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The Wildenstein Catalogue Raisonné of Monet paintings offers a note on this painting: “During his second stay in Pourville-Varengeville, Monet painted the customs’ officer’s cottage several times and from various angles. This general view shows it overhanging the Gorge du petit Ailly." Monet spent six months in this part of Normandy in 1882, and the cabin in this painting was one of his favorite motifs to revisit. It appears in eighteen paintings from that year, and another dozen from a later trip to the area in 1897. His fixation with this house on the hill later became a habit of working serially – each canvas a singularity registering a unique guise yet set sequentially and in direct relationship to other works within the series. Monet circumambulated and painted the cabin from so many angles that as a group, the paintings are not as clearly recognizable as a series as the celebrated grain-stacks, Rouen cathedral, or poplar series. Still, it is a fixed and iconic element that reappears in many of Monet’s paintings from this period.
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<br>Japanese woodblock prints were a life-long source of inspiration for Monet, and this piece in particular draws upon Hiroshige's "Utsu Mountain, Okabe," c. 1833. This print is part of a series called “The Fifty-three Stations of the Tōkaidō,” which documented scenic views from the major road that linked the shōgun’s capital, Edo, to the imperial one Kyōto. Monet amassed an extensive collection of woodblock prints – many of which are still on view at Giverny.

Le Chemin du Petit Ailly a Varengeville

23 1/2 x 28 7/8 in.

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

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

The Great White Throne, Zion

oil on canvas laid on panel

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 FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

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

ALEXANDER CALDER

39 ½ x 29 ¾ in.

"The Busy Bee" (1875), demonstrates Homer's influential excellence in watercolor. He began working in the medium in 1873, painting scenes of children and the daily lives of everyday people. Homer's prolific work in watercolor helped to establish it as a serious artistic medium.
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<br>This piece is from the reconstruction era and depicts a single figure. The boy depicted in "The Busy Bee" is a model that appears repeatedly in Homer's work from this period, including some of the most widely celebrated reconstruction era paintings like "Dressing for the Carnival" (1877) at the Metropolitan Museum of Art. Nearly all Homer’s works from of the reconstruction era south are in museum collections. Another painting of the same model, "Taking Sunflower to Teacher" (1875), is in the Georgia Museum of Art.
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<br>This work is available from a private collection where it has stayed for the last 25 years. It has been exhibited widely beginning in 1876 at the National Academy of Design in New York and going on to be exhibited throughout the 20th century at major American museums such as The Metropolitan Museum in New York, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and The Amon Carter Museum of American Art in Fort Worth, Texas.

watercolor and gouache on paper

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

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

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

A Whirling Square

acrylic on canvas

One of the most celebrated artists of the American West, Charles Russell deeply appreciated Native American culture with particular focus on the Northern Plains Indians. He spent the summer of 1888 living near the camps of the Blackfeet, Piegan, and Blood Indians in Canada, which would inspire his work for decades to come. One of the first "Western" artists to live the majority of his life actually in the West, Russell lived in Montana from the age of 16.
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<br>Russell achieved great popularity during his lifetime for his emotionally charged depictions of the people and places he observed. This direct familiar observation added a depth to his work that was groundbreaking and affecting. Russell would work on the preliminary studies for his paintings in nature, out in the wild.
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<br>“Cascade Buffalo Hunt” has remained in a private collection for nearly 50 years.

CHARLES RUSSELL

Cascade Buffalo Hunt

18 1/4 x 24 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.

"Bateaux et Barques aux Martigues" (1907) exhibits the Fauvist style that would come to define Modern European Art from about 1904-1910. The Fauves or "Wild Beasts," as they were known for their revolutionary and unrestrained use of color, would exhibit together and work in the same French villages and locations. Henri Matisse, André Derain, Maurice de Vlaminck, and others in the group first showed together in 1905 at the annual Salon d'Automne in Paris.
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<br>Raoul Dufy was particularly fond of painting coastal scenes in the south of France; he would return to paint the stunning Mediterranean landscape throughout his career. "Bateaux et Barques aux Martigues" shows the influence of Paul Cezanne in its geometric structure and attention to composition. The present work was exhibited in the 2015 Museo Thyssen-Bornemisza exhibition, "Raoul Dufy."

Bateaux et Barques aux Martigues

18 x 21 1/2 in.

Studio interiors remained a favored subject for artists throughout the 19th and 20th Centuries. David Hockney’s “Bridlington Studio Interior” (1996) was painted during a difficult time for the artist. His mother’s illness in 1996 compelled the artist to use warmer colors and paint simple subjects such as still lifes, portraits, and interiors. The studio depicted here was located at Hockney's mother's house in Bridlington on the Yorkshire coast, evoking a sense of nostalgia that is deeply personal to the artist and drawing the viewer into the space. This emotionally charged work features a space devoid of figures; the easel and chairs are the only intimations of the presence of people.
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<br>“I love life. I write it at the end of letters – 'Love life, David Hockney.' When I’m working, I feel like Picasso, I feel I’m 30. When I stop I know I’m not, but when I paint, I stand up for six hours a day and yeah, I feel I’m 30. Picasso said that, from the age of 30 to 90, he always felt 30 when he painted.”- David Hockney

Bridlington Studio Interior

18 1/8 x 25 5/8 in.

Studio interiors remained a favored subject for artists throughout the 19th and 20th Centuries. David Hockney’s “Bridlington Studio Interior” (1996) was painted during a difficult time for the artist. His mother’s illness in 1996 compelled the artist to use warmer colors and paint simple subjects such as still lifes, portraits, and interiors. The studio depicted here was located at Hockney's mother's house in Bridlington on the Yorkshire coast, evoking a sense of nostalgia that is deeply personal to the artist and drawing the viewer into the space. This emotionally charged work features a space devoid of figures; the easel and chairs are the only intimations of the presence of people.
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<br>“I love life. I write it at the end of letters – 'Love life, David Hockney.' When I’m working, I feel like Picasso, I feel I’m 30. When I stop I know I’m not, but when I paint, I stand up for six hours a day and yeah, I feel I’m 30. Picasso said that, from the age of 30 to 90, he always felt 30 when he painted.”- David Hockney

Bridlington Studio Interior

18 1/8 x 25 5/8 in.

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

JAMES ROSENQUIST

Vanity Unfair for Gordon Matta Clark

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

"Ohne Titel (Merzbild Mit Schuhsohle)," Untitled (Merz Picture with Show Sole)," is representational of European Avant Garde trends of the early 20th Century, including most notably the Dada movement. Kurt Schwitters was born in Hanover, Germany, in 1887 and studied at the Dresden Academy. As an early associate of the Dada movement, it was planned for Schwitters to start a Hanover outpost of sorts for the group, but this never came to fruition.
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<br>An assemblage of found and crafted objects, the present work is typical of the Merz style, for which Schwitters is most highly lauded. Merz is a made-up term and describes the large assemblages and room installations that comprised the artist's output during the 1920s and 1930s. Schwitters is known as a father of installation art and was incredibly influential to artists such as Jasper Johns, Robert Rauschenberg, and Anselm Kiefer.

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

One of the most important and influential of the Abstract Expressionists, Helen Frankenthaler is famed for her soak-stain method. She thinned oil paint with turpentine before pouring it onto unprimed and unstretched raw canvas. This technique allowed the paint to spread across the surface while also soaking into the canvas itself, rather than sitting on top of a primer. She would call the meeting of colors on the canvas “well-ordered collisions.”
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<br>Frankenthaler’s method would become an impetus for the Color Field branch of Abstract Expressionism with Morris Louis citing her as an influence. Her influence was so immense, Louis even declared that she was “the bridge from [Jackson] Pollock to what was possible."
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<br>This painting showcases her switch to acrylics and the combination of technique at play – her soak-stain method layered with gestural thick swaths of paint, called impasto. The palette here is alluring in pale pink with thick accents of silver, graphite and copper (minerals), yellow, orange, and red. The title "Mica" has a double meaning, referring to the mineral group of colors and the Latin "micare" meaning "to glitter."

HELEN FRANKENTHALER

47 1/4 x 42 5/8 in.

acrylic on canvas

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

307 x 67 x 59 in.

stainless steel

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

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.
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<br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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

Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015. This painting has remained in the same private collection since its creation.
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<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.
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<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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

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.

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

25 1/2 x 20 1/2 in.

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

Double Silver Point Robes

53 1/2 x 96 in.

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

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.”
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<br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.

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

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

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

Siberian Sleighriders

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

oil on canvas on board

Gary Hume's "Seabird" (2006) is a bold, innovative work that shows his talent in seamlessly forming a geometric composition with his signature gloss-paint on aluminum technique. This piece is bright, playful, and an excellent example of Hume's work.
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<br>Gary Hume was an early member of the "YBA" or Young British Artist group. Hume participated, alongside Damien Hirst, in the seminal 1988 London exhibition "Freeze." Elected to the Royal Academy in 2001, Hume was also nominated for the 1996 Turner Prize. The artist was also subject of a critically acclaimed 2013 retrospective exhibition at the Tate Britain.
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<br>Hume's work is widely represented in Museum collections worldwide, including the Metropolitan Museum of Art in New York, The Philadelphia Museum of Art, and the Tate in London.

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

gloss paint on aluminum in four panels

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

Kenny Scharf established his reputation working in 1980s New York as a street artist. His organic forms - as seen in “Kolorbz” - are instantly recognizable. Scharf now works from Los Angeles where he began his career. He has decorated the facades of several buildings across the metropolitan area, including a project at the former Pasadena Museum of California Art. Scharf is associated with the Lowbrow art movement, a term which he pioneered and used and which refers to a combination of Pop Art and Surrealism.
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<br>In March 2020, Scharf set a new auction record of $525,000 for a depiction of the Flinstones estimated to sell for 20-50k. As the prices for Scharf’s contemporaries continue to soar into the stratosphere, many collectors and institutions are re-evaluating the Scharf market to reflect his art historical importance. Acquired directly from the artist, "Kolorbz" is a signature Scharf work, full of personality and energy with a burst of vibrant color.

oil and acrylic on canvas

Henry Moore, a father of Modern British sculpture, is known for his large-scale, semi-abstract figurative sculptures in bronze, wood, and marble. This 1960 bronze sculpture of two seated figures demonstrates Moore’s gestural treatment of material. The focus on a family group is reflective of the artist’s move toward a sense of optimism after World War II. Small sculptures like this one are rare, and in subject mater and composition are reminiscent of his earlier seated figures based upon ancient Egyptian royal sculpture.

Two Seated Figures Against Wall

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

bronze with brown patina

Gottlieb was a first-generation member of the Abstract Expressionists. “Blue on Black” is from his trademark “Burst” series. Like fellow Ab Ex artists including Pollock who settled into their signature style late in their careers, it was not until 1956 that Gottlieb focused on these burst paintings.
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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

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

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

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

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

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.

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

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

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.

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

77 x 46 x 46 in.

bronze, painted stainless steel

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

149 x 23 x 30 1/2 in.

copper and bronze

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

NATHAN OLIVEIRA

Couple with Red

50 1/8 x 42 in.

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

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

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

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

Figure in a Tub

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

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

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.
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<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

VALERIE JAUDON - Palmyra - oil on canvas - 84 x 114 in.

Perle Fine was chosen by her peers to be included in the seminal 1951 Ninth Street Show. She also participated from 1951 to 1957 in the invitational New York Painting and Sculpture Annuals. She was one of the 24 artists (from 156 New York School artists) to be included in all of the Annuals – Grace Hartigan, Joan Mitchell, and Elaine de Kooning were among the other 24.
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<br>The title of this piece references Marcel Duchamp's Modernist classic, "Nude Descending a Staircase" from 1912, which combined cconcerns of Cubism and Futurism in an artistic tradition of analyzing motion via photography. The subject of this painting may relate to the 1958 Whitney show, "Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in 20th-Century Art," of which her work was a part.
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<br>For Fine "Abstract Expressionism had never been a form of open rebellion against earlier styles, but rather a beautiful, unexplored country."
<br>- Housley, Kathleen L. (January 1, 2003). "The Tranquil Power of Perle Fine's Art". Woman's Art Journal. 24 (1): 3–10.

Figure Descending a Ladder

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

32 x 23 x 78 in.

bronze and steel

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

ink wash on paper

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

Standing Male Figure

70 x 13 3/4 x 19 in.

polychrome plaster and wood

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.

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

37 x 33 x 64 in.

stainless steel

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

41 x 77 x 15 in.

stainless steel welded chaise

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

Considered a third-generation Abstract Expressionist, Judith Godwin’s work is influenced by color, gesture, emotions, and personal experiences. In 1953 she moved to New York to attend the Art Students League of New York and the Hans Hofmann School of Fine Arts. It was during this period that she embraced Zen living, which has continued to inspire her style and personal life. In the late 1950s, around the time this painting was created, Betty Parsons invited Godwin to join her gallery, Section Eleven.

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

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

JOANNA POUSETTE-DART

81 x 117 1/4 in

acrylic on canvas over wood panels

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

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.

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

CHARLES ARNOLDI

acrylic on canvas

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

Formas Tensionales

oil, cardboard on masonite

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

72 x 30 x 54 in.

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

ROY LICHTENSTEIN

56 3/4 x 78 3/4 in.

10-color woodcut screenprint

Carl Andre is an American artist who helped pioneer minimalist sculpture and was the husband of famed and celebrated artist Ana Mendieta. This is a classic text piece from the early 1960s and is typical of his poems which are composed by selecting individual words from source texts, and then ordering them on the page according to simple and self-evident criteria, which, in this case, is by alphabetical listing. Aviator Charles Lindbergh deep fascinated Carl Andre whom he returned to as a source for his poetry. This work with its structured repetition like his famed sculptures reflect the minimalism and post-minimalism emerging in the 1960s and the 1970s including fellow concrete poet Christopher Knowles.

Five Hundred Terms for Charles A. Lindbergh

ink on paper on board

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

80 3/4 x 32 3/4 in.

acrylic on canvas

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

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

Barn Group Near Marion

11 1/2 X 23 7/8 in.

oil on masonite

STEPHEN PACE - #5757 - oil on canvas - 79 3/4 x 66 in.

79 3/4 x 66 in.

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

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

LOUISE BOURGEOIS

Plate 5 of 9 from He Disappeared Into Complete Silence

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

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

THOMAS NOZKOWSKI

oil on linen on panel

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

A first-generation Abstract Expressionist, Charlotte Park lived next to Jackson Pollock and Lee Krasner who became close influences. Before moving to New York, Park lived in Washington D.C. and took classes with Cubist painter Wallace Harrison. Those Cubist influences are evident in her distinctive geometric and gestural forms. Her early 1950 works consisted mainly of black and white paintings, colored gouaches, and gestural drawings; here, in “Untitled,” we see an exploration of color, gesture, and form in this critical early period of her career. A year after this painting was completed, Park showed at the Whitney Museum of American Art’s “Annual Exhibition of Contemporary Painting.”

42 x 35 3/4 in.

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 was a fixture of the American West Coast School. His work was featured in the "Four Abstract Classicists" exhibition in 1959-60 at the San Francisco Museum of Art (now the San Francisco Museum of Modern Art) and the Los Angeles County Museum at Exposition Park (now the Los Angeles County Museum of Art) alongside Lorser Feitelson, John McLaughlin, and Frederick Hammersley. That exhibition was viewed as Los Angeles' answer to Abstract Expressionism as the West Coast artists' hard edge paintings offered an alternative style to the New York School's energetic brushwork and action painting.
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<br>Benjamin also had a prominent place in "Birth of the Cool: California Art, Design and Culture at Mid-Century," a 2007-09 national traveling show organized by the Orange County Museum of Art.

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

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

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

Kingstown, St. Vincent

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

GUSTAVO LOPEZ ARMENTIA

Imágenes, Recuerdos y Soledades

acrylic on panel

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

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

Portrait of the Artist's Wife

20 7/8 x 25 5/8 in

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

MABEL MAY WOODWARD

14 1/2 x 19 1/2 in.

watercolor on paper

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

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

oil and acrylic on canvas

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

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

REMBRANDT VAN RIJN

The Good Samaritan

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

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

Untitled (Oak Leaves)

Pennsylvania native Shirley Goldfarb won a scholarship for study at the Art Students League of New York from 1952-1953. During this time in New York she frequented the Cedar Bar where other AbEx artists convened, then the following year moved to Paris. She remained there the rest of her life, developing her particular AbEx style that combines painterly action with light and color. There, she befriended contemporaries Joan Mitchell, Sam Francis, Alberto Giacometti, Man Ray, Max Ernst, Andy Warhol, and David Hockney. A portrait of Goldfarb by Hockney is now in the collection of the San Francisco Museum of Modern Art.

SHIRLEY GOLDFARB

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

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

screenprint in colors on wove paper

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

BILLY AL BENGSTON

Syltkakor Draculas

acrylic on canvas

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

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.

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

JACK YOUNGERMAN

White Open Round

72 in. diameter

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

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

LUDWIG SANDER - Mongohela - oil on canvas - 54 1/8 x 60 in.

54 1/8 x 60 in.

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

55 7/8 x 35 1/4 in.

colored etching

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

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

41 1/2 x 28 in.

pastel on paper

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

acrylic on canvas

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

FERNANDO CANOVAS

63 5/8 x 51 1/4 in.

acrylic on canvas

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

SUSAN HUTCHINSON

resin and acrylic on wood panel

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

94 x 47 x 16 in.

reinforced Kozo washi

FERNAND LEGER - Marie l'Acrobate - color lithograph - image: 21 1/2 x 16 3/8 in. sheet: 23 7/8 x 19 5/8 in.

Marie l'Acrobate

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

color lithograph

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

Mexican Silver Grizzly

26 1/4 x 37 1/2 in.

painting on paper

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

71 x 82 1/2 in.

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

Untitled (Blue Over Brown)

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

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 in.

acrylic on canvas

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

JACKSON POLLOCK

15 1/2 x 23 1/2 in.

engraving with drypoint

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

72 x 96 1/4 in.

mixed media on panel

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

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

graphite on paper

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

De La Tierra Tan Solo Brota

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

KATHERINE PORTER

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

Small Mirage Study #398

vapor drawing on canvas

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.

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.

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

Near Ocean View

watercolor on paper

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

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

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

20 1/8 x 22 in.

oil on paper mounted on board

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

10 3/4 x 15 3/4

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

Untitled Drawing

63 x 59 3/4 in.

pigment on graphite on paper

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

63 1/4 x 51 1/4 in.

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

WILLIAM LESTER STEVENS

A River in Winter

25 x 30 1/8 in.

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.

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

WILLIAM GLEN CROOKS

Night and Day Café

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

HENRI DE TOULOUSE-LAUTREC - Madame Marcelle Lender en Buste - lithograph in colors - 13 1/2 x 10 in.

HENRI DE TOULOUSE-LAUTREC

Madame Marcelle Lender en Buste

13 1/2 x 10 in.

lithograph in colors

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

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.

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

DEBORAH OROPALLO

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

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.

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

mixed media on canvas

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

20 1/4 x 27 1/4 in.

silkscreen printed in colors on wood-veneered paper

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 - 25 x 20 in.

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

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

ROBERT MOTHERWELL

Frontispiece from" A la Pintura"

25 3/4 x 37 3/4 in.

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

Scatological Scene

acrylic and watercolor on linen

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

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

JESSIE ARMS BOTKE

The Yellow Shawl

17 1/4 x 13 1/4 in.

charcoal on paper

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

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 - SIR-RIS positive - aluminum - 6 3/4 x 6 3/4 x 6 3/4 in.

VICTOR VASARELY

SIR-RIS positive

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

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 - 9 1/2 x 14 1/4 in.

UTAGAWA HIROSHIGE

Okabe: Utsu Mountain

9 1/2 x 14 1/4 in.

color woodblock print; oban

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

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

CARLOS BETANCOURT

Re-Collections XV

print on fine art paper

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

gouache and acrylic on panel

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

Pair of Architectural Singas

Height: 26 1/2 in. ea.

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

Snapshot Odyssey

30 x 39 1/2 in.

color lithograph, digital, chine collé, collage

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

Outside: Evening 12

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

47 1/2 x 31 1/2 in.

color lithograph

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

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

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

NICHOLAS COLEMAN

Untitled - Two Bison near Spouting Geyser

oil on masonite

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

Schlucht am Abend (Evening Gorge)

24 1/2 x 18 1/4 in.

egg tempura and collage on paper

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

FELANDUS THAMES

acrylic on canvas

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

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

artist's burdensome possessions

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

color lithograph

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 on paper - 40 x 27 3/4 in.

GEORGE MIYASAKI

40 x 27 3/4 in.

mixed media on paper

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

Black to White 36

acrylic on canvas board

ALBRECHT DURER - Betrayal of Christ (from the Engraved Passion) - original engraving - 4 5/8 x 3 in.

Betrayal of Christ (from the Engraved Passion)

original engraving

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

Coffee Thyme (Black)

31 3/4 x 44 in.

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

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

photograph with metal backing, metal clips, and acrylic front

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

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

platinum palladium print

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

Seven Sisters Dreaming and Kuniya Dreaming

58 5/8 x 20 in.

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

ARISTIDES DEMETRIOS

Kandinsky Horse

5 1/2 x 9 x 2 in.

ROGER THOMAS - Grenelle Arm Chairs - black lacquer finish and gold cord on muslin with original drawings - 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

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

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

TAKASHI MURAKAMI

Here Comes Media

19 3/4 x 19 3/4 in.

offset lithograph in colors

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

oil on canvas on board

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

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 - Red - gouache on paper - 24 x 18 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.

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

KRISJANIS KAKTINS-GORSLINE

Autolysis Blush

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

LAWRENCE SCHILLER

Barbra Streisand, Pg 23

Silver Gelatin Print

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

PAULETTE TAVORMINA

archival digital pigment print

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

Matchbox: The Tobacco Safety Match

29 1/4 x 20 1/2 in.

watercolor on paper

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

Spanish Rider (Arizona)

7 7/8 x 9 7/8 in.

toned gelatin silver photograph

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

TATSUZO SHIMAOKA

12 x 11 x 11 in.

painted and glazed ceramic

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

Hockney in Freud's Studio

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

CLARE RICHARDSON

Untitled I (from Sylvan)

42 1/4 x 50 in.

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

TADAAKI KUWAYAMA

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

16 x 20 x 1 5/8 in.

carved acrylic on masonite

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

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

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

GASTON DE LATENAY

Les Chasseuresses (the Huntresses)

25 1/8 x 19 3/8 in.

color lithograph on paper

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

LOUISE NEVELSON

23 1/4 x 17 3/4 in.

photo lithograph

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

Icebergs (Disco Bay, Greenland)

13 1/4 x 11 in.

toned gelatin silver print

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

lithograph on paper

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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