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Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

ALFRED SISLEY - Apres-midi d'aout a Veneux - oil on canvas - 21 1/4 x 28 3/4 in.

Apres-midi d'aout a Veneux

21 1/4 x 28 3/4 in.

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.
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<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.
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<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.

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

Le Mont Riboudet a Rouen au Printemps

21 1/2 x 28 5/8 in.

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme.
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<br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906.
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<br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.

FREDERICK CARL FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

Beginning in 1873, Winslow Homer created intimate watercolors inspired by the people and places he encountered. "In the Garden" (1874) conveys the sense of mystery and ambiguity present in Homer's scenes of the American Civil War and its aftermath. One cannot help but notice the feeling of melancholy in the figure, perhaps holding onto a garment of her lover-lost during the war.
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<br>"You will see, in the future, I will live by my watercolors," Winslow Homer said. The legacy of the watercolors Homer produced is among the artist's most significant contributions to American Art. Homer was deeply admired by many 20th-century artists such as Edward Hopper, Andrew Wyeth, and John Marin, who were all influenced by Homer's nuanced and often introspective watercolors.
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<br>The present work was included in the Metropolitan Museum of Art exhibition, "200 Years of Watercolor Painting in America," December 1966 - January 1967 and the 1973 Whitney Museum of American Art exhibition, "Winslow Homer."

9 1/4 x 6 3/4 in.

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

ALEXANDER CALDER

39 ½ x 29 ¾ in.

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life.
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<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.

Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.

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

acrylic and steel

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

A Whirling Square

acrylic on canvas

WIFREDO LAM - Sans Titre - oil on canvas - 63 1/4 x 51 1/4 in.

63 1/4 x 51 1/4 in.

Rothenberg created Diagonal (1975) in the year of her breakout exhibition at 112 Greene Street in New York. Her Horses series reintroduced representational imagery when the dominant trends were abstraction and Minimalism. The painting’s expressive brushwork, sense of movement, and simplified forms result in a triumphant blend of figuration and abstraction. As in many of Rothenberg's important works, Diagonal evokes the muted and enchanting colors and atmosphere of her adopted home in the American Southwest.

SUSAN ROTHENBERG

45 7/8 x 60 1/8 in.

acrylic and tempera on canvas

GEORGE CONDO - The Arrival, The Departure - oil on canvas - 36 x 36 in. ea.

The Arrival, The Departure

36 x 36 in. ea.

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

79 x 110 x 51 in.

rusted and varnished steel

James Rosenquist was a prominent member of the Pop Art movement that emerged in American Art after WWII, along with Andy Warhol, Roy Lichtenstein, and Robert Rauschenberg. Rosenquist, in fact, was Warhol’s favorite artist. His unique vision of pop art was the unusual juxtaposition of cultural and mass media images on large scale canvases.
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<br>“Untitled” (1988) in electrifying colors represents Rosenquist’s high-energy large paintings. The artwork is connected to his significant series, “Welcome to the Water Planet,” which combined various disparate elements to address environmental concerns about planet Earth.

JAMES ROSENQUIST

101 3/4 x 85 in.

oil on canvas laid on panel

KURT SCHWITTERS - Ohne Titel (Merzbild Mit Schuhsohle) - oil and relief assemblage on plywood - 21 1/4 x 17 3/4 in.

KURT SCHWITTERS

Ohne Titel (Merzbild Mit Schuhsohle)

21 1/4 x 17 3/4 in.

oil and relief assemblage on plywood

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

Cape Split, Maine

22 1/4 x 28 1/4 in.

A favorite artist of Solomon R. Guggenheim, Bauer was a prominent early figure of the non-objective art movement at the beginning of the 20th century. "Larghetto III" is among a series of early works with musically inspired titles. Guggenheim so admired the artist that he purchased more than 300 of Bauer's works, forming the foundation of his collection.
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<br>The opening of Guggenheim's Museum of Non-Objective Painting in 1939 featured work by Rudolf Bauer and Wassily Kandinsky. Classical music played in the exhibition space.
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<br>German-born Bauer worked closely with the legendary "Der Sturm" gallery in Berlin. He was also imprisoned by the Gestapo for some time because of his subversive art. He emigrated to the United States upon his release in 1939.
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<br>The influence of Bauer's work can be seen in the paintings of Jackson Pollock and Arshile Gorky, among many others.

oil and tempera on cardboard

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

ROBERT MOTHERWELL

acrylic on canvas

FERNANDO BOTERO - Lovers - white marble - 20 1/8 x 12 1/2 x 13 1/8 in.

FERNANDO BOTERO

20 1/8 x 12 1/2 x 13 1/8 in.

Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

307 x 67 x 59 in.

stainless steel

Contemporary artist Marc Quinn is associated with the Young British Artists movement, alongside Damien Hirst, Tracey Emin, Gary Hume, and Sarah Lucas. Quinn’s early work dealt with decay and preservation, often incorporating degradable materials such as bread, flowers, or his own blood. The orchid is a recurring image in Quinn’s work and features frequently in his sculptures. The 2008 sculpture “Archaeology of Desire” represents the period when Quinn began to use bronze – casting an image of his most notable floral theme. Here, Quinn captures a symbol of beauty, frailty, and impermanence, preserving it in bronze.

Archaeology of Desire

92 1/2 x 116 x 39 1/2 in.

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

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

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

JULIAN SCHNABEL

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

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

JULIAN SCHNABEL

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

Thiebaud painted Beach Shop in Mexico in 1960 as part of a series featuring similar scenes. The 18-by-36-inch oil exudes Thiebaud’s strongest qualities — particularly his ability to bring the action brushwork of the Abstract Expressionists to his distinctive, representational style.

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

GRANVILLE REDMOND

The Evening Desert

Andy Warhol, who famously said that, “In the future, everybody will be famous for 15 minutes,” was known for his portraits of influential and powerful celebrities, businesspeople, and socialites. He was obsessed with exploring hallmarks of a consumer society such as wealth and fame. From his renowned Factory studio in New York, Warhol became a pop culture icon, one of the most important artists of the 20th century, and a name synonymous with Pop art.
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<br>Warhol's notable Death and Disaster series addresses depictions of death in the media, commenting on desensitization through repeated imagery. Often using photos from mass-circulated newspapers, magazines, and tabloids, Warhol took them out of the journalistic context and appropriated them in artwork. “Electric Chairs” (1971), based on an image of the electric chair at Sing Sing Prison, belongs to this series. Warhol first used this subject matter in 1963 and returned to the image for this 1971 set of prints, in which he put more prominence on the chair by cropping the image. Here, Warhol repeats the image ten times in different color combinations. Each screenprint is hand-signed and stamped on the verso.

Electric Chairs

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

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.
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<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.
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<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

ZHANG LI - Portrait of a Girl with a Red Scarf - oil on canvas - 31 1/2 x 25 5/8 in.

Portrait of a Girl with a Red Scarf

31 1/2 x 25 5/8 in.

“Les Gardeuses de Vaches,” 1883 is a gem-like pastel by the Impressionist master, Camille Pissarro. Impressionism at its core represents a democratization of art without lofty academic ideals or royal patronage. The present pastel shows the heroism of the peasant, elevating the daily activities of the peasantry are elevated to a position of importance. Pissarro, along with his contemporaries Claude Monet, Edgar Degas, and Pierre-Auguste Renoir among others, challenged the ideas of what was acceptable in painting, in essence, creating an artistic revolution.
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<br>“Les Gardeuses de Vaches” has an illustrious provenance, having been included in several exhibitions from 1893 onward at Galerie Durand-Ruel, Paris.

CAMILLE PISSARRO

Les Gardeuses de Vaches

11 1/2 x 8 1/2 in.

mixed media, gouache and watercolor with charcoal on paper

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

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum.
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<br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”

Overwhelming Love

household gloss, butterflies

Lions on the Dreyfus Fund, Inc.

63 x 35 1/2 in.

pencil and oil on cut wood and canvas

Andrew Wyeth is considered among the preeminent representational painters of the 20th century. Born in Chadds Ford, Pennsylvania, Wyeth drew his subject matter from the world around him: the interiors and exteriors of the stone buildings, mills, and farms of the Brandywine River countryside, and in the summers, the clapboard houses and stark landscape of the Maine coast.
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<br>In this full-sheet watercolor, “Star Route” (1977), Wyeth depicted a house on the road to East Friendship, Maine, not far from his own summer residence. While relying on keen visual observation, he pared down the elements of a composition to their most essential, giving his works an abstracted quality and imbuing them with a sense of quietude and stillness.

21 1/4 x 29 in.

watercolor on paper

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

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

gloss paint on aluminum in four panels

GEORGE RICKEY - Two Lines Up, Oblique - stainless steel - 252 x 120 x 8 1/8 in.

Two Lines Up, Oblique

252 x 120 x 8 1/8 in.

stainless steel

American painter Pat Steir has sought inspiration in both Abstract Expressionism and Taoist philosophy. Ancient Chinese painting techniques, most significantly the eighth and ninth century “ink-splashing” painters, helped to inform her Waterfall series, which gained her acclaim and recognition in the 1980s. These works, created by splashing and dripping her pigments onto the canvas, were inspired by the relationship between humanity and nature, and the concept of allowing elemental forces to actively assist in creating her paintings. She begins the process, and then lets gravity and the environment take over, the results no longer in her hands.
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<br>Also appearing repeatedly in her work is floral imagery. This large-scale triptych from 1981 is one of her earliest Chrysanthemum paintings. It was exhibited in the Whitney Biennial in 1982.

60 x 180 in.; 60 x 60 in. ea.

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

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

Carlos Cruz-Diez was one of the most important contemporary and Latin American artist. His work explores the experiential transience of color. He was often associated with the Op Art, Kinetic Art, and Concretism movement exploding out of Latin America from the mid-20th century.
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<br>This work is one from one of Cruz-Diez's signature series "Physichromie" translated as "physical color", which explores the changing, physical dimension of color through the interaction of light and space.
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<br>As Mari Carmen Ramírez, Wortham Curator of Latin American Art at The Museum of Fine Arts Houston, said, “He made us see and experience color as pure and sensuous pleasure; a participatory, interactive experience open to everyone, regardless of age, class, culture or social standing.”

CARLOS CRUZ-DIEZ

Physichromie No 1051

39 5/8 x 59 3/8 x 1 5/8 in.

serigraph on aluminum, slats in stainless steel

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.
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<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.
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<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

Jean Arp is one of the most important sculptors of the 20th century for his ability to create abstract yet organic sculptures in a variety of media. He was a founder of Dada and participated in the surrealist movement. Rather than starting with a subject, Arp utilized form and chance to produce art.
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<br>“Evocation d'une Forme Humaine Lunaire Spectrale” is a stellar example of Arp’s abstract biomorphic sculpture. It presents a smooth and graceful form that melds the human figure with an ethereal lunar landscape. Arp experimented with this form in diverse media and other iterations can be found in the collection of the Smithsonian's Hirshorn Museum and Sculpture Garden (in bronze), Museo d'Arte Moderna in Rio de Janeiro (in pink limestone), and the Dotremont Collection in Brussels (in white marble).

Evocation d'une Forme Humaine Lunaire Spectrale

33 1/8 x 30 x 19 in.

KENNY SCHARF - Kolorbz - oil and acrylic on canvas - 114 x 90 in.

oil and acrylic 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.
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<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.

Guenther Uecker and his avant-garde contemporaries experimented with monochromatic color, light, materiality, and repetition. For Uecker, this experimentation manifested in his noteworthy nail-covered canvases. The 1984 piece, Poesie der Destruktion – Poetry of Destruction – presents a tumultuous arrangement on a neat square background. The swarming bed of nails evokes a forceful action with violent connotations. Black and orange swaths of oil paint undulate on the rough surface beneath the exterior of hammered and bent metal. The composition suggests wreckage, yet it lives in the context of artistic creativity, urging the viewer to observe the coexistence of creative and destructive forces.

GUENTHER UECKER

Poesie der Destruktion

24 x 24 x 5 1/2 in.

mixed media on canvas

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

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

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

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

Big Grid / Solo Tear

84 x 84 x 36 in.

Civa is one of the principal deities of Hinduism. In this work, Chiparus represents the exoticism of the East, as the elegant figure meditates in the lotus position. The work recalls the dances of the Ballets Russes, one of the artist’s primary inspirations, and embodies the essence of the age — particularly the rediscovery of ancient Egyptian art, as Tutankhamun’s tomb was excavated in 1922.
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<br>Chiparus depicted most of his figures in a sensual, curvilinear fashion. His subjects always look beautiful and at ease. Civa is an excellent example of the artist’s impeccable casting, particularly the detail work in the bronze body and the expressively carved ivory face.
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<br>The decorative base is also noteworthy, because Chiparus made them integral to his compositions. The artist used an assortment of materials to decorate the bases of his sculptures, including onyxes, marbles, and colored stones.

DEMETRE CHIPARUS

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

cold-painted, patinated and enameled bronze and chryselephantine

North Wall was exhibited at the Getty Museum in the Pacific Standard Time exhibition tracing the history of art in L.A. from 1945 to 1980, which reignited interest in Light and Space and brought fresh eyes to the work of Norman Zammitt. For this piece, the artist measured the width of each band and created parabolic graphs to calculate the exacting color progression — not only for aesthetic precision, but also for emotional and spiritual effect. The colors seem to radiate as they shift from dark bands of black and blue to fiery yellows, oranges and reds. The hard edges of these bands bring to mind the school of L.A. artists who worked in geometric abstraction during the same period, predominantly the 1960s and ’70s, particularly Karl Benjamin's classic stripe paintings. But Zammitt’s ethereal pictures defy any such classification. His edges appear seamless — a moment in space frozen in time. The expanse evokes a sky in its full coastal California drama, although that was not necessarily the artist’s intention. Rather, he might have used these as an approach to the sublime — portal to a mystical realm. His late, longtime dealer, Joni Gordon of Newspace, suggested the exacting bands of brilliant color relate to Native Indian sand paintings.

acrylic on canvas

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.

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

MERET OPPENHEIM

9 1/2 x 7 1/2 in.

horse hair and photo collage on title page

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Eulogy (Commission)

159 x 72 x 4 in.

acrylic on canvas

A leading artist of the Arte Povera movement in the 1960s and '70s, Jannis Kounellis challenged the traditional media of art making. His work often incorporates natural or everyday materials, installation, or performance. Untitled (2014) is a unique example of his sculptural work in iron, canvas, and enamel. A common thread in his work is a sense of isolation experienced in contemporary society, combining elements of the past and the present to address memory, detachment, history, and loss. Kounellis once explained, “[art] must be born of historical necessity: that is, it must be of a historical situation and constitute the indispensable language of that moment.”

JANNIS KOUNELLIS

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

iron, canvas and enamel

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.
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<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

Paul Jenkins is renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew upon a wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” A combination of chance and control (Jenkins used a dull ivory knife to guide the paint) reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of phenomenal colors.
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<br>Jenkins primed his canvas so that unlike those of other Color Field artists, the paint did not soak in and instead, flowed and pooled – perhaps best exemplified in this large-scale painting with gem-like colors. Whether oil, acrylic, or watercolor, Jenkins displayed a mastery over these media so that both the process and the product are united.

71 1/2 x 128 1/2 in.

acrylic on canvas

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

JOHN PHILIP FALTER

tempera on board

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

ROY LICHTENSTEIN

Reflections on Crash

59 1/8 x 75 in.

lithograph, screenprint, relief, and metalized PVC collage

ELAINE DE KOONING - Untitled (Totem Pole) - oil on canvas stretched over cardboard cylinders - 97 x 12 3/8 x 12 3/8 in.

ELAINE DE KOONING

Untitled (Totem Pole)

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

oil on canvas stretched over cardboard cylinders

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

65 x 58 x 40 in.

SUBODH GUPTA - Magic Wands 6 - chrome-plated aluminum - 62 x 1 7/8 x 1 7/8 in.

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

chrome-plated aluminum

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

WILLIAM KENTRIDGE

World on its Hind Legs

64 x 26 x 30 in.

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

More than an artist, Theaster Gates also works as curator, urban planner, and project facilitator. From sculpture to painting, installation to public projects, Gates’s works are hubs in which to question labor and commodity while also bringing to the fore people and things that are often unseen and unheard. Convex Concave takes custom-made bricks that Gates had previously used for Black Vessel for a Saint at the Walker Art Center and repurposes it into a painting-like sculpture that references minimalist artist like Sol LeWitt, the labor of making bricks, and the original context of the bricks for the installation at the Walker.

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

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

MAURICE PRENDERGAST

Sunday in the Park

11 1/2 x 16 in.

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

77 x 46 x 46 in.

bronze, painted stainless steel

Takashi Murakami is one of the most celebrated contemporary and Japanese artists. Murakami developed the theoretical and visual language of “Superflat”. He based his art movement on the Japanese “flat” art aesthetic and of anime and manga fused with commentary on the Kawaii tendency in postmodern Japan.
<br>
<br>Murakami and his art have chartered new ground in infiltrating and merging high and low culture. The painting features a proliferation of eyes in his trademark style. No two eyes are exactly alike, and each are in various states of opening or closing. Like his art, these eyes have hidden depth – the irises contain a multitude of miniature concentric circles. The painting seems to combine elements of pop culture, cartoons, technology, and fashion into a singular plane.

TAKASHI MURAKAMI

24 x 23 3/4 x 2 in.

acrylic on canvas layed on wood

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

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

ROLAND PETERSEN

Girl with Trees

71 x 59 1/2 in.

Ross Bleckner is a celebrated American painter whose works reference loss, memory, and change such as explorations of the cell during the AIDS epidemic or in response to his father’s cancer diagnosis. The 1965 MoMA exhibition that brought Op Art to the fore, The Responsive Eye and included artists Richard Anuszkiewicz, Tadasky, and Francis Celentano, had a profound influence on him as an artist. This painting, like his other immersive, large-scale works, elicit a powerful, hypnotic, dizzying effect. Aesthetically pleasing, Bleckner’s canvases explore perception – visual, emotional, physical, time. Bleckner is part of the same generation of and friends with Julian Schnabel, David Salle, Eric Fischl, and Peter Halley, all of whom returned painterly technique to the canvas.

oil on linen canvas

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

RICHARD DIEBENKORN

paper: 35 x 26 1/4 in.

spit bite aquatint & drypoint aquatint on paper

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

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

glass hologram set

American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

Berm (Hoarfrost)

62 1/2 x 35 1/2 in.

solvent transfer on fabric with cardboard

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

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

Stanton Macdonald-Wright was a co-founder of the Synchromism movement, which combined abstraction and intense color. He was influenced by ideas that the qualities of color were connected to the qualities of music. He stopped painting this way in the 1920s, but his work experienced a revitalization in the 1950s, following a retrospective of his work at LACMA. Inspired by the renewed interest, Wright began producing works with increased passion; these works were considered Neo-Synchromism. La Gaîté is a phenomenal example of this period in Wright’s career, showcasing the brighter colors and larger canvases he favored during his personal renaissance.

STANTON MACDONALD-WRIGHT

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

32 x 23 x 78 in.

bronze and steel

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

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

Standing Male Figure

70 x 13 3/4 x 19 in.

polychrome plaster and wood

Ed Moses was a prominent figure in the Los Angeles art scene for nearly 70 years. He first exhibited in 1949 and was part of the original group of artists from the Ferus Gallery in 1957 – fellow Cool School artist Ed Ruscha also had his first solo exhibition there in 1963. The large scale and tryptic formation of “Franco-Del #1 & #3” from 2006 is rare for Moses. The piece is executed in earth tones of browns, grey, black, rust and pine green. Always working with process and experimenting with materials as a painter, Moses has been critically lauded for his bold composition and innovation.

Franco-Del #1 & #3

79 1/2 x 110 1/2 in.

acrylic on canvas

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

Self-Portrait, 2000

58 1/3 x 48 in.

screenprint on paper

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

Fallow Deer Situla

16 x 23 1/2 x 13 in.

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

Minotaure, version à la base carrée

Conceived circa 18

24 x 28 1/2 x 27 in.

bronze with brown and green patina

Donald Sultan’s Black and Blue from 2008 fits comfortably within both Pop art and Minimalism. The work is a sly reference to Warhol as if a polarized negative image of the Pop artist’s iconic Flower series. Working with unconventional use and application of paint, Sultan vacillates between abstraction and representational art, but always maintaining strong contrasts and powerful, simple statements. Sultan describes his work as "heavy structure, holding fragile meaning." Sultan’s work is represented in the permanent collections of many major museums in the United States and abroad, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and the Whitney Museum of American Art.

49 3/4 x 50 1/4 x 5 in.

plaster and resin on board

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.

Contemporary German artist Katharina Grosse works in a variety of media to accomplish site-specific works as well as smaller-scale sculptures such as the present work, "Untitled 2015". The structure of Grosse's compositions are meant to invoke emotional reactions from the viewer. The artist believes that the physical presence of the viewer affects the work and changes an individual's experience of that work.
<br>
<br>Grosse is included in numerous museum collections worldwide, including the Museum of Modern Art, New York, and in 2019 was selected for a mural commission at the Museum of Fine Arts, Boston. "Untitled, 2015" has a prestigious exhibition history, having been included in: Venice Biennale Art, "All the World's Future," 2015 by Okwui Enwezor (curator).
<br>
<br>"That is the challenge for me, to find a way to make painting visible - make it a visceral part of our everyday life"- Katharina Grosse.

KATHARINA GROSSE

41 1/2 x 40 x 18 in.

acrylic aluminum

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

37 x 33 x 64 in.

stainless steel

RAOUL DUFY - Intérieur de la Ménara - gouache and watercolor on paper - 19 1/2 x 25 1/8 in.

Intérieur de la Ménara

19 1/2 x 25 1/8 in.

gouache and watercolor on paper

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

ANDY GOLDSWORTHY - Red Stone Hole - drumlanrigg stone - 13 3/4 x 34 1/4 x 30 3/4 in.

ANDY GOLDSWORTHY

13 3/4 x 34 1/4 x 30 3/4 in.

drumlanrigg stone

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

Carte de Triunfo

46 x 40 x 23 1/2 in.

stainless steel and aluminum

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

72 x 48 x 1 3/4 in.

wood and mixed media

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

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

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

The Bull Fighter

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

34 x 23 1/4 in.

color photograph

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

Girl With Bow Tie

39 1/4 x 28 3/4 in

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

Grim Kalding Fra Finland

67 3/4 x 55 in.

acrylic, ink and paper collage on canvas

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

RODNEY MCMILLIAN

97 1/2 x 102 in.

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

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

Formas Tensionales

oil, cardboard on masonite

SANDRO CHIA - Poet, Painter - bronze - 72 x 30 x 54 in.

72 x 30 x 54 in.

NANCY GRAVES - Exquadra - oil on canvas - 96 x 96 in.

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

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

19 x 18 x 14 in.

stainless steel balls and wire

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

Rue Aubriot, Paris 1975

13 1/4 x 8 7/8 in.

vintage gelatin silver print

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. .

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

LUIS CRUZ AZACETA

acrylic on canvas

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

Passionnément, Pas du Tout

12 1/4 x 9 1/4 in.

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

Die Besten Jahre

Painted in 2001/20

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

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

FRANCIS CELENTANO

Elliptical Kinetic Painting

48 x 48 x 6 1/2 in.

acrylic on masonite

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

Tewa Plaza at First Mesa

DANIEL SPRICK - Interior Still Life - oil on masonite - 48 x 40 in.

Interior Still Life

oil on masonite

JAMES WEEKS - Two Children - oil on canvas - 41 1/2 x 35 in.

41 1/2 x 35 in.

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

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

71 x 82 1/2 in.

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.

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

The Modest Orgasms of the Middle Class

gouache, charcoal, and collage on paper

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

ROBERT MAPPLETHORPE

22 1/2 x 21 1/2 in.

dye-transfer print

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

11 7/8 x 15 3/4 in.

oil on masonite

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.

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

DAVID HARE - Night Sky - painted steel, steel, and bronze - 65 1/2 x 14 3/4 x 14 1/8 in.

65 1/2 x 14 3/4 x 14 1/8 in.

painted steel, steel, and bronze

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

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

58 1/2 x 16 x 16 in.

cast bronze, patinaed or painted oil

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

acrylic on canvas

MICHAEL CORINNE WEST - The Day After - oil on canvas - 84 5/8 x 49 7/8 in.

MICHAEL CORINNE WEST

84 5/8 x 49 7/8 in.

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

LORSER FEITELSON

Dancers - Magical Forms

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

49 1/2 x 68 1/2 in.

CB/JPC SH143 N23A, type C photograph

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

LEONORA CARRINGTON

pencil on paper

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

GUILLERMO KUITCA

18 1/4 x 25 5/8 in.

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

No One In Particular (Old)

40 x 32 x 7 1/2 in.

silicone, pigment, hair on aluminum

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

In this portrait by Joseph Kleitsch, the sitter is unknown, the painting titled only Woman in Pink. She is wearing a pink dress with white lace sleeves trailing down and into in her lap. She is holding a bit of the lace in her hands, almost absent-mindedly as she tilts her head toward the painter and gives him a small, amused smile. Her hair is swept into a modest updo, and the pink flushing her cheeks echoes the pink of her dress. Kleitsch’s technique in rendering the lace is fascinating, as he seems to have only fully painted the pattern of the lace and the rest is made up of a few light and minimal strokes of the brush, lending it a sheer quality.

JOSEPH KLEITSCH

40 1/2 x 28 1/4 in.

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

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

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

Picture/Readings

15 1/4 x 39 in.

text and photograph

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

Kingstown, St. Vincent

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

RAIMONDS STAPRANS

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

GUSTAVO LOPEZ ARMENTIA

Imágenes, Recuerdos y Soledades

acrylic on panel

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

watercolor and pencil

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

Pencil Study for "We Greet Thee, Mary"

c. 1891 (Tahiti)

11 3/4 x 7 1/4 in.

pencil on paper

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

oil and acrylic on canvas

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

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

CHRISTIAN ECKART

Zootrope (Sandwers Curve)

65 x 55 x 5 in.

lacquer on aluminum

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

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 - 14 1/2 x 19 1/2 in.

MABEL MAY WOODWARD

14 1/2 x 19 1/2 in.

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

JACK YOUNGERMAN

White Open Round

72 in. diameter

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

REMBRANDT VAN RIJN

The Good Samaritan

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

screenprint in colors on wove paper

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

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

Untitled - 1035

KARL BENJAMIN - Untitled - oil on canvas - 50 x 38 1/4 in.

50 x 38 1/4 in.

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

JOSE MARIA SICILIA

Yellow Flower IV

acrylic on linen

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

RICHARD ANUSZKIEWICZ

Arcade of Verdue

MANUEL OCAMPO - Tratado De Enfermeria - oil on panel - 47 3/4 x 48

Tratado De Enfermeria

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

CLEVE GRAY - Lateral F - acrylic on canvas - 24 x 36 in.

acrylic on canvas

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

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

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

32 x 25 1/4 in.

screenprint with digital inkjet on Somerset paper

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

EDWARD HENRY POTTHAST

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

FRANCESCO CLEMENTE

26 x 18 3/4 in.

pastel on paper

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.

MERCEDES MATTER - Untitled - oil on canvas - 10 x 14 in.

MERCEDES MATTER

It wasn't until the age of 78 that Pablo Picasso experimented with linoleum cuts, turning them into a major vehicle for artistic expression. Picasso used ochers, browns and blacks, reminiscent of Greek vase painting, as the dominating color scheme , which displays his expressive carving style.
<br>
<br>Artist's Proof signed by hand in pencil, "Picasso" in lower right.
<br>Printed by Arnéra, Vallauris. Published by Berggruen for the deluxe edition of Jacques Prévert's book, " Diurnes", with découpages and photographs by André Villers.
<br>Catalogue reference: Bloch 1062

Seated Female Nude, from "Diurnes"

21 1/2 x 17 in.

Linocut in Colors

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

BILLY AL BENGSTON

Syltkakor Draculas

acrylic on canvas

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

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

CLARENCE HINKLE

Portrait of a Chinese Boy

PAUL LAURITZ - Tree Shadowed Road - oil on canvas - 40 1/8 x 50 1/4 in.

Tree Shadowed Road

40 1/8 x 50 1/4 in.

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

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

acrylic on canvas

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

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

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

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

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

30 1/4 x 30 1/4 in.

oil, acrylic, oil pastel and spray paint on canvas

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

SYLVIA PLIMACK MANGOLD

Gray Winter Glaze

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

Tominaga Ai Wears Prada

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

ROBERT GOODNOUGH - 7-4 Emerge - oil on canvas - 64 x 132 1/2 in.

ROBERT GOODNOUGH

64 x 132 1/2 in.

LUDWIG SANDER - Mongohela - oil on canvas - 54 x 60 in.

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

Sandra Mendelsohn Rubin

Valley View: Late Summer

oil on polyester

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

ADAM EMORY ALBRIGHT

Boy Standing with Fishing Pole

48 x 36 1/4 in.

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

META GEHRING CRESSEY

Segovia Girl in Fiesta Costume, La Montera

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

acrylic on canvas

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

FERNANDO CANOVAS

63 5/8 x 51 1/4 in.

acrylic on canvas

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

SUSAN HUTCHINSON

resin and acrylic on wood panel

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

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.

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

GILBERT & GEORGE

46 1/4 x 32 1/4 in.

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

80 x 110 x 1 5/8 in.

acrylic on canvas

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

JACKSON POLLOCK

15 1/2 x 23 1/2 in.

engraving with drypoint

TOMAS VU - Devil's Tower - mixed media on panel - 72 x 96 1/4 x 2 in.

72 x 96 1/4 x 2 in.

mixed media on panel

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

Jeune Homme Reveur (Self Portrait)

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

44 x 30 1/4 in.

watercolor and charcoal on paper

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

53 x 40 x 6 3/4 in.

wood and mixed media

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

CHRISTOPHER BROWN

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

CLAES OLDENBURG

21 x 28 3/4 in.

acrylic on corrugated cardboard

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

LARRY BELL - Small Mirage Study #320 - vapor drawing on canvas - 30 x 30 in.

Small Mirage Study #320

vapor drawing on canvas

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

KATHERINE PORTER

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

acrylic on canvas

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

Untitled (06.3)

23 x 21 in. ea.

mounted color photographs

The painting, inspired by Antonio Canova’s sculpture Psyche Revived by Cupid’s Kiss, and Christ Carrying the Cross by Hieronymous Bosch, depicts a laureate male and a female enmeshed in a boa of roses. Canova’s sculpture represents Cupid and Psyche during an emotionally charged moment, in which Cupid awakens Psyche from death. His tender embrace is mimicked in this painting, however Psyche, appearing more realistic than sculpture-like, looks on. Hieronymous Bosch’s grotesque painting of Christ while he carries the cross looms over Cupid’s head. The grotesque work of Bosch is at odds with the Neoclassical inspiration from Canova, perhaps to convey the dark emotions that simmer beneath the façade of love.

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

29 1/4 x 32 in.

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

Le Cirque M.505

16 3/4 x 12 3/4 in.

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

20 1/4 x 18 3/4 in.

color pencil on paper

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

gouache, chalk, and pencil on etching on paper

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

The Beauty and the Beast

39 1/4 x 55 in.

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

35 1/2 x 28 3/4 in.

ink and watercolor on handmade paper

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

Perceived Marriage Tripartite Leave

acrylic and oil on canvas over panel

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

Bern Series (#421)

acrylic on canvas

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

El Pan Nuestro de Cada Dia

mixed media photography

JIAO XINGTAO - Wrapped Mao - fiberglass - 38 x 32 x 17 in.

38 x 32 x 17 in.

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

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

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

37 x 12 x 12 in.

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

Vibrant Selection

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

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.

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

20 1/8 x 22 in.

oil on paper mounted on board

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

Near Ocean View

watercolor on paper

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

ARTHUR BOWEN DAVIES

Within A Fence of Gold and Blue

15 1/2 x 13 in.

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

ARMAND GUILLAUMIN - Quai de Bercy - oil on canvas - 13 1/2 x 22 3/4 in.

ARMAND GUILLAUMIN

13 1/2 x 22 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

JOAN MITCHELL - Bedford III (from The Bedford Series) - lithograph - 42 3/4 x 32 5/8 (sheet)

Bedford III (from The Bedford Series)

42 3/4 x 32 5/8 (sheet)

S.C. YUAN - The Guitar Player - oil on canvas - 43 x 43 in.

The Guitar Player

MATTEO SANDONA - Gertrude and Boots - oil on canvas - 56 1/2 x 40 1/2 in.

Gertrude and Boots

56 1/2 x 40 1/2 in.

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

SANTIAGO CARBONELL

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.

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.

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

Untitled, Interior with Lit Anemones and Tulips in the Shadow

30 1/4 x 30 1/4 in.

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

TADAAKI KUWAYAMA

26 x 20 1/4 in.

acrylic on canvas

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

WILLIAM GLEN CROOKS

Night and Day Café

LOUISE BOURGEOIS - Untitled - glass hologram - 10 3/4 x 13 3/4 in.

LOUISE BOURGEOIS

10 3/4 x 13 3/4 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

LINDA PERLMAN - The Snake River - Tibetan wool - 96 x 120 in.

The Snake River

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

ERIC JON HOLSWADE - Bird's Eye View - oil, flashe & gouache on cardboard - 65 x 78 in.

ERIC JON HOLSWADE

Bird's Eye View

oil, flashe & gouache on cardboard

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

LUC LEESTEMAKER

acrylic and mixed media on canvas

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

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

Untitled (IKB stamps)

2 1/8 x 1 7/8 in.

IKB pigment on 6 postal stamps

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

24 x 19 3/4 in.

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

HARRY LEITH-ROSS

8 1/4 x 10 3/8 in.

oil on canvas on board

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

JOHN JOSEPH ENNEKING

Milton Blue Hills

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

June 2001, J.T.

THOMAS WILLIAM JONES - Silvana Morning - watercolor - 9 1/4 x 14 1/2 in.

THOMAS WILLIAM JONES

Silvana Morning

9 1/4 x 14 1/2 in.

FLOYD HILDEBRAND - California Street - oil on board - 24 1/8 x 29 1/4 in.

FLOYD HILDEBRAND

California Street

24 1/8 x 29 1/4 in.

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

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

78 x 66 x 1 in.

acrylic on canvas

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

19 x 11 x 3 in.

Encaustic on Wood Bee's Wax

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

Le Repos du Modele

10 7/8 x 14 1/2 in.

original lithograph on japon paper

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

Store Front #122

acrylic on masonite

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

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

22 x 24 x 15 in.

cast leaded glass

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

Small Prickly Pear

16 x 19 3/4 in.

HUNTER S. THOMPSON - Self-Portrait, on the Road to Tijuana - gelatin silver print - 27 3/4 x 27 3/4 in.

HUNTER S. THOMPSON

Self-Portrait, on the Road to Tijuana

27 3/4 x 27 3/4 in.

gelatin silver print

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

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

Untitled (Kneeling Nude)

30 x 23 1/4 in.

pastel, oil, crayon, and pencil on paper

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

ZALIKO BACHANASHVILL

48 x 40 x 1 1/4 in.

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

LAUREN BENRIMON

72 x 60 x 2 1/4 in.

spray-paint and acrylic on canvas

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

mixed media on canvas

FRANCISCO ZUNIGA - Seated Woman - watercolor on paper - 19 1/4 x 25 in.

FRANCISCO ZUNIGA

19 1/4 x 25 in.

watercolor on paper

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

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

approx. 25 x 20 in.

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

ABEL VENTOSO - MT - acrylic on metal - 41 x 41 x 3 in.

41 x 41 x 3 in.

acrylic on metal

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

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

SIDDHARTH PARASNIS

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

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

GENEVE RIXFORD SARGEANT - Gypsy Woman - oil on canvas - 24 1/4 x 18 1/4 in.

GENEVE RIXFORD SARGEANT

24 1/4 x 18 1/4 in.

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

JESSIE ARMS BOTKE

17 1/4 x 13 1/4 in.

charcoal on paper

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

FRANCISCO CORZAS

10 1/4 X 9 1/8 in.

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

Silk Scroll of Rooster & Chicken

Edo Period, 19th C

Ink on Color on Silk

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

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

plaster, wood, canvas

RED GROOMS - Portrait of John Powers - watercolor on paper - 33 3/4 x 22 in.

Portrait of John Powers

33 3/4 x 22 in.

watercolor on paper

JOHNATHAN SCOTT - Jazz Player - oil on canvas panel - 16 x 20 in.

JOHNATHAN SCOTT

oil on canvas panel

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

STEPHEN P. CURRY

Cardinal (Pomegranates)

39 1/4 x 50 in.

Tony de los Reyes’ new series of rigorous, visually tactile paintings contemplate abstraction as the foundation of both color field painting and the establishment of the US Mexico border. The paintings are both visually stimulating and subtly provocative, the exhibition asserts the proclivity behind border-making and the aesthetic principles of abstraction are motivated by the same habitual pursuit of spatial order. De los Reyes theorizes that both abstract painting and border-making rely on the assumption that absolute space can be materialized through its transformation into a space of containment and law. In the Border Theory paintings, the artist investigates the indeterminate, layered structures of identity as found in the continuum of his location and profession.
<br>
<br>The imagery of the paintings reference sections of the US-Mexico border captured by satellite photography. Viewed from this perspective, regional landscapes are flattened into ambiguous areas of varying shape, color and tone. These types of surfaces, comparable to those found in post-war abstract painting, are re-contextualized through de los Reyes’ saturation of unprimed linen with multiple layers of fabric dyes. Above these fields of color, de los Reyes superimposes demarcations in oil, either through the use of singular, thin lines or gridded expanses of marks which explicitly refer to locations along the US-Mexico border. The resulting works imply how our perception of space, and the process of its utilization, forms the basis for both personal and political consciousness.

TONY DE LOS REYES

Border Theory (Rio Grande/Zona Desolada)

66 x 42 1/2 in.

Dye and oil on linen

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

Full Moon with Clouds

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

screenprint on linen with diamond dust

JOHN CHRISTOPHER SMITH - Fisherman's Wharf, Monterey - oil on canvas - 26 x 34 in.

JOHN CHRISTOPHER SMITH

Fisherman's Wharf, Monterey

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

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

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

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

22 1/2 x 30 1/2 in.

Mixed media on paper

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

Bottle Brush #116

mixed media on canvas

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

8 1/2 x 12 1/2 in.

monotype on Japanese handmade paper mounted on board

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

6 3/4 x 7 x 7 in.

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

ALEXANDER LIBERMAN

14 x 8 x 13 1/2 in.

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

LAWRENCE CARROLL

22 1/4 x 17 1/2 in.

mixed media on paper

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

FREDERIC SCHWANKOVSKY - Coastal Scene - oil on canvas on board - 29 1/4 x 39 1/4 in.

FREDERIC SCHWANKOVSKY

29 1/4 x 39 1/4 in.

oil on canvas on board

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

VICTOR VASARELY - Geometric Composition - lucite and aluminum - 6 3/4 x 6 3/4 x 6 3/4 in.

VICTOR VASARELY

Geometric Composition

6 3/4 x 6 3/4 x 6 3/4 in.

lucite and aluminum

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

UTAGAWA HIROSHIGE - Okabe: Utsu Mountain - color woodblock print; oban
Color woodblock print; oban - 9 1/2 x 14 3/16 in.

UTAGAWA HIROSHIGE

Okabe: Utsu Mountain

9 1/2 x 14 3/16 in.

color woodblock print; oban Color woodblock print; oban

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, diptych - 48 x 48 in.

Outside; Evening 12

oil on canvas, diptych

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

47 1/2 x 31 1/2 in.

color lithograph

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

ALBERT RAFOLS-CASAMADA

21 3/4 x 18 1/8 in.

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

ALEXANDER CALDER

22 x 29 1/2 in.

color lithograph

CHRIS TRUEMAN - RLM - acrylic and acrylic spray paint on canvas - 36 x 60 1/4 in.

36 x 60 1/4 in.

acrylic and acrylic spray paint on canvas

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

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

Forked Series #14

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

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

GIORGIO DE CHIRICO

original lithograph in five colors on paper

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

NORMAN ROCKWELL

Extra Good Boys and Girls

27 1/2 x 21 1/2 in.

collotype on paper

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

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

SALVADOR DALI - Battle Around a Dandelion - jacquard woven tapestry - 42 x 54 1/2 in.

Battle Around a Dandelion

42 x 54 1/2 in.

jacquard woven tapestry

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

color lithograph

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

21 7/8 x 18 7/8 in.

ink wash collage with drawing on verso on paper

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

F. MORTIMER LAMB

MASAKO TAKAHASHI - Untitled - oil on canvas - 25 x 21 1/8 in.

MASAKO TAKAHASHI

25 x 21 1/8 in.

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

GEORGE MIYASAKI

40 x 27 3/4 in.

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

Photograph with metal backing, metal clips, and acrylic front

ANDREA MODICA - Fountain, CO - platinum palladium print - sheet 8 3/4 x 11 3/4 in. image 7 1/2 x 9 3/8 in.

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

platinum palladium print

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

Seven Sisters Dreaming and Kuniya Dreaming

58 5/8 x 20 in.

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

ARISTIDES DEMETRIOS

Kandinsky Horse

5 1/2 x 9 x 2 in.

ROGER THOMAS - Grenelle Arm Chairs - Black Lacquer Finish and Gold Cord on Muslin with Original Drawings; Unique - 38 x 24 x 24 in.

Grenelle Arm Chairs

38 x 24 x 24 in.

Black Lacquer Finish and Gold Cord on Muslin with Original Drawings; Unique

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

proprietary pixel dust on aluminum

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

Formulation: Articulation

10 x 12 1/4 in. ea.

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

Untitled FL-121

pen and wash on paper

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

ELSIE LOWER POMEROY - Elsie and Friends - oil on panel - 23 3/4 x 29 3/4 in.

ELSIE LOWER POMEROY

Elsie and Friends

23 3/4 x 29 3/4 in.

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

31 1/4 x 24 in.

lithograph with gold leaf on hand tinted paper

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

Etching, Watercolor

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

acrylic on board

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

MELVIN MARTINEZ

mixed media on paper

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

Mujeres Trabajando

39 1/4 x 47 in.

acrylic on canvas

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)

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

18 1/2 x 24 in.

gouache on paper

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

GEORGES DE FEURE

31 x 23 1/4 in.

original lithograhic poster printed in six colors

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

LAZAR KHIDEKEL - Suprematist Composition, #172 - watercolor - 10 3/4 x 8 1/4 in.

Suprematist Composition, #172

10 3/4 x 8 1/4 in.

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

Architectonic Composition #135

10 1/2 x 8 1/4 in.

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

Marigolds, Flying Puppy

photograph on paper

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

oil on canvas on board

RICHMOND KELSEY - The Old Boats - oil on canvas - 16 x 20 1/4 in.

RICHMOND KELSEY

16 x 20 1/4 in.

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

RUFINO TAMAYO - Transparent Man - lithograph - 26 1/2 x 19 in.

Transparent Man

26 1/2 x 19 in.

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

22 1/2 x 15 in.

mixed media on paper

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

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

EDWARD HAGEDORN

gouache on paper

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

(small with yellow and black lines)

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

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

Chief's Blanket St. I

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

KRISJANIS KAKTINS-GORSLINE

Autolysis Blush

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

LAWRENCE SCHILLER

Barbra Streisand, Pg 23

Silver Gelatin Print

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

PABLO PICASSO (AFTER) - Femme Accoudée à sa Fenêtre - lithograph on Arches Paper - 27 x 19 3/4 in.

PABLO PICASSO (AFTER)

Femme Accoudée à sa Fenêtre

27 x 19 3/4 in.

lithograph on Arches Paper

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

MARISOL ESCOBAR

acrylic on cast paper

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.

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

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.

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

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

acrylic on canvas

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

graphite Prismacolor, ink and cut paper on paper

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

19 1/4 x 25 1/2 in.

colored pencil, gouache and graphite collage on paper

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

Provenance:
<br>Purchased in 1986 from Tamarind Institute
<br>Private Collection, CA

39 x 26 1/2 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

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

The Gardener's Daughter

original lithograph in colors

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.

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

ELAINE DE KOONING

oil pastel on paper

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