to abstract expressionism and the golden age of Post- War American Art, centered in New York City.
<br>
<br>During the 1950's Olitski met Clement Greenberg, who gave the artist early exhibitions in New York. Eventually, he would show at Andre Emmerich gallery among many other prominent venues. Olitski would remain a fixture in the Contemporary Art world until his death in 2007.
<br>
<br>His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Chicago Art Institute, Chicago IL; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art, The Museum of Modern Art, The Solomon R. Guggenheim Museum and The Whitney Museum of American Art, New York.

42 1/2 x 55 3/4 in.

water and oil based acrylic on canvas

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

ELLIOTT HUNDLEY

75 x 65 x 8 1/4 in.

mixed media on canvas

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

TADASUKE (Tadasky) KUWAYAMA

acrylic on canvas

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

canvas collage on canvas

Harry Bertoia’s Willow sculpture resonates as an expression of grace and delicacy; qualities that bely the usual associations we have with the intrinsic properties of the alloy of which it is made. This suspended version – the rare version of Willow - seems to have a self-aware presence; one that delights in that contrast of properties. Yet it invites nothing more than existential pleasure in the viewing of it. Think of Willow as a boldly articulated version of Calder if the latter master had a more organic or corporeal evocation in mind. Suspended, it commands its area yet respects its spatial relationship to its surround. Light, form, space – these are conceptual tools of the sculptor. But who else would think to use reflective material more readily associated with inflexibility and tensor strength to create a bouquet of cascading strands of stainless steel, suspended in space, flora-like and so gracefully beautiful?

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

RICO LEBRUN - Mexican Street in the Rain - collage - 110 x 65 in.

Mexican Street in the Rain

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.

Auguste Rodin (1840-1917) was in many ways ahead of his time in the way he depicted his subjects. The work of Rodin is often a little ambiguous or rough at first glance, and there is not always a clear-cut representation of the subject. This unique approach to creation was what propelled Rodin to great international importance, and today, Rodin is considered one of the most important sculptors in art history for his romantic and almost expressionist approach to sculpture.
<br>
<br>The present subject alludes to the fabled minotaur in Ovid's Metamorphoses. Several versions and castings of this form exist in public and private collections worldwide, and the present work was cast in 2013.

Minotaure, version à la base carrée

Conceived circa 18

24 x 28 1/2 x 27 in.

bronze with brown and green patina

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

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

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

RODNEY MCMILLIAN

97 1/2 x 102 in.

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

CHARLES ARNOLDI

acrylic on canvas

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

Formas Tensionales

oil, cardboard on masonite

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

JOSEPH KLEITSCH

Portrait of Hedda Nova

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

41 x 77 x 15 in.

stainless steel welded chaise

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

ROY LICHTENSTEIN

56 3/4 x 78 3/4 in.

10-color woodcut screenprint

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

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

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

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

The Bull Fighter

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

OSWALDO GUAYASAMIN

Atahualpa en Cajamarcas

28 x 19 1/2 in.

“One Up One Down Oblique,” 1974, was created during a fruitful period for the artist. In 1974, Rickey was elected to the National Institute of Arts and Letters (now the American Academy of Arts and Letters). Rickey was exhibited widely in the 1970s, which led to extensive travel to cities including Rotterdam, Bellingham (WA), San Francisco, Albuquerque, Los Angeles, Mexico City, Amsterdam, London, and Glasgow. Critics, scholars, dealers, and collectors considered Rickey to be one of the most innovative sculptors of his time; his art was fresh and creative when many artists rejected classicism and tradition.
<br>
<br>A collector of “Constructivist” artwork himself, Rickey was continually drawn to the structure and balance of forms in space. In the present sculpture, one can see how even when working on a limited scale, the artist creates a sense of immense presence for his sculpture- far more significant than its “tabletop” size.
<br>
<br>Rickey is included in countless Museum Collections worldwide, including the Crystal Bridges Museum of American Art, The Museum of Modern Art, The Snite Museum of Art, The Vero Beach Art Museum, the Tate Modern, The Smithsonian American Art Museum (among many others).

One Up One Down Oblique

20 x 19 x 2 1/2 in.

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

LUIS CRUZ AZACETA

acrylic on canvas

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

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

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

Tewa Plaza at First Mesa

Contemporary artist Daniel Sprick works in the realist tradition. His photo-like oil paintings depict still lifes and portraiture reminiscent of the old master tradition. Intense observation and drawing are the foundation of Sprick's life-like compositions; there are no shortcuts taken or corners cut in these immaculate ephemeral studies.
<br>
<br>Museum shows of his work include the Museum of Outdoor Art in Englewood, Colorado; the Hunter Museum of Art, Chattanooga, Tennessee; the Evansville Museum of Art and Science, Indiana; and the Denver Art Museum.

Interior Still Life

oil on masonite

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

LOUISE BOURGEOIS

Plate 5 of 9 from He Disappeared Into Complete Silence

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

GEORGE GARDNER SYMONS

White River Bank

25 1/4 x 30 in.

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

acrylic on canvas

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

THOMAS NOZKOWSKI

oil on linen on panel

Signed, titled and dated ‘81 verso
<br>JR-198-81

New Synthesis #15

acrylic on canvas

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

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

Earth Life No. 19

39 1/4 x 59 in.

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.

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

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

9000 and 9 Nights

68 x 68 1/8 in.

acrylic and graphite on canvas

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

29 1/2 x 47 3/4 x 10 1/2 in.

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

acrylic and paper on canvas

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

48 x 48 1/4 in.; 46 13/16 x 46 13/16 in.

acrylic and wood on canvas

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

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

Pharmaceuticals

inkjet in colors

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

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

Untitled (flooring)

35 x 35 x 3 in.

white cement, debris, flooring

MAURICE ASKENAZY

Nude with a Japanese Folding Screen

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

GEORGE BRANDRIFF

Fishermen on the Dock Loading Supplies

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

Toboggan Slide and Dufferin Terrace

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

ROBERT RAUSCHENBERG

Prime Pump from ROCI USA (Wax Fire Works Series)

63 1/2 X 44 1/4 IN.

color screenprint on paper and Lexan

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

Yellow Tulip #18

oil and tar on paper

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

59 1/8 x 73 1/2 in.

c-print mounted on plexiglass

MAURICE GOLUBOV - Untitled - oil on canvas - 44 x 26 in.

MAURICE GOLUBOV

DAVID HOCKNEY - Rue de Seine - etching with aquatint - 21 x 17 in.

etching with aquatint

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

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

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

LINO TAGLIAPIETRA

13 x 11 x 3 in.

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

FRANCISCO TOLEDO

mixed media on paper

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

acrylic and coffee 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

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

Portrait of the Artist's Wife

20 7/8 x 25 5/8 in

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

MABEL MAY WOODWARD

14 1/2 x 19 1/2 in.

watercolor on paper

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

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

oil and acrylic on canvas

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

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

Blackglama (Judy Garland)

screenprint on Lenox Museum Board

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

REMBRANDT VAN RIJN

The Good Samaritan

"Yellow Vase" was painted just two years before Hoffmans first solo exhibition at Art of This Century gallery in New York in 1944. This vibrant work is an impromptu study that examines the breakdown of form, which in 1942 was an evolving principle of Abstract Expressionism. Hoffman was a prominent teacher at the time of the work's execution- his students included Helen Frankenthaler, Allan Kaprow, Michael Goldberg, and dozens of others.
<br>
<br>"Yellow Vase", 1942 captures the dynamism of Hoffman's unique approach to his subject. His works' energy and movement would prove to be among his most significant contributions to 20th Century American Art.

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

JOSE MARIA SICILIA

Yellow Flower IV

acrylic on linen

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

5 1/2 x 8 3/4 in.

acrylic on canvas

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

RICHARD ANUSZKIEWICZ

Arcade of Verdue

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

50 1/4 x 50 in.

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

Untitled (Oak Leaves)

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

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

3 Heures D'Après Midi

24 x 19 3/4 in.

acrylic on canvas

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

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

FRANCESCO CLEMENTE

26 x 18 3/4 in.

pastel on paper

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

Tuche, Greek Goddess of Fortune

12 x 9 x 14 in.

KARL GERSTNER - Color Sound 15 Intro Version - nitro lacquer on plastic material - 46 3/4 x 46 3/4 in.

Color Sound 15 Intro Version

46 3/4 x 46 3/4 in.

nitro lacquer on plastic material

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

screenprint in colors on wove paper

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

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

CLARENCE HINKLE

Portrait of a Chinese Boy

EDGAR DEGAS - Étude de cheval - black chalk on laid paper - 12 1/4 x 9 3/8 in.

Étude de cheval

12 1/4 x 9 3/8 in.

black chalk on laid paper

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.

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.

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

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

CHARLES HERBERT WOODBURY

Beach Scene with Umbrella

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

WILLEM DE KOONING

22 3/4 x 18 1/8 in.

charcoal on vellum

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

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

Imagine That (from Studio Wall Drawing)

61 3/4 x 49 5/8 in.

mixed media on paper

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

55 7/8 x 35 1/4 in.

colored etching

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

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.

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

41 1/2 x 28 in.

pastel on paper

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

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

94 x 47 x 16 in.

reinforced Kozo washi

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

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

71 x 82 1/2 in.

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.

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

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

72 x 96 1/4 in.

mixed media on panel

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

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

graphite on paper

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

De La Tierra Tan Solo Brota

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

KATHERINE PORTER

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

Small Mirage Study #398

vapor drawing on canvas

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

plaster and shoes

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

Waiting for Mutton Stew

40 1/4 x 60 in.

MERION ESTES - Feast - acrylic, glitter on canvas - 72 x 72 in.

acrylic, glitter on canvas

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.

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.

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

gouache, chalk, and pencil on etching on paper

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

GILBERT & GEORGE

46 1/4 x 32 1/4 in.

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

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

El Pan Nuestro de Cada Dia

mixed media photography

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

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.

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

Distant Shade, Knights Ferry, CA

21 1/2 x 29 3/4 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.

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

Inaccessible Island Rail

offset lithograph and screenprint in colors

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

Tominaga Ai Wears Prada

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

SANTIAGO CARBONELL

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

JACK YOUNGERMAN

White Open Round

72 in. diameter

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

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

10 3/4 x 15 3/4

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

Untitled Drawing

63 x 59 3/4 in.

pigment on graphite on paper

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

63 1/4 x 51 1/4 in.

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

WILLIAM LESTER STEVENS

A River in Winter

25 x 30 1/8 in.

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

35 x 51 1/4 x 1 3/4 in.

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

Girl with Lobster

29 1/4 x 24 in.

color digital ditone print

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

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.

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

RACHEL WHITEREAD

Untitled (Nets)

25 1/4 x 20 1/4 in.

etched germansilver metal grating

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

JESUS RAFAEL SOTO

Paralelas Vibrantes (Serie Sintesis)

17 x 10 x 5 1/2 in.

silkscreen on acrylic with two sheets separated by four metal rods

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.

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

15 3/4 x 12 1/2 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.

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

HELENA ADELE DUNLAP

The Fruit Server

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

Portrait of Tyrone Power's Sister

12 5/8 x 10 3/8 in.

oil on canvas on panel

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

META GEHRING CRESSEY

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

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

31 x 26 3/4 x 10 in.

cast resin, plaster, wood, canvas

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

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

June 2001, J.T.

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

DEBORAH OROPALLO

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

10 1/4 x 7 7/8 in.

film portrait collage

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

STEVEN MCCALLUM

Unlikely Resonance

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

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

22 x 24 x 15 in.

cast leaded glass

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

Small Prickly Pear

16 x 19 3/4 in.

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

collage ink on paper on R type print

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

ZALIKO BACHANASHVILL

48 x 40 x 1 1/4 in.

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

20 1/4 x 27 1/4 in.

silkscreen printed in colors on wood-veneered paper

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

ROBERT MOTHERWELL

Frontispiece from" A la Pintura"

25 3/4 x 37 3/4 in.

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

Scatological Scene

acrylic and watercolor on linen

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

ANNIE LEIBOVITZ - June Omura - gelatin silver print - 34 5/8 x 43 1/2 in.

ANNIE LEIBOVITZ

34 5/8 x 43 1/2 in.

gelatin silver print

DAN OSTERMILLER - Ice Bear - bronze - 9 x 16 in.

DAN OSTERMILLER

RUFINO TAMAYO - Luna y Sol - mixografia - 35 x 37 in.

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

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

LUC BERNARD - Open no. 2 - oil and sumi ink on canvas - 50 x 71 in.

oil and sumi ink on canvas

TIMOTHY TOMPKINS - 9.7.06 after David - commercial enamel on aluminum - 61 x 60 in.

TIMOTHY TOMPKINS

9.7.06 after David

commercial enamel on aluminum

CHRISTIAN VINCENT - Post Opus 19 #2 - oil on canvas - 46 x 35 1/8 in.

CHRISTIAN VINCENT

Post Opus 19 #2

46 x 35 1/8 in.

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

JESSIE ARMS BOTKE - The Yellow Shawl - charcoal on paper - 17 1/4 x 13 1/4 in.

JESSIE ARMS BOTKE

The Yellow Shawl

17 1/4 x 13 1/4 in.

charcoal on paper

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

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

RUSSELL YOUNG - Audrey Hepburn - screenprint on linen with diamond dust - 38 x 30 in.

screenprint on linen with diamond dust

EDOUARD CHIMOT - Deux Nymphes - pastel drawing on woven paper - 41 x 30 1/2 in.

41 x 30 1/2 in.

pastel drawing on woven paper

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

PETER VOULKOS - Untitled - ceramic - 6 3/4 x 7 x 7 in.

6 3/4 x 7 x 7 in.

HANS BURKHARDT - Standing Nude - charcoal drawing - 24 x 18 in.

charcoal drawing

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

GINO SEVERINI - Composition (The Football) - original lithograph - 22 x 14 7/8 in.

Composition (The Football)

22 x 14 7/8 in.

original lithograph

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

MAX WIECZOREK - Girl in Mantilla - charcoal and pastel on board - 25 1/4 x 18 1/4 in.

Girl in Mantilla

25 1/4 x 18 1/4 in.

charcoal and pastel on board

EDWARD HOPPER - To Mother from Ed - watercolor and ink on paper - 3 x 2 1/8 in.

To Mother from Ed

watercolor and ink on paper

ANDREW MOORE - Red Chairs, Selwyn Theatre, New York - chromogenic print - 50 x 40 in.

Red Chairs, Selwyn Theatre, New York

chromogenic print

ALISON MOFFETT - Forever More - graphite on paper - 74 3/4 x 58 in.

74 3/4 x 58 in.

graphite on paper

JOHN MILLEI - Untitled - oil on mylar - 24 x 28 in.

LAUREN BENRIMON - Untitled - acrylic on canvas - 60 x 40 x 1 1/2 in.

LAUREN BENRIMON

60 x 40 x 1 1/2 in.

acrylic on canvas

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

Singas are the most important decorative element seen in Batak Toba houses.
<br>The word singa comes from Sanskrit and means “lion”. There are innumerable
<br>representations, but mostly, they just depict the head, which is significant for two
<br>reasons. Firstly, the Toba believe that it keeps misfortune, diseases and evil
<br>influences from the house and its inhabitants, and also that it can release positive
<br>beneficial powers for the good of the inhabitants. To the Batak the singa is a
<br>mythological primeval beast of no defined zoological species. The horn is often
<br>regarded as another memory of the world-tree. It rises above the head of the
<br>mythological underworld beast, which is imagined as the naga, the serpent or
<br>serpent-dragon.
<br>
<br>The Batak Toba people live in in the remote mountainous highlands in the western
<br>and eastern coastal region north of the equator, with many deep valleys carved by
<br>rivers and streams. Their homes are large rectangular buildings on massive
<br>wooden pillars with three levels, corresponding to the three spheres of the
<br>cosmos. The space for the animals below the living level symbolizes the underworld. The high roof above the living level is the abode of the gods and also sometimes the ancestors. The side beams of the house with the singa heads at their front ends support the room where people live and are thus comparable with the underworld dragon.

Pair of Architectural Singas

Height: 26 1/2 in. ea.

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

ANDREW TAYLOR - Outside: Evening 12 - oil on canvas - 48 x 48 in.

Outside: Evening 12

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

47 1/2 x 31 1/2 in.

color lithograph

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

ALEXANDER CALDER

22 x 29 1/2 in.

color lithograph

PAUL WONNER - Untitled - casein, pencil and crayola on paper - 17 3/4 x 23 3/4 in.

17 3/4 x 23 3/4 in.

casein, pencil and crayola on paper

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

TSENG KWONG CHI

Monument Valley, Arizona

silver gelatin print

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

ARTHUR LONERGAN - Untitled Bridge - oil on canvas - 15 3/4 x 19 3/4 in.

ARTHUR LONERGAN

Untitled Bridge

15 3/4 x 19 3/4 in.

JOSEPH ARENO - Miami Canal - oil on board - 10 3/4 x 14 in.

10 3/4 x 14 in.

SEAN SCULLY - Mallorca Grey Wall - c-print mounted on plexi - 36 5/8 x 48 in.

Mallorca Grey Wall

36 5/8 x 48 in.

c-print mounted on plexi

ANTONIO CIRINO - Boats in a Harbor - oil on board - 10 1/8 x 12 1/8 in.

Boats in a Harbor

10 1/8 x 12 1/8 in.

TERUKO YOKOI - Schlucht am Abend (Evening Gorge) - egg tempura and collage on paper - 24 1/2 x 18 1/4 in.

Schlucht am Abend (Evening Gorge)

24 1/2 x 18 1/4 in.

egg tempura and collage on paper

FELANDUS THAMES - Gamtoos River - acrylic on canvas - 70 x 95 in.

FELANDUS THAMES

acrylic on canvas

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

JAMIE WYETH - Nureyev - color lithograph - 34 x 24 in.

color lithograph

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

F. MORTIMER LAMB

NORMAN ZAMMITT - Black to White 36 - acrylic on canvas board - 16 x 12 in.

Black to White 36

acrylic on canvas board

SAM GILLIAM - Coffee Thyme (Black) - color lithograph, rubber stamp, and embossing on John Koller special HMP paper - 31 3/4 x 44 in.

Coffee Thyme (Black)

31 3/4 x 44 in.

color lithograph, rubber stamp, and embossing on John Koller special HMP paper

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.

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

36 x 38 3/4 in.

acrylic and acrylic spray paint on canvas

ALEX KATZ - Sunset: Lake Wesserunsett 4 - screenprint in five colors on American etching paper - 30 x 36 in.

Sunset: Lake Wesserunsett 4

screenprint in five colors on American etching paper

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x 12 1/4 in. ea.

Formulation: Articulation

10 x 12 1/4 in. ea.

Mary Jane Schmidt - Adobe Run 2 - acrylic on canvas - 40 x 60 in.

Mary Jane Schmidt

acrylic on canvas

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

NICHOLAS COLEMAN - Untitled - Two Bison near Spouting Geyser - oil on masonite - 14 x 20 in.

NICHOLAS COLEMAN

Untitled - Two Bison near Spouting Geyser

oil on masonite

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

Etching, Watercolor

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

MELVIN MARTINEZ

mixed media on paper

WILLIAM T. WILEY - It's Only a Pay Per Moon - lithograph and woodcut additions on chamois - 47 3/4 x 38 in.

WILLIAM T. WILEY

It's Only a Pay Per Moon

47 3/4 x 38 in.

lithograph and woodcut additions on chamois

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)

ROGER THOMAS - Perfected World 3 Candlestick - pastel on Dieu Donné handmade archival rag - 60 x 40 in.

Perfected World 3 Candlestick

pastel on Dieu Donné handmade archival rag

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

18 1/2 x 24 in.

gouache on paper

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

Provenance:
<br>Private Collection, CA

Child with Fence Posts

EARL STALEY - Powwow 19: Intertribal - acrylic on canvas board - 19 x 16 3/4 in.

Powwow 19: Intertribal

19 x 16 3/4 in.

acrylic on canvas board

WILLIAM WEGMAN - Marigolds, Flying Puppy - photograph on paper - 9 x 9 in.

Marigolds, Flying Puppy

photograph on paper

TAKASHI MURAKAMI - Here Comes Media - offset lithograph in colors - 19 3/4 x 19 3/4 in.

TAKASHI MURAKAMI

Here Comes Media

19 3/4 x 19 3/4 in.

offset lithograph in colors

HUGO BALLIN - Field Sketch - oil on canvas on board - 11 x 14 in.

oil on canvas on board

JULIAN ORTEGA - Untitled - oil on canvas - 31 1/2 x 47 1/4 in.

31 1/2 x 47 1/4 in.

MARINE HUGONNIER - Mountain With No Name 3 (still from Ariana) - lambda print - 50 x 46 3/4 in.

MARINE HUGONNIER

Mountain With No Name 3 (still from Ariana)

50 x 46 3/4 in.

ALEX MACLEAN - Surfers, Sunset Beach Hawaii - cibachrome print - 30 5/16 x 43 1/2 in.

Surfers, Sunset Beach Hawaii

30 5/16 x 43 1/2 in.

cibachrome print

PIERRE-AUGUSTE RENOIR - Femme Nue Assise - original soft ground etching - 9 7/8 x 7 3/4 in.

PIERRE-AUGUSTE RENOIR

Femme Nue Assise

9 7/8 x 7 3/4 in.

original soft ground etching

SHEPARD FAIREY - Aung San Suu Kyi - offset print on paper - 36 x 24 in.

Aung San Suu Kyi

offset print on paper

ROBERT INDIANA - Ten Works X Ten Painters - screenprint - 24 x 20 in.

Ten Works X Ten Painters

DANA SCHUTZ - Relic - lithograph - 24 x 18 in.

EDWARD STEICHEN - Walden Pond - silver gelatin print - 9 x 13 in.

EDWARD STEICHEN

silver gelatin print

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

acrylic ink and oil on paper

ELLIOT TORREY - Untitled - oil on canvas - 21 1/2 x 29 in.

21 1/2 x 29 in.

RENE MAGRITTE - Pierreries (Precious Stones) - color lithograph on Rives BFK - 17 1/2 x 23 5/8 in.

Pierreries (Precious Stones)

17 1/2 x 23 5/8 in.

color lithograph on Rives BFK

DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.

(small white and lavender)

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

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

PAULETTE TAVORMINA - Roses and Figs - archival digital pigment print - 24 x 24 in.

PAULETTE TAVORMINA

archival digital pigment print

DAVID WHARTON - Matchbox: The Tobacco Safety Match - watercolor on paper - 29 1/4 x 20 1/2 in.

Matchbox: The Tobacco Safety Match

29 1/4 x 20 1/2 in.

watercolor on paper

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

TATSUZO SHIMAOKA - Untitled - painted and glazed ceramic - 12 x 11 x 11 in.

TATSUZO SHIMAOKA

12 x 11 x 11 in.

painted and glazed ceramic

DAVID DAWSON - Hockney in Freud's Studio - color print - 12 x 16 in.

Hockney in Freud's Studio

CLARE RICHARDSON - Untitled I (from Sylvan) - c-print - 42 1/4 x 50 in.

CLARE RICHARDSON

Untitled I (from Sylvan)

42 1/4 x 50 in.

TADAAKI KUWAYAMA - Untitled - silkscreen - 18 x 37 in.

TADAAKI KUWAYAMA

ROBERT WALKER - Ceiling Fan #3 - carved acrylic on masonite - 16 x 20 x 1 5/8 in.

16 x 20 x 1 5/8 in.

carved acrylic on masonite

PABLO PICASSO - After Cranach Poster for Exhibition at Berggruen, Paris - lithograph in colors on paper - 29 1/2 x 20 1/4 in.

After Cranach Poster for Exhibition at Berggruen, Paris

29 1/2 x 20 1/4 in.

lithograph in colors on 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

KRISTOF WICKMAN - Untitled - cast aquaresin - 18 x 12 x 12 in.

KRISTOF WICKMAN

18 x 12 x 12 in.

HERBERT SARTELLE - Desert Landscape - oil on canvas on board - 6 1/2 x 8 1/4 in.

HERBERT SARTELLE

Desert Landscape

6 1/2 x 8 1/4 in.

oil on canvas on board

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

ANTONY GORMLEY - Snowfall - monochrome - 27 3/8 x 39 1/5 in.

27 3/8 x 39 1/5 in.

SARA GENN - Velva - acrylic on canvas - 20 x 16 in.

acrylic on canvas

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

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

JULES PASCIN - Femininity - lithograph on paper - 11 x 8 in.

lithograph on paper

KURT SELIGMANN - L'Opere (the Patient) - original etching - 19 1/2 x 14 in.

L'Opere (the Patient)

19 1/2 x 14 in.

original etching

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

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

DENNIS OPPENHEIM

Sculpture Installation Photograph

14 x 18 1/2 in.

PAUL JENKINS - Phenomena Coriolis Wedge - oil on canvas - 66 x 77 in.

Phenomena Coriolis Wedge

Join List Short Form

If you are human, leave this field blank.

CONNECT

Back to Top

© Copyright 2021 Heather James. All Rights Reserved.

Privacy Policy
Terms and Conditions

Thank you for contacting us!

Would you like to customize your art preferences?

Go to Communication Preferences

Want to know more about this art work? Send us a message to let us know your interest.

Inquire - Art Single

Name *

Email *

Phone Number

Inventory # *

Message *

reCAPTCHA

If you are human, leave this field blank.

English

日本語
中文 (简体)
Deutsch
Français
Español
עברית
العربية‏