MENU

SEARCH

Min Price:

Max Price:

Home
About
- Palm Desert
- Jackson Hole
- Montecito
- New York
- Los Angeles
- Basel
- San Francisco
- Newport Beach
- Austin
- New Orleans
- Consultants
- Services
Artwork
Artists
Exhibitions
Viewing Room
Publications
Press
Sell
Contact

Home
About
- Palm Desert
- Jackson Hole
- Montecito
- New York
- Los Angeles
- Basel
- San Francisco
- Newport Beach
- Austin
- New Orleans
- Consultants
- Services
Artwork
Artists
Exhibitions
Viewing Room
Publications
Press
Sell
Contact

Artwork

View By: Artists Categories Price

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

Smooth Egg with Bow (Magenta/Violet)

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

mirror-polished stainless steel with transparent color coating

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

Abstract Painting, 1959

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

VINCENT VAN GOGH

La Chaumière et une Paysanne Sous les Arbres

19 3/8 x 18 1/4 in.

CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.

L’Ancienne rue de la Chaussée, Argenteuil

18 1/4 x 25 7/8 in.

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

ALEXANDER CALDER

Jerusalem Stabile (Intermediate Maquette)

43 x 107 x 45 in.

CAMILLE PISSARRO - Le Jardin des Tuileries, Apres-Midi, Soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

Le Jardin des Tuileries, Apres-Midi, Soleil

26 x 36 1/2 in.

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

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

The Shepherdess

22 3/4 x 15 3/4 in.

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

WILLEM DE KOONING

Woman in a Rowboat

47 1/2 x 36 1/4 in.

oil on paper laid on masonite

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

Tête de Femme (Déesse)

1970 (cast 1988)

66 x 36 1/2 x 30 in.

bronze with black patina

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

Apres-midi d'aout a Veneux

21 1/4 x 28 3/4 in.

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

acrylic and graphite on canvas

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

Oiseau, Insecte, Constellation

50 3/4 x 38 1/8 in.

ALFRED SISLEY - Confluent de la Seine et du Loing - oil on canvas - 21 1/4 x 28 3/4 in.

Confluent de la Seine et du Loing

21 1/4 x 28 3/4 in.

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

FRANCIS PICABIA

25 1/2 x 20 1/2 in. .

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

FREDERICK FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

"Under the Striped Umbrella" is a mural painting by Frederick Carl Frieseke, an American Impressionist who spent most of his productive years as an expatriate in France. 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. Ultimately, the painting depicts elegant young ladies with bonnets, as well as several children playing in the sand and figures on horseback enjoying a day at the beach under striped parasols.
<br>
<br>In 1906, Frieseke and his wife settled in the art colony in Giverny, where the great French Impressionist Claude Monet resided. Here, Frieseke found his aesthetic and asserted his familiar theme. The parasol also became a frequent motif — protecting his female models and reinforcing their position as articles of beauty and the recipient of the viewer’s gaze.
<br>
<br>"Under the Striped Umbrella" was installed at the Hotel Shelburne in February 1906. In 2000 and 2001, it was exhibited at the Telfair Museum of Art in Savannah, Georgia, in the exhibition "Frederick Carl Frieseke; The Evolution of an American Impressionist."
<br>
<br>Frieseke exhibited extensively in the United States and in his adopted France. His work is in the permanent collections of the North Carolina Museum of Art, the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Museum of Fine Arts-Boston.

FREDERICK FRIESEKE

Under the Striped Umbrella

60 1/2 x 190 1/2 in.

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

VINCENT VAN GOGH

Uitzicht over Den Haag met de Nieuwe Kerk

9 7/8 x 14 1/16 in.

watercolor, gouache, and pen and brown ink on paper

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

CAMILLE PISSARRO

Le Quai de Pothuis a Pontoise

18 1/8 x 21 7/8 in.

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

watercolor and gouache on paper

By the 1970s, when "Cantilever" was created, Alexander Calder was at the height of artistic prowess. He created this piece with an informed eye, having been working for the better part of the century on identifying and expounding upon his unique creative vision. One of the most instantly recognizable artists of his time, Calder was referred to as an "Engineer of Beauty" by his close friend and neighbor Robert Osborn. "Cantilever" is a bold experiment in balance, form, and color in the third dimension.
<br>
<br>The work was exhibited at the Perls Gallery, Calder's primary dealer. Since that time, the work has remained in the same private collection. It is registered in the archives of the Calder Foundation, New York, under application number A08148.
<br>
<br>
<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."

ALEXANDER CALDER

34 1/4 x 60 1/4 x 14 3/4 in.

sheet metal, wire and paint

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

The Great White Throne, Zion

oil on canvas laid on panel

SIR WINSTON CHURCHILL - Lake Near Breccles in Autumn - oil on canvas - 22 x 29 in.

SIR WINSTON CHURCHILL

Lake Near Breccles in Autumn

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 1/2 x 29 3/4 in.

FERNAND LEGER - Etude Pour La Grande Parade - gouache, watercolor, pencil and ink on paper - 29 1/4 x 35 in.

Etude Pour La Grande Parade

29 1/4 x 35 in.

gouache, watercolor, pencil and ink on paper

Alexander Calder’s “Red Versus Yellow” (1973) evokes a delicate sense of balance in form and color. Calder began working on sculptures as early as 1909, and these early, often austere, pieces later developed into his iconic “Stabiles” and “Mobiles.” The “Stabile” form ranges in size from palm-sized works to monumentally scaled public art installations. The present work, “Red Versus Yellow” is a modestly sized work that shows the artist working with the confidence of a master. The piece is registered in the archives of the Calder Foundation, New York, under application number #A08159.
<br>
<br>1973 was a prolific year for the artist; many seminal works were created in that year including, “Stegosaurus,” a 50’ tall sculpture created for the Wadsworth Atheneum, Hartford, Connecticut.
<br>
<br>Calder's work is held in the collections of major museums worldwide including The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art in New York, the Art Institute of Chicago, and the Tate Gallery in London among many others.

ALEXANDER CALDER

Red Versus Yellow

21 7/8 x 23 1/2 x 9 1/2 in.

sheet metal, wire and paint

One of the most recognizable names among the Abstract Expressionist women, Helen Frankenthaler made significant contributions to American Post-War painting. Her use of staining pigment directly on canvas gave way to the Color Field movement. By pouring paint on raw canvas, Frankenthaler fused the pigment into the very fabric, drawing attention to the nature of paint and color.
<br>
<br>In this painting from 1982, Frankenthaler mixes the surface of the canvas with thick use impasto, showcasing her ability to mix color and textures. The sprays of blue and red impasto against the tonal changes of the stained canvas create dynamic depth. "Terracotta" has never been to auction and has belonged to the same private collection since 1982.
<br>
<br>Having exhibited her work for over six decades, from the early 1950s until her death in 2011, Frankenthaler spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Her work has been the subject of several major retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York.

HELEN FRANKENTHALER

68 1/4 x 61 3/4 in.

acrylic on canvas

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

La Communiante Avec Missel

25 5/8 x 21 1/2 in.

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

By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop. "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre.
<br>
<br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.

Girl Seated Against Square Wall

conceived in 1957-

40 1/2 x 33 x 27 5/8 in.

bronze with patina

ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.

ADOLPH GOTTLIEB

95 3/4 x 144 1/4 in.

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

JAMES ROSENQUIST

oil on canvas over panel

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

TAKASHI MURAKAMI

Want to Hold You

acrylic on canvas

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

Pair of Wooden Temple Figures, Nio

"Untitled" (2008) is a creative vision in which Richard Prince combines two of his signature styles. In the background of the work, a collage appropriates romance novel covers featuring the nurses that have inspired his other seminal painting series. In the foreground, the Stenciled joke is the focal point of the work -- an example of the artist's innovative ability to combine words and ideas on a two-dimensional surface for an impactful presentation.
<br>
<br>This painting has belonged to the same private collector since its initial purchase from Larry Gagosian in 2008. Richard Prince is featured in countless museum collections worldwide, including The Museum of Modern Art in New York, The Art Institute of Chicago, Kunstmuseum Basel, and Weserburg Museum of Modern Art, Bremen, among many others

120 x 96 x 1 1/2 in.

acrylic and collage on canvas

Andy Warhol was the indisputable father of Pop art. His works from the early 1980s are among his most refined stylistically and show the artist at the height of his practice. During this period, Warhol's compositional structure and use of color are arguably his most confident and precise. "Portrait of a Lady" (1982) is a prime example of Warhol's portraiture. His society portraits include some of his most recognizable images of the rich and famous, but the identity of this sitter is a mystery. She appears in at least one other unique portrait by Warhol. The timeless elegance of this depiction exemplifies Warhol's preoccupation with youthful beauty and the act of capturing that ideal on canvas.
<br>
<br>Opportunities to acquire unique Andy Warhol paintings of this size are becoming increasingly rare as they are actively sought by museums and international collectors alike.

Portrait of a Lady

polymer paint and silkscreen ink on canvas

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

1962 Plus 35 Nude Sketch II

43 x 58 5/8 in.

alkyd oil on canvas

Among the most desirable subjects in Moore's oeuvre are his Family Groups. The theme was first explored in a 1922 stone sculpture and evolved into a public commission from the British government prior to World War II. After the war, the subject was revisited as the message of rebuilding strong families was critical to the British people's recovery.
<br>
<br>"Family Group" (1945) documents the optimisim and hope of Post-War Europe in sculptural form. The young family depicted shows the rebirth of the British people after one of the darkest eras in human history.

7 x 4 x 2 1/4 in.

bronze with patina

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

JAMES ROSENQUIST

Vanity Unfair for Gordon Matta Clark

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

DAVID BREUER-WEIL - Flight - bronze - 275 in.

DAVID BREUER-WEIL

conceived in 2018

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

CAMILLE PISSARRO

Le Pere Melon Fendant du Bois

12 5/8 X 9 3/4 in.

gouache on linen

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.

Irving Norman's masterpiece, "The Human Condition," from 1980, draws upon the artist's lifetime of acquired experiences and knowledge. Surviving as a volunteer fighter during the Spanish Civil War, the artist returned to the United States after the loyalist defeat. Upon his return, fervent studio practice in Half Moon Bay, California, would become his life's devotion.
<br>
<br>The present work, a nearly 16-foot-wide triptych, is reminiscent of Hieronymus Bosch's triptych, "The Garden of Earthly Delights," c. 1510. The dystopian vision portrayed in 'The Human Condition" is a warning - a lesson from the European dictatorships Norman experienced firsthand during the 1930s. Disturbing tableaus show the darkness of humanity and the evil that can rise to prominence when humanity is at its worst. There is hope, however, in the experience of the viewer: Norman thought of his audience as the greatest hope for humankind.

The Human Condition

Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot," in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).

Portrait de Femme (Françoise)

25 7/8 x 19 7/8 in.

colored wax crayons on paper

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

*This sculpture has been Radiocarbon (C14) tested by Rafter Radiocarbon Laboratory, Lower Hutt, New Zealand and has been found to be 395 +/ - 43 years old.
<br>
<br>This is Maitreya, the “happy Buddha” of the future, whose sculpture once stood in a Buddhist temple. The Buddha-to-be represents the harbinger of a new age and will be reborn in a period of decline to renew the doctrine of Buddhism.
<br>
<br>This 74-inch-tall painted wood figure from China’s Ming dynasty sits in vajrasana, the left hand in varadamudra and the right hand in vitarkamudra, with his feet crossed at the ankles. The position represents reasoning, argumentation, or explanation of a teaching. Dressed in the clothes of either Bhiksu or Indian royalty and adorned with jewelry and high tiara, Maitreya exudes majesty and limitless tolerance and generosity. His images appear in Gandhara, possibly predating those of the Buddha. The prophesy, which appears in the literature of all the major schools of Buddhism, holds that Maitreya’s purpose as the successor to the current Buddha is to achieve complete enlightenment. Physical events will mark his coming of Maitreya, including the shrinking of the oceans so that he can traverse them. It will also bring the unveiling of the true dharma, allowing the birth of a loving new society built on tolerance and health rather than warfare and famine. Not surprisingly, the name Maitreya comes from the Sanskrit word maitri, which means “loving kindness.”

Figure of Maitreya

Ming Dynasty (1368

74 x 56 x 42 in.

WINSLOW HOMER - Towing the Boat - watercolor and pencil on paper - 6 1/2 x 11 1/4 in.

Towing the Boat

6 1/2 x 11 1/4 in.

watercolor and pencil on paper

Pierre-Auguste Renoir (1848-1919) was one of the Impressionist movement's central figures, admired for his soft color palette and signature brushwork that captured the ephemeral moment, freezing it in time.
<br>
<br>Renoir was fascinated with the atmospheric effects that could be achieved with pastel, as it best captured the essence and subtlety of light. His pastels were the source of experimentation with new printing mediums as he worked in collaboration with the French art publisher and dealer, Ambroise Vollard, to create pastel counterproofs, or reverse impressions on separate sheets mirroring the original. This exploration demonstrates how vital the pastel drawings were to the master. Works on paper by Renoir are an attractive complement to the oil paintings, which can sell at auction for up to $78,000,000 USD.
<br>
<br>Renoir's pastel drawings allowed the artist to explore his subject spontaneously. "Portrait de femme" (1885) was held in a private European collection for many years and exhibits Renoir's mastery of the pastel medium.

PIERRE-AUGUSTE RENOIR

Portrait de Femme

19 x 16 1/8 in.

pastel on paper

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

307 x 67 x 59 in.

stainless steel

Andy Warhol's portrait of Dorothy Blau highlights the close ties between them and is evidence of how each pushed the other. Blau was a close friend of Andy Warhol and a pillar of the art scene in Miami. She has the rare distinction of being a repeated subject in Warhol's work as he created portraits of her two times, three years apart. This blue canvas presents a younger Blau in her first Warhol portrait in 1983.
<br>
<br>Warhol credited Blau as a critical component in his rise to international fame and as a pillar of 20th century art. This 1980s portrait contains all of the hallmarks of Warhol during his last decade, a period in which he found renewed creative impulses and a return to hand painting.

Portrait of Dorothy Blau-Blue

acrylic and silkscreen ink on canvas

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

Archaeology of Desire

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

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

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

BARBARA HEPWORTH - Five Forms with Three Circles - white marble - 9 1/2 x 4 1/4 x 5 1/2 in.

BARBARA HEPWORTH

Five Forms with Three Circles

9 1/2 x 4 1/4 x 5 1/2 in.

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.
<br>
<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.
<br>
<br>A recent 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.
<br>
<br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million.
<br>
<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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

Carl Andre’s floor sculptures are typically made from glowing tiles of lead, zinc, or copper. They differ from most other minimalist artwork in their accessibility: they are meant to be walked on. Art historically, Andre places himself in the lineage of Constantin Brancusi and Henry Moore. Andre continues in their tradition of reducing the vocabulary of sculpture to its most vital and simple forms. The works also speak to Donald Judd’s idea of “specific objects,” which emphasized the phenomenological experience of the viewer and an exploration of structure and space.

16 Ace Zinc Square

16 x 16 x 1/4 in. ea./installed 64 x 64 x 1/4 in.

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

FERNANDO BOTERO

Dibujo a la Manera de Velasquez

60 1/2 x 47 1/2 in.

charcoal and pastel on cardboard

FRANK STELLA - Untitled - three dimensional mixed media on board, mounted on wood - 43 x 128 x 12 in.

43 x 128 x 12 in.

three dimensional mixed media on board, mounted on wood

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

GRANVILLE REDMOND

The Evening Desert

98 3/4 x 79 1/4 in.

acrylic on canvas

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.
<br>
<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.

Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

JULIAN SCHNABEL

Pascin Pig Passin Time

48 x 40 x 6 in.

oil, plates, and bondo on board

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

25 1/2 x 20 1/2 in.

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

Double Silver Point Robes

53 1/2 x 96 in.

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

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

Samurai Tree - Invariant Gold 2

47 1/4 x 47 1/4 in.

acrylic on canvas

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

Siberian Sleighriders

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

oil on canvas on board

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

Survival: Hide under water…

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

Lions on the Dreyfus Fund, Inc.

63 x 35 1/2 in.

pencil and oil on cut wood and canvas

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.
<br>
<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.”
<br>
<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

Pablo Picasso began creating linocuts in 1939 to serve as posters for pottery exhibitions in Vallauris and bullfighting events. His experimentation with the medium grew, and he developed a new "reduction" method for creating prints progressively from a single block - as the usual method required separate blocks for each color. A prolific printmaker, Picasso created over 2,500 prints in various media during his lifetime, but linocuts such as this one form a relatively small portion of that output. "Deux Femmes avec un Vase a Fleurs" comes from 1959, within the short period of activity developing his linocut technique, and just after his relocation to the Château de Vauvenargues near Aix-en-Provence with his wife Jaqueline Roque.

Deux Femmes avec un Vase a Fleurs

25 1/2 x 30 1/2 in.

linocut printed in color on Arches vellum paper with Arches watermark

George Rickey’s kinetic sculptures set stainless steel into graceful motion. Responding to subtle breezes, his angular and elegant works such as “Two Lines Up, Oblique” (1984) have enchanted viewers since their debut in 1951 at the Museum of Modern Art’s group exhibition of American sculpture. The comparable “Two Lines Temporal I” from 1964 is part of MoMA’s permanent collection. The Solomon R. Guggenheim Museum in New York mounted a retrospective of Rickey’s work in 1979, and his sculptures are represented in many other major museum collections, including the National Gallery of Art and the Hirshhorn Museum in Washington, D.C.
<br>
<br>In 1985, the year following his creation of the present work, Rickey received a major retrospective in his birthplace of South Bend, Indiana, at the South Bend Art Center and the Snite Museum of Art at the University of Notre Dame.

Two Lines Up, Oblique

252 x 120 x 8 1/8 in.

stainless steel

Françoise Gilot was Picasso's muse and lover for nearly a decade beginning in 1946, the year he created this drawing. She became an iconic recurring image in the artist's work, reinvigorating his practice with a sense of joy after the dark period of World War II, and many of these portraits remained in his collection for the rest of his life. Picasso often drew Gilot from memory, thereby rendering her as more of a symbol or an ideal than as a model. As Michael Fitzgerald notes, “Picasso's portraits of Françoise were not drawn from life…unlike in the cases of Picasso's other wives and mistresses, there are almost none that reproduce her features strictly" (Michael Fitzgerald, "A Triangle of Ambitions: Art, Politics, and Family during the Postwar Years with Françoise Gilot," in Picasso and Portraiture, London, 1996, p. 416). On the significance of Gilot to this period for Picasso, Frank Elgar writes, "the portraits of Françoise Gilot have a Madonna-like appearance, in contrast to the tormented figures he was painting a few years earlier" (Frank Elgar, Picasso, New York, 1972, p. 123).

Portrait de Femme (Françoise)

25 7/8 x 19 7/8 in.

colored wax crayons on paper

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

ELAINE DE KOONING

Untitled (Totem Pole)

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

oil on canvas stretched over cardboard cylinders

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

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

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

Eulogy (Commission)

159 x 72 x 4 in.

acrylic on canvas

DONALD ROLLER WILSON - The Clone, the Fuse, and Sister Dinah Might - oil on canvas - 64 x 87 in.

DONALD ROLLER WILSON

The Clone, the Fuse, and Sister Dinah Might

The only known extant Diebenkorn sculpture, this welded iron form is a brilliant example of his artistic development and the creative energy of his early work.
<br>
<br>This rare sculpture comes from a period of experimentation and a burst of lyrical creativity that the artist experienced while in graduate school at the University of New Mexico. It was likely included in his 1951 Master's Degree Exhibition at that institution. Like many American artists before him, Diebenkorn was enthralled with the atmosphere and landscape of the Southwest. He produced energetic and unpredictable canvases with bold, warm colors, barely contained within their underlying geometric structure. This iron sculpture demonstrates the far reaches of the artist’s exploration, establishing the essential linear framework that would come to characterize his later work.
<br>
<br>This piece was the only sculpture included in the 2008 exhibition "Diebenkorn in New Mexico" at the UNM Harwood Museum of Art in Taos. Since his first retrospective in 1976 at the Albright-Knox Art Gallery in Buffalo, New York, Diebenkorn has found a place in over 50 museum collections worldwide and is recognized as a major creative force of the 20th Century.

RICHARD DIEBENKORN

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

welded scrap iron

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

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

30 1/4 x 20 1/8 in.

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

ADOLPH GOTTLIEB

24 x 18 7/8 in.

acrylic on paper laid on canvas

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

MATTHEW MONAHAN

107 x 62 x 27 in.

NATHAN OLIVEIRA - Standing Figure #4 - oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

Standing Figure #4

NATHAN OLIVEIRA - Antlers - oil, alkyd and wax on canvas - 84 x 70 x 1 1/2 in.

NATHAN OLIVEIRA

84 x 70 x 1 1/2 in.

oil, alkyd and wax on canvas

NATHAN OLIVEIRA - Han Stele with Wheels - oil and alkyd on canvas - 84 x 70 in.

NATHAN OLIVEIRA

Han Stele with Wheels

oil and alkyd on canvas

NATHAN OLIVEIRA - Seated Man in Room - oil on canvas - 78 x 60 x 1 in.

NATHAN OLIVEIRA

Seated Man in Room

78 x 60 x 1 in.

"Forth Hoyo", 1970 represents a departure from the gestural works created in the proceeding years. In "Forth Hoyo," Olitski emphasizes the transitory quality of light and the acrylic paint medium's possibilities. Olitski breaks down the paint, diluting it to a point where it can easily be combined with water to create an ephemeral effect throughout the work.
<br>
<br>Light is as much an actor in this work as the acrylic medium; the present work is a truly museum-quality example of the artist's experimental nature.
<br>
<br>His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Chicago Art Institute, Chicago IL; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art, The Museum of Modern Art, The Solomon R. Guggenheim Museum and The Whitney Museum of American Art, New York.

water-based acrylic on canvas

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.
<br>
<br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

Sancai-Glazed Horse with Cut-Fur Blanket

Tang Dynasty (618-

29 1/2 x 33 x 12 in.

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

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

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

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

Big Grid / Solo Tear

84 x 84 x 36 in.

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
<br>
<br>"Untitled" (1954-1955) comes from the height of the Abstract Expressionist movement. This painting is an explosive composition that demonstrates Matter's command of color and movement.

MERCEDES MATTER

53 X 47 1/8 in.

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

WOJCIECH FANGOR

As a member of the legendary Gutai Art Association that flourished between 1954 and 1972, Sadamasa Motonaga emerged when post-atomic surrealist existentialism was at the forefront of artistic development in Japan. Yet he chose a different path. He turned his back on the destruction wrought by the war and created work that was fresh, jubilant, and playful. “Untitled” of 1966 is in his classic style, which developed concurrently with Morris Louis’ so-called ‘Veil’ paintings. It might suggest the brightly lit comb, eye and mottled plumage of a gallinaceous bird, but any such associations are probably arbitrary and unintended. Instead, it is a brilliantly successful display of Motonaga’s avant-garde take on traditional Japanese Tarashikomi — the technique that involves tilting the canvas at different angles to allow mixtures of resin and enamel to flow upon one another before the paint is fully dry.

SADAMASA MOTONAGA

16 x 12 1/2 in.

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

Untitled (Portrait)(Boy)

65 3/4 x 48 3/4 in.

inkjet on canvas

Gabriel Orozco’s body of work is multidimensional, reaching across the media of painting, sculpture, printmaking, photography, and installation. Born in Mexico in 1962, he attended the Escuela Nacional de Artes Plásticas at the Universidad Nacional Autónoma de México, Mexico City, and then studied at the Círculo de Bellas Artes in Madrid. A blend of inspirations is evident in his work, from Conceptualism and the readymades of Marcel Duchamp to the artistic traditions of Mexico. Often pairing found objects with unusual arrangements and geometric patterns, Orozco studies the relationship of everyday objects to human beings.
<br>
<br>Orozco’s series centering on athletics, games, and gambling explore entertainment and leisure activities through images clipped from newspapers, overlayed with neatly arranged circles and semicircles. The art historical lineage of these geometric interventions can be traced to the groundbreaking abstraction of Kazimir Malevich or the playful appropriation of John Baldessari. Orozco’s brightly colored patterns, often dictated by mathematical formula, interrupt a familiar format and challenge the viewer’s expectations – a theme paralleled in many of his interactive installation pieces.
<br>
<br>Orozco’s work has been included in the Venice Biennale, the Whitney Biennial, and in solo exhibitions at the most prestigious institutions worldwide, including the Solomon R. Guggenheim Museum in New York, The Museum of Modern Art New York, the Musée d’art moderne de la Ville de Paris, Museo Nacional Centre de Arte Reina Sofía, Madrid, Hirshhorn Museum and Sculpture Garden, Washington, D.C. and many others. The Museum of Contemporary Art, Los Angeles, presented a solo exhibition of Orozco’s work in 2000. Three of the six variations of Orozco’s “UK. Athletics II” were featured in that exhibition.

UK. Athletics II

24 x 12 5/8 in.

tempera and gold leaf on digital print 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.
<br>
<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

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.
<br>
<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.
<br>
<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

‘… it took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don’t know but what the very nature of our response to art is experienced symmetrically' (K. Noland, quoted in D. Waldman, ‘Color, Format and Abstract Art’, in Art in America, vol. 65, no. 3, May–June 1977, pp. 99–105).
<br>
<br>Kenneth Noland's shaped canvas works were a natural artistic evolution from his condensed circular "target" style paintings of the late 1950s. With a keen sense of spatial relationships and geometric harmony, Noland involves the irregularly shaped canvas itself as a vehicle for his painting, "Set 1979" (1979).
<br>
<br>First appearing in 1975, the shaped canvas works are a counterpoint to the rigid and formal geometric works by Ellsworth Kelly and Max Bill. The Guggenheim Museum mounted an ambitious Kenneth Noland retrospective in 1977, just two years before creating "Set 1979." "Kenneth Noland: A Retrospective" was an important success for Noland; the show traveled to the Hirshorn Museum and the Corcoran Gallery of Art as well as the Toledo Museum of Art in Ohio.

34 1/4 x 94 1/4 in.

acrylic on canvas

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

JOHN PHILIP FALTER

tempera on board

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

ROLAND PETERSEN

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

Woman with Square Umbrella

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

WILLIAM KENTRIDGE

North Polar Chart

Influenced by the groundbreaking "light and space" movement emerging on the West Coast in the 1960's, Olitski fully embraced a new artistic direction during this innovative period. "Third Caliph", 1965 has exceptional provenance- and has rarely been seen in public. The work is considered one of the artist's finest works from the period and could comfortably sit in a museum collection.
<br>
<br>Interestingly, Olitski would continue to create figurative works throughout his career as well. Olitski refused to commit exclusively to a singular style throughout his career; he cited Rembrandt as a significant influence during his early years. This dynamism of Olitski and his experimental nature make him one of the most innovative artists of the post-war period.
<br>
<br>His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Chicago Art Institute, Chicago IL; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art, The Museum of Modern Art, The Solomon R. Guggenheim Museum and The Whitney Museum of American Art, New York.

acrylic on canvas

MARC NEWSON - Micarta Table - micarta machined from linen phenolic composite - 28 1/2 x 70 7/8 x 35 3/8 in.

28 1/2 x 70 7/8 x 35 3/8 in.

micarta machined from linen phenolic composite

PABLO PICASSO - Deux Femmes avec un Vase a Fleurs - state I and IV: linocut printed in color on Arches vellum paper with Arches watermark; slate II: lin - State I and II: 24 3/4 x 29 1/2 in. ; state IV: 24 1/2 x 29 1/2 in.

Deux Femmes avec un Vase a Fleurs

State I and II: 24 3/4 x 29 1/2 in. ; state IV: 24 1/2 x 29 1/2 in.

state I and IV: linocut printed in color on Arches vellum paper with Arches watermark; slate II: lin

Born in Mexico City in 1918, Ricardo Martinez de Hoyos was the thirteenth of sixteen children. Among his siblings were other artists: Oliverio, a sculptor; Enrico and Homero, architects; and Jorge, who became a well-known actor. The first prestigious recognition of Martinez’s work as a painter came with the Raúl Beillers Prize in 1967, followed by the Moinho Santista Prize at the Sao Paulo Biennial in 1971. He went on to exhibit at important Mexican institutions such as the Museo de Arte Moderno and the Palacio de Bellas Artes, which held a major retrospective of Martinez’s work in 1994. After his death, the Museo de la Ciudad de México presented a Ricardo Martinez retrospective in 2012.
<br>
<br>“Mujer con Vasija” from 1976 exemplifies the artist’s distinctive style of figurative painting. The monumental figure fills the canvas, contoured by the dramatic contrast of light and color. Many of his paintings from this period center on volumetric figures in scenes of daily life, such as this woman with a vessel. This pieces shows vestiges of his earlier influences in the 1940s and ‘50s, stylized lines inspired by pre-Hispanic art combined with the unreal environments of surrealism.

RICARDO MARTINEZ

Mujer con Vasija

39 1/2 x 59 1/2 in

G. HARVEY - A Cowboy's Blessing - oil on canvas - 30 x 24 in.

A Cowboy's Blessing

Known as a Postmodern and Conceptual painter, photographer, and sculptor, Christopher Wool is best known for his word paintings with stenciled black letters on white canvases. He began working in this style in the late 1980s, a particularly innovative and formative period for the artist. In the early ‘80s, Wool worked as a studio assistant to sculptor Joel Shapiro, and in 1988, he collaborated with Richard Prince.
<br>
<br>“Untitled (T8)” exemplifies Wool's work from the late ‘80s exploring repetition through decorative black patterns. He typically used incised rollers or rubber stamps to create his floral and “grille-like” patterns resembling wallpaper, bringing the ordinary into the realm of conceptual art and rejecting composition and color. In 1986, Jeff Koons wrote that Wool’s work “contains continual internal/external debate within itself.

CHRISTOPHER WOOL

alkyd and flashe on aluminum on board

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

65 x 58 x 40 in.

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

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

chrome-plated aluminum

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

EDGAR ALWIN PAYNE

Peaks of St. Gervais

“Picnic in Yellow” is a painting from Roland Petersen’s famed “Picnic Series”. From 1961, the theme of picnics became central to Petersen and showcased his skill with, color, paint, and composition. Within this series and in this painting, there is a thoughtful and meticulous arrangement of figures around a table and nestled within the landscape. So, too, are there intense diagonals that cut across the painting, emphasized with both planes of color and thick paint.
<br>
<br>Petersen’s picnic series, particularly the early ones from 1961 as in “Picnic in Yellow”, show a deep understanding of art history in their relationship to the geometric planes of color of Post-Impressionists like Paul Cezanne. Petersen creates a symphony of color and hues in “Picnic in Yellow”, also suggesting a dialogue with the Fauvists and their outrageous use of color. But, far from cold examinations into configuration and color, Petersen maximizes the ability of oil paint by creating mounds of impasto which creates depth and warmth via texture in the picnic series paintings of 1961. This daring use of impasto would soon cease by the early 1970s as Petersen would switch to acrylic paint due to his allergy to oil paints.

ROLAND PETERSEN

Picnic in Yellow

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
<br>
<br>Matter held "Still Life" (c. 1962-63) in her private collection for nearly 40 years, a testament to its personal value, and the current owner acquired it directly from her estate. It is a wonderful example of Matter's expressive brushwork and distinctive blend of abstract and figurative styles. She used visual sources for her paintings, such as the traditional still life, but deconstructed the objects into complete abstraction, maintaining a focus on capturing the energy and relationship between objects and spaces.

MERCEDES MATTER

GEORGE SEGAL - Blue Girl in Front of Black Door - plaster and wood - 100 x 31 1/2 x 35 in.

Blue Girl in Front of Black Door

100 x 31 1/2 x 35 in.

plaster and wood

WOJCIECH FANGOR - Green Points - oil on canvas - 52 7/8 x 33 1/2 in.

WOJCIECH FANGOR

52 7/8 x 33 1/2 in.

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

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

201 x 48 x 48 in.

HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.

201 x 48 x 48 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

IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.

IRVING NORMAN - Funeral of the Gods - oil on canvas - 90 x 110 in.

Funeral of the Gods

Mimmo Paladino began making sculptures in the early 1980s and became a central figure in the Transavanguardia movement. Artists such as Francesco Clemente, Sandro Chia, Enzo Cucchi and Nicola de Maria sought to bring emotion, figuration, and mysticism back into avant-garde art.
<br>
<br>In this untitled large-scale piece from 1990, Paladino conveys the principle aims of Transavanguardia, which was a reaction against Minimalism by re-introducing the figure, creating a new narrative with a Humanist’s point of view. Here, the mounted figure emerges dramatically from the basic and essential form of a tall box column as if the intent were to realize in form these diametrically opposed aesthetics. The severe diagonal attitude of the figure relative to the column suggests its emergent corporeal nature – that it is born of elements of that essential nature and simple geometry inherent in that box column. It is a figure that is falling from the column as much as it is emerging from it. Perhaps it is 'born' of it.
<br>
<br>Paladino’s work has been exhibited at prestigious institutions worldwide, including the Museum of Modern Art in New York, the Royal Academy of Art in London, the Paris Biennale, the Sydney Biennial, “Documenta 7” in Kassel, the Hirshhorn Museum and Sculpture Garden, and many others.

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.

IRVING NORMAN - Interrelations - oil on canvas - 120 x 80 in.

IRVING NORMAN - The Summit, The Ultimate Summit - oil on canvas - 120 x 80 in.

The Summit, The Ultimate Summit

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

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

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

oil on linen canvas

Richard Tuttle is a seminal American postminimalist artist. Tuttle’s work is conceptual and meditative, crossing the boundary of sculpture, painting, and poetry, and often challenging the viewer. Untitled (Cloth and Paint Work #2) from 1973, a pivotal period in the artist’s career, evokes the earlier minimalism of his career while pushing towards material-based conceptual art. In the work he pays homage to Marcel Duchamp’s readymades. Textiles, as in this piece, play a large role in his oeuvre and become sites on which to focus performance, engagement, and meaning.

Untitled (Cloth and Paint Work #2)

15 1/2 x 16 in.

rope and oil on canvas

PAUL JENKINS - Phenomena By Return - acrylic on canvas - 104 3/4 x 49 5/8 in.

Phenomena By Return

104 3/4 x 49 5/8 in.

acrylic on canvas

ALEXANDER CALDER - Eclat - gouache on paper - 21 x 29 in.

ALEXANDER CALDER

gouache on paper

DONALD ROLLER WILSON - Looking For the Virgin in the Woods (What Is a Mother to Do With the Children Acting Bad) - oil on canvas - 30 x 86 1/2 in.

DONALD ROLLER WILSON

Looking For the Virgin in the Woods (What Is a Mother to Do With the Children Acting Bad)

30 x 86 1/2 in.

IRVING NORMAN - Farewell - oil on canvas - 90 x 100 in.

IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.

IRVING NORMAN - Supreme Justice - oil on canvas - 100 x 76 in.

Supreme Justice

IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.

IRVING NORMAN - Students - oil on canvas - 110 x 72 in.

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

glass hologram set

Irving Norman was an American painter whose works examined modern civilization and the human condition. Norman conceived his paintings as public works that bore witness to history and systems of power. He was influenced by his experiences as a Polish immigrant, as a defender of the Spanish Republic during the Spanish Civil War, and as an observer of the conflicts in the 20th century. The Palace has been exhibited at the Crocker Art Museum in Sacramento, the Pasadena Museum of California Art, the Nora Eccles Harrison Museum of Art at Utah State University, and Katzen Arts Center at American University in Washington D.C. Heather James is proud to represent the estate of Irving Norman.

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

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

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

STANTON MACDONALD-WRIGHT

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

39 1/8 x 40 3/8 in.

ALEXANDER CALDER - Vive - gouache and ink on paper - 30 x 43 3/8 in

ALEXANDER CALDER

gouache and ink on paper

Charles Arnoldi seamlessly blends an organic element to his geometric constructions. In “Construction” (1982), Arnoldi works on an immense scale. The work envelops the viewer and space with its strong vertical composition. Hundreds of individual elements were painstakingly painted and laid into position, a meticulous process of creation central to Arnoldi’s work.
<br>
<br>Other examples by Arnoldi are held by major private and public collections, most notably the Albright-Knox Art Gallery, the Art Institute of Chicago, the Denver Art Museum, the Guggenheim Museum Bilbao, the Kemper Museum of Contemporary Art, LACMA, the Menil Collection, the Museum of Fine Arts Houston, and more

CHARLES ARNOLDI

128 x 68 x 8 in.

acrylic on plywood and found wooden sticks

ALEXANDER CALDER - Mickey Mouse - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

30 x 43 3/8 in.

gouache and ink on paper

Tony Cragg's most recognizable works are swirling abstractions that embody dramatic movement frozen in time. “Bodicea” from 1989 is an atypical sculpture that exhibits Cragg’s early study of curved surfaces, volumes, and seemingly organic forms. His exploration of transmutating forms would evolve into two major series, “Early Forms” and “Rational Beings.” In 1988, the year before he created the present work, Cragg was selected to represent Britain at the 43rd Venice Biennale in and won the Turner Prize in the same year.
<br>
<br>Cragg was born in Liverpool, UK, and has lived and worked in Wuppertal, Germany, since 1977.

32 x 23 x 78 in.

bronze and steel

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

TAKASHI MURAKAMI

24 x 23 3/4 x 2 in.

acrylic on canvas layed on wood

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

SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in.

Untitled 1985, San Leandro

acrylic on canvas mounted on board

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

99 1/4 x 117 1/2 in.

acrylic on canvas

ROBERTO MATTA - Untitled - oil on canvas - 34 3/8 x 42 1/2 in.

34 3/8 x 42 1/2 in.

IRVING NORMAN - Monumental - oil on canvas - 90 x 64 in.

IRVING NORMAN - Air Raid Shelter - oil on canvas - 100 x 64 in.

Air Raid Shelter

IRVING NORMAN - Children #2 - oil on canvas - 72 x 90 in.

IRVING NORMAN - Totems - oil on canvas - 72 x 110 in.

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

ink wash on paper

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

Standing Male Figure

70 x 13 3/4 x 19 in.

polychrome plaster and wood

ALEXANDER CALDER - Serpent - gouache and ink on paper - 21 3/4 x 29 3/4 in.

ALEXANDER CALDER

21 3/4 x 29 3/4 in.

gouache and ink on paper

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

Mycenaean Goddess

61 x 22 x 15 1/2 in.

HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.

159 x 40 x 40 in.

HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.

161 x 40 x 40 in.

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

IRVING NORMAN - Liberation War Prisoners - oil on canvas - 72 x 90 in.

Liberation War Prisoners

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

IRVING NORMAN - War Wounded - oil on canvas - 70 x 60 in.

FRANCIS CELENTANO - Undulating Units - acrylic on canvas - 36 x 90 in.

FRANCIS CELENTANO

Undulating Units

acrylic on canvas

JOSEPH KLEITSCH - Mission Cloisters, San Juan Capistrano - oil on canvas - 22 1/8 x 27 in.

JOSEPH KLEITSCH

Mission Cloisters, San Juan Capistrano

22 1/8 x 27 in.

Forrest "Frosty" Myers's deep connection to Jazz music is evident in the spontaneous and improvisational nature of his sculptural work. His sculptures are an interesting juxtaposition of structure and whimsical tangents. In a recent interview, Myers explains how his sculpture "tries to make the future visible…to make metal into something more ephemeral, turn matter into spirit."
<br>
<br>In his 2006 sculpture, "Pompeii," Myers uses his masterful metalwork skill to depict what appears to be a reclining figure, whose outline is frozen in time. The sculpture is not a dark interpretation of a tragic historical event but a slightly ambiguous and thought-provoking creation for the contemporary viewer.
<br>
<br>Myers's works are included in the permanent collections of the Museum of Modern Art and The Whitney Museum of Art in New York, and the Museum of Fine Arts, Houston, among many others. Myers lives and works in Brooklyn, New York and Damascus, Pennsylvania.

37 x 33 x 64 in.

stainless steel

NATHAN OLIVEIRA - Figure #4 - bronze - 40 x 21 1/2 x 30 in.

NATHAN OLIVEIRA

40 x 21 1/2 x 30 in.

Afternoon Tea on the Terrace (1905-1906) was commissioned by Rodman Wanamaker as part of a mural for the Grand Deluxe Shelburn hotel in Atlantic City. The mural was later divided into seven pieces that were displayed in the hotel dining room. Frieseke’s earliest mural work was for his patron, Rodman Wanamaker. Other commissions included mural decorations that were installed in Wanamaer’s New York department store in 1904 and 1907, the Rodman Wanamaker Hotel in 1905, and the Amphitheater of Music in New York in 1908. Art historians credit Wanamaker’s constant commissions as being the sole reason Frieseke was able to devote himself to painting.

FREDERICK FRIESEKE

Afternoon Tea on the Terrace

ALEXANDER CALDER - Le Grand Rouge - gouache and ink on paper - 43 3/8 x 30 in.

ALEXANDER CALDER

43 3/8 x 30 in.

gouache and ink on paper

ALEXANDER CALDER - L' Envolee - gouache and ink on paper - 43 3/8 x 30 in.

ALEXANDER CALDER

43 3/8 x 30 in.

gouache and ink on paper

ALEXANDER CALDER - Cercles - gouache and ink on paper - 30 3/4 x 22 1/2 in.

ALEXANDER CALDER

30 3/4 x 22 1/2 in.

gouache and ink on paper

NATHAN OLIVEIRA - Seated Nude with Arms Raised - oil on canvas - 50 1/8 x 45 in.

NATHAN OLIVEIRA

Seated Nude with Arms Raised

50 1/8 x 45 in.

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

acrylic on canvas

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

Bouquets de Fleurs

25 7/8 x 21 5/8 in.

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

View of the Mountains from the Nihon Alps Salada Road

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

computer film, two LCD screen, and PC

"Purple Tree" from 1936 shows the genesis of the artist's evolution into total abstraction. One of a series of Casein works on panel completed in 1936, the present work is fully documented and recorded in the Hans Hofmann Catalogue Raisonné. "Purple Tree" shows Hoffmann's "push/pull" color theory, where he placed warm and cool colors side by side. Hofmann was an influential instructor for Helen Frankenthaler, Joan Mitchell, Frank Stella, Lee Krasner, and Louise Nevelson (among many others).
<br>
<br>The 2019 exhibition "Hans Hofmann: The Nature of Abstraction" at the University Museum in Berkeley, California, featured 70 works and showed the evolution of Hofmann throughout his career.

casein on board

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
<br>
<br>Matter began creating large-scale charcoal on canvas works in the 1970s with the aim of approaching drawing with the same reverence as painting. The charcoal works are less common than her riotously colorful paintings, and they demonstrate Matter's proclivity for complex and dynamic compositions.

MERCEDES MATTER

38 1/8 x 40 in.

charcoal on canvas

PABLO PICASSO - Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir - etching on Montval laid paper - 15 1/4 x 19 5/8 in.

Harpye a Tete de Taureau, et Quatre Petites Filles sur une Tour Surmontee d'un Drapeau Noir

15 1/4 x 19 5/8 in.

etching on Montval laid paper

Sculptural work by Theaster Gates is anchored in the artist’s long-standing commitment to social action and responsibility, rooted in his home city of Chicago. The wooden frame of "Lathe Black Box" from 2012 is made of wood from The Dorchester Project, one of his best-known pieces. The project transformed a dilapidated building in Chicago’s South Side into a community gathering place and a celebration of local culture. Gates has described this project as part of a “circular ecological system,” selling sculptural works from the material of these projects to finance the ongoing building renovations. In recent years, his creative efforts do not only consist of making fine art from construction materials, but also extend to creating construction materials as fine art.
<br>
<br>Much of Gates’s work deals with history, memory, and renewal. The mirrored glass at the center of "Lathe Black Box" creates an ambiguous effect, confronting the viewer with their own reflection.

Lathe Black Box

50 1/4 x 53 x 6 7/8 in.

wood, glass and lathe

LEANDRO ERLICH - Rain - steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati - 96 3/4 x 73 3/8 x 26 1/4 in.

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

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

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

42 1/2 x 55 3/4 in.

water and oil based acrylic on canvas

IRVING NORMAN - Aspirations - oil on canvas - 90 x 54 in.

IRVING NORMAN - The Lawmakers, The Legislators - oil on canvas - 90 x 72 in.

The Lawmakers, The Legislators

IRVING NORMAN - Prison - oil on canvas - 56 x 46 in.

IRVING NORMAN - Prisoners - oil on canvas - 52 x 68 1/8 in.

52 x 68 1/8 in.

IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.

IRVING NORMAN - City Image - oil on canvas - 124 x 44 in.

IRVING NORMAN - Chairman of the Board - oil on canvas - 90 x 48 in.

Chairman of the Board

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

ANDY GOLDSWORTHY

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

drumlanrigg stone

IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.

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

ELLIOTT HUNDLEY

75 x 65 x 8 1/4 in.

mixed media on canvas

IRVING NORMAN - To Be Remembered - oil on canvas - 90 x 48 in.

To Be Remembered

IRVING NORMAN - Thirty Pieces of Silver - oil on canvas - 90 x 54 in.

Thirty Pieces of Silver

WILLIAM MORRIS - Rhyton - blown glass - 26 x 14 x 12 in.

26 x 14 x 12 in.

After producing a large cycle of works known as Contrasts of Forms, which infuse abstraction into genres of landscape, still life, and figure, Leger In the mid-1920s, was associated with the French formalist movement called Purism, which sought to strip Cubism of its decorative aspects. This is when he created Profil, Vase et Clef, adopting flatter colors and bold, black outlines in his work. From this point forward on, his art was essentially figurative. Profil, Vase et Clef was exhibited at Galerie Beyeler in Basel and illustrated in the catalog, and the provenance also includes Galerie Louise Leiris and Galerie Seroussi in Paris.

Profil, Vase et Clef

18 1/2 x 11 3/4 in.

pen and ink on card

IRVING NORMAN - Mining - oil on canvas - 40 x 84 in.

IRVING NORMAN - Cityscape - oil on canvas - 74 1/8 x 37 1/2 in.

74 1/8 x 37 1/2 in.

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

TADASUKE (Tadasky) KUWAYAMA

acrylic on canvas

RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.

RICHARD ANUSZKIEWICZ

acrylic on canvas

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

canvas collage on canvas

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

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

NATHAN OLIVEIRA - Untitled - oil on canvas - 84 X 63 in.

NATHAN OLIVEIRA

NATHAN OLIVEIRA - Woman - oil on canvas - 36 1/4 x 27 x 1 1/2 in.

NATHAN OLIVEIRA

36 1/4 x 27 x 1 1/2 in.

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

Carousel Restaurant

PAUL JENKINS - Phenomena Rainbow Rush - acrylic on canvas - 58 x 82 in.

Phenomena Rainbow Rush

acrylic on canvas

PAUL JENKINS - Phenomena Red Dutchman - acrylic on canvas - 72 x 68 in.

Phenomena Red Dutchman

acrylic on canvas

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
<br>
<br>The Sancai- Glazed Earth Spirit offered here depicts a "Zhenmushou". Zhenmushou are mythical hybrid creatures, that have bodies which are a combination of dogs, lions, boars and other fierce animals. These fierce looking beasts, would be found in pairs guarding the entrance of Tang Dynasty tombs. The function of these sculptures was to prevent the spirit of the tomb’s occupant from escaping, as well as to ward off evil spirits from entering.

Sancai-Glazed Earth Spirit

Tang Dynasty (618-

47 1/4 x 14 x 14 in.

ANDY WARHOL - Self-Portrait in Fright Wig - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

Self-Portrait in Fright Wig

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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

Mexican Street in the Rain

Dutch painter and sculptor Karel Appel was an influential founding member of the international avant-garde movement CoBrA active from 1948-1951. The collective, named for the initials of the members’ home cities Copenhagen, Brussels, and Amsterdam, rejected both traditional naturalism and abstraction devoid of expression. Drawing inspiration from the freedom of color, line, and form found in children’s art, Appel and his contemporaries sought to embrace spontaneity and experimentation. “Personage” from 1975 exemplifies the artist’s expressionist paint handling, thick impasto, and brilliant color.

50 1/4 x 50 1/8 in.

ALEX KATZ - Window 5 - oil on masonite - 24 x 24 in.

oil on masonite

ANDY WARHOL - Joseph Beuys - screenprint on laundry bag - 55 1/8 x 39 1/2 in.

55 1/8 x 39 1/2 in.

screenprint on laundry bag

ANDY WARHOL - Mao - screenprint in colors - 36 x 36 in.

screenprint in colors

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.

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

Grim Kalding Fra Finland

67 3/4 x 55 in.

acrylic, ink and paper collage on canvas

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

Franco-Del #1 & #3

79 1/2 x 110 1/2 in.

acrylic on canvas

Rodney McMillian is multidisciplinary artist working in sculpture, painting, performance, and video. Born in South Carolina, McMillian has lived in Southern California since 2000 where he is now Professor of Sculpture at the UCLA School of Arts and Architecture at the University of California, Los Angeles. "Lollipop" (2001-2002) represents one of the earliest works from the artist, who graduated with an MFA from CalArts in 2002.
<br>
<br>McMillian shapes his work around the socio-political history of the United States even through abstraction. At first glance, "Lollipop" appears to be a continuation of Abstract Expressionism in its layered flow of paint. For these works, like abstract expressionists of yore, McMillian pours and drips paints. Nevertheless, on closer inspection, many of his works appear to suggest a map or landscape and thus, the history of struggle and power inherent to mapmaking and landscape painting. Who makes maps and for whom? Who owns the land and at what cost? What happens in that land? Furthermore, in using household paint and other industrial materials, McMillian mines issues of economy, accessibility, and even temporality as the materials are inherently unstable and non-archival.
<br>
<br>McMillian's work is collected by the Museum of Modern Art in New York, the Art Institute of Chicago, the Hammer Museum, the Los Angeles County Museum of Art, and the Museum of Contemporary Art in Los Angeles among others, and his work was featured in the 2008 Whitney Biennial. In 2019, McMillian's work was exhibited at the San Francisco Museum of Modern Art: “New York: Rodney McMillian”, Feb. 9-Jun. 9, 2019.

RODNEY MCMILLIAN

latex on canvas

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

RODNEY MCMILLIAN

97 1/2 x 102 in.

ANDY WARHOL - Self-Portrait with Fright Wig - screenprint on t-shirt - 33 1/2 x 40 1/4 in.

Self-Portrait with Fright Wig

33 1/2 x 40 1/4 in.

screenprint on t-shirt

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
<br>
<br>"Untitled" 2001 was Matter's final painting. It was still on her easel when she passed. Matter used visual sources for her paintings, such as the traditional still life, but deconstructed the objects into complete abstraction, maintaining a focus on capturing the energy and relationship between objects and spaces.

MERCEDES MATTER

RICHARD DIEBENKORN - Untitled (Urbana Series) - ink on paper - 13 7/8 x 11 in.

RICHARD DIEBENKORN

Untitled (Urbana Series)

13 7/8 x 11 in.

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

Formas Tensionales

oil, cardboard on masonite

NATHAN OLIVEIRA - Gray Head in Grays and Blue - oil on canvas - 25 3/8 x 21 1/4 in.

NATHAN OLIVEIRA

Gray Head in Grays and Blue

25 3/8 x 21 1/4 in.

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

41 x 77 x 15 in.

stainless steel welded chaise

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

ROY LICHTENSTEIN

56 3/4 x 78 3/4 in.

10-color woodcut screenprint

THEODOROS STAMOS - Olympia Sun-Box - acrylic on canvas - 60 1/4 x 48 in.

THEODOROS STAMOS

Olympia Sun-Box

60 1/4 x 48 in.

acrylic on canvas

ROY LICHTENSTEIN - Untitled - Rowlux collage on board - 22 1/2 x 22 in.

ROY LICHTENSTEIN

22 1/2 x 22 in.

Rowlux collage on board

DAVID MORRIS - Journey - stainless steel, steel base - 132 x 36 x 48 in.

132 x 36 x 48 in.

stainless steel, steel base

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

IRVING NORMAN - Totem of a Holy Family - oil on canvas - 90 x 19 3/4 in.

Totem of a Holy Family

90 x 19 3/4 in.

HERB ALPERT - Embrace - bronze with black patina - 83 x 27 x 27 in.

83 x 27 x 27 in.

bronze with black patina

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

Rue Aubriot, Paris 1975

13 1/4 x 8 7/8 in.

vintage gelatin silver print

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

The Bull Fighter

CHARLES ARNOLDI - Sticky Wicket - acrylic, modeling paste and sticks on plywood - 44 1/4 x 91 x 3 in.

CHARLES ARNOLDI

44 1/4 x 91 x 3 in.

acrylic, modeling paste and sticks on plywood

MAURICE GOLUBOV - Untitled - oil on canvas - 50 x 40 in.

MAURICE GOLUBOV

Ecuadorian painter Oswaldo Guayasamin creates intense and captivating images that demand a response from the viewer. His long career has explored themes from the atrocities of World War II and the Spanish Civil War, to the plight of indigenous peoples of the Andes. His work has received awards at biennials in Mexico, São Paulo, and Barcelona, and has been exhibited worldwide at prestigious institutions such as the Museo de Arte Contemporáneo de Madrid, the Musée d'Art Moderne de la Ville de Paris, the Museo de Arte Moderno de México, and the Hermitage in St. Petersburg among many others. In 2009, the Museum of Lain American Art in Long Beach, California, presented a survey exhibition of his work, entitled “Of Rage and Redemption: The Art of Oswaldo Guayasamin.”
<br>
<br>“Atahualpa en Cajamarcas” is a strong example of Guayasamin’s Cubist-styled portraits. Here, he depicts the Inca ruler who was captured by Spanish forces in Cajamarca, leading to the fall of the Inca Empire. Guayasamin's best-known works are marked by this expressive representation of struggle, tragedy, and humanity.

OSWALDO GUAYASAMIN

Atahualpa en Cajamarcas

28 x 19 1/2 in.

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

One Up One Down Oblique

20 x 19 x 2 1/2 in.

ANDY WARHOL - Jean-Michel Basquiat Six Polaroids - Polaroid, Polacolor - 4 1/4 x 3 1/2 in. ea.

Jean-Michel Basquiat Six Polaroids

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

Polaroid, Polacolor

RICO LEBRUN - Tip-toe Figure - bronze - 43 3/4 x 14 1/8 x 11 7/8 in.

43 3/4 x 14 1/8 x 11 7/8 in.

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

LUIS CRUZ AZACETA

acrylic on canvas

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus.
<br>
<br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

51 1/4 x 127 in.

FRANCIS CELENTANO - Nineteen Hexagons - acrylic on canvas - 48 x 41 1/2 in.

FRANCIS CELENTANO

Nineteen Hexagons

48 x 41 1/2 in.

acrylic on canvas

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

FRANCIS CELENTANO

Elliptical Kinetic Painting

48 x 48 x 6 1/2 in.

acrylic on masonite

IRVING NORMAN - Frosted Window - oil on canvas - 36 x 90 in.

ANDY WARHOL - Mao - color screen print on paper - 35 3/4 x 35 3/4 in.

35 3/4 x 35 3/4 in.

color screen print on paper

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
<br>
<br>"Tabletop Still Life" (c. 1936-37) is a remarkable early painting from the formative years of Abstract Expressionism. The painting has had only one owner who acquired it directly from the artist's estate. Matter used visual sources for her paintings, such as the traditional still life, but deconstructed the objects into complete abstraction, maintaining a focus on capturing the energy and relationship between objects and spaces.

MERCEDES MATTER

Tabletop Still Life

oil on canvas board

ANDY WARHOL - Self-Portrait - Polaroid - 4 1/4 x 4 1/2 in.

4 1/4 x 4 1/2 in.

FRANCOISE GILOT - Le Repaire - oil on canvas - 36 1/4 x 29 in.

FRANCOISE GILOT

36 1/4 x 29 in.

Pablo Picasso's 1964 aquatint "Tete d'Homme au Maillot Raye" is one of a series of color aquatint portraits created just a decade before the artist's death in 1973.
<br>
<br>Masterfully employing the aquatint and etching media, Picasso created this work after having acquired a lifetime worth of knowledge in working as an artist. Picasso helped shape the direction of Modern art, and the present work is a tangible symbol of the artist's genius. This piece is signed with a dedication to Picasso's friend and printer, Aldo Crommelynck.

Tete d'Homme au Maillot Raye

image: 16 3/8 x 12 1/2 in. sheet: 22 1/8 x 16 1/8 in.

aquatint and soft-ground etching in colors

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

Tewa Plaza at First Mesa

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

Interior Still Life

oil on masonite

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

LOUISE BOURGEOIS

Plate 5 of 9 from He Disappeared Into Complete Silence

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

GEORGE GARDNER SYMONS

White River Bank

25 1/4 x 30 in.

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

acrylic on canvas

Born in 1944, Thomas Nozkowski created small, richly hued paintings that reflect the dichotomous influences of the Abstract Expressionists and Bauhaus refugees with whom he studied at the Cooper Union. Using a small brush, his handling includes scraping and rubbing off paint in ways that register in the finished work. He developed a distinctive, wide-ranging vocabulary deploying biomorphic-like geometric forms in varied color schemes and a wide range of associations: tile flooring, to cell clusters, to architecture and outer space. Often, they are distilled from his own memories and experiences. Nozkowski commented on this specific painting (Untitled, 1994) saying that it reflects his fascination with the mythological scenes painted upon Renaissance cassone dowery chest panels. He pronounced it the best one of three or four 15” x 30” panels of this series. Nozkowski was handled for many years by Pace Gallery. He died in 2019.

THOMAS NOZKOWSKI

oil on linen on panel

ROBERT RAUSCHENBERG - Sling-Shots Lit 2 - color lithograph and mixed media lightbox - 84 1/2 x 50 1/4 x 12 1/2 in.

ROBERT RAUSCHENBERG

Sling-Shots Lit 2

84 1/2 x 50 1/4 x 12 1/2 in.

color lithograph and mixed media lightbox

ELLSWORTH KELLY - Blue, Black, Red, Green - 4-color lithograph - 24 3/4 x 88 3/4 in.

ELLSWORTH KELLY

Blue, Black, Red, Green

24 3/4 x 88 3/4 in.

4-color lithograph

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

New Synthesis #15

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

84 x 108 1/4 in.

acrylic on canvas

The Liao Dynasty, also known as the Khitan Empire, was an empire in northern China that ruled over the regions of Manchuria, Mongolia, and parts of northern China proper. It was founded by the Yelü family of the Khitan people in the final years of the Tang Dynasty, even though its first ruler, Yelü Abaoji, did not declare an era name until 916. The Liao Empire was destroyed by the Jurchen of the Jin Dynasty in 1125. However, remnants of its people led by Yelu Dashi established the Xi (Western) Liao Dynasty 1125-1220, also known as Kara-Khitan Khanate, which survived until the arrival of Genghis Khan’s Mongolian cavalry.

Procession Ornament

Liao Dynasty, 907-

22 1/2 x 10 x 8 1/4 in.

ANDREA CASCELLA - Italian Time Stand Still - marble granite - 25 x 31 x 17 in.

ANDREA CASCELLA

Italian Time Stand Still

25 x 31 x 17 in.

IRVING NORMAN - Rural Family - oil on canvas - 36 x 72 in.

NORMAN ZAMMITT - East Wall - acrylic on canvas - 78 x 132 in.

acrylic on canvas

JAMES ROSENQUIST - Drawing Study - oil pastel and pencil on paper - 35 x 22 1/2 in.

JAMES ROSENQUIST

35 x 22 1/2 in.

oil pastel and pencil on paper

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Self Portrait - gelatin silver print - 7 3/4 x 1 1/2 in.

7 3/4 x 1 1/2 in.

gelatin silver print

ANDY WARHOL - Farrah Fawcett - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

HASSEL SMITH - I Dreamt I Dwelt in Marble Halls - acrylic on canvas - 68 x 68 in.

I Dreamt I Dwelt in Marble Halls

acrylic on canvas

ARNE HIERSOUX - Mem Sahib - acrylic and paper on canvas - 70 1/2 x 120 1/2 in.

70 1/2 x 120 1/2 in.

acrylic and paper on canvas

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

Earth Life No. 19

39 1/4 x 59 in.

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

68 3/8 x 66 x 1 in.

ED MOSES - Nambo Panel I & II - acrylic on canvas - 84 x 126 in.

Nambo Panel I & II

acrylic on canvas

MAX PELLEGRINI - Il Dormiento, La Caduta di Icaro a Torino - oil on canvas - 78 3/4 x 98 1/2 in.

Il Dormiento, La Caduta di Icaro a Torino

78 3/4 x 98 1/2 in.

HERB ALPERT - Tormenta del Sol (Sun Storm) - acrylic on canvas - 72 x 121 in.

Tormenta del Sol (Sun Storm)

acrylic on canvas

WILLIAM MORRIS - Suspended Artifact - blown glass - 30 x 26 x 10 in.

Suspended Artifact

30 x 26 x 10 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.

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

67 7/8 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - 316 Revisited - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - In the Valley of the Kings - acrylic on canvas - 67 1/2 x 68 in.

In the Valley of the Kings

67 1/2 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

67 7/8 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 67 3/4 x 67 5/8 in.

67 3/4 x 67 5/8 in.

acrylic on canvas

HASSEL SMITH - King Clone - acrylic on canvas - 67 3/4 x 67 1/2 in.

67 3/4 x 67 1/2 in.

acrylic on canvas

HASSEL SMITH - Untitled, 109-84 - acrylic on canvas - 67 5/8 x 68 in.

Untitled, 109-84

67 5/8 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

68 1/4 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.

68 x 67 3/4 in.

acrylic on canvas

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

HERB ALPERT - Tsunami - acrylic on canvas - 72 x 120 in.

acrylic on canvas

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

HELMUT NEWTON - Woman into Man, Hotel George V, for French Vogue, 1979 - gelatin silver print - 18 1/2 x 12 in.

Woman into Man, Hotel George V, for French Vogue, 1979

18 1/2 x 12 in.

gelatin silver print

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.

PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

86 x 22 x 18 in.

JAE KON PARK - Untitled - oil on canvas - 55 1/4 x 55 1/2 in.

55 1/4 x 55 1/2 in.

Celebrated Hassel Smith moved through different styles over his long career including Abstract Expressionism, his “Measured” series, and Gestural Abstraction. This painting comes from his “Measured” period in which paintings encompassed geometric shapes and numbers on grids. Smith finds rhythms in the paintings through the intervals and sizes of the shapes. Among his friends were Clyfford Still and Mark Rothko. Smith lived in the Bay Area of California before moving to the UK, settling in Cornwall and Bristol. Heather James is proud to represent the estate of Hassel Smith.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - From A - B - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - The Kiss of Deaf - acrylic on canvas - 68 1/8 x 68 1/8 in.

The Kiss of Deaf

68 1/8 x 68 1/8 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

68 1/4 x 68 in.

acrylic on canvas

HASSEL SMITH - Quilt Pattern - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - More and More about 9 - acrylic on canvas - 68 x 68 in.

More and More about 9

acrylic on canvas

HASSEL SMITH - Untitled - oil on canvas - 68 x 68 in.

HASSEL SMITH - Arezzo Revisited - acrylic on canvas - 68 x 68 in.

Arezzo Revisited

acrylic on canvas

HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

Robert Natkin was a Chicago native that rose to prominence as a leading American painter in the 20th Century. Aklthough influenced by Abstract Expressionist artists such as Willem de Kooning, Natkin developed his own distinct style characterized by luscious color and texture. “Amethyst” (1960) is a strong representation of the artist’s work and was originally purchased directly from the artist’s studio in the 1960s.
<br>
<br>Natkin's 1969 retrospective exhibition at the San Francisco Museum of Art was an early acknowledgment of the artist’s importance. He is represented in over 24 museum collections worldwide, including the Art Institute of Chicago and the Smithsonian American Art Museum.

71 x 100 1/8 in.

NATHAN OLIVEIRA - Hawk #11 - oil on canvas - 11 3/4 x 8 3/4 in.

NATHAN OLIVEIRA

11 3/4 x 8 3/4 in.

NATHAN OLIVEIRA - Standing Figure #2 - bronze - 26 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

Standing Figure #2

26 x 16 x 23 1/2 in.

"Bringing in the Ears" is a composition drawing for an advertisement for Niblets Corn, published in the August 10, 1942 edition of Life magazine. This drawing has been in the same family collection since 1970.
<br>
<br>Among the most noteworthy illustrators this country has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew and grandson Jamie rank among the most respected artists of their generations, heavily influenced by other artists in the extended Wyeth family. N.C. Wyeth, in addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States.
<br>
<br>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. He possessed a rare ability to depict subjects and events from a child’s point of view, and is particularly known for dramatizing characters by the use of long shadow, a technique that is said to have influenced the epic moviemaking style of the 1940s. In addition to providing supplementary drama and excitement to the written word, Wyeth’s works have become classics in and of themselves.

Bringing in the Ears (Composition drawing)

26 1/2 x 32 in.

charcoal on paper

JOSEPH KLEITSCH - Portrait of Ruth E. Bach - oil on panel - 39 1/2 x 26 3/4 in.

JOSEPH KLEITSCH

Portrait of Ruth E. Bach

39 1/2 x 26 3/4 in.

RON ARAD - Big Easy Volume 2 - stainless steel welded chair - 36 x 53 x 28 in.

Big Easy Volume 2

36 x 53 x 28 in.

stainless steel welded chair

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

WILLIAM THEOPHILUS BROWN - Jim Christiansen (Open Book) - acrylic on canvas - 38 x 37 7/8 in.

WILLIAM THEOPHILUS BROWN

Jim Christiansen (Open Book)

38 x 37 7/8 in.

acrylic on canvas

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.
<br>
<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.

HASSEL SMITH - Homage to the Headhunters - acrylic on canvas - 68 x 68 in.

Homage to the Headhunters

acrylic on canvas

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons.
<br>
<br>The Sancai- Glazed Earth Spirit offered here depicts a "Zhenmushou". Zhenmushou are mythical hybrid creatures, that have bodies which are a combination of dogs, lions, boars and other fierce animals. These fierce looking beasts, would be found in pairs guarding the entrance of Tang Dynasty tombs. The function of these sculptures was to prevent the spirit of the tomb’s occupant from escaping, as well as to ward off evil spirits from entering.

Sancai-Glazed Earth Spirit

HENRY MOORE - Emperor's Heads - bronze with brown patina - 6 3/4 x 8 1/4 x 4 1/2 in.

Emperor's Heads

6 3/4 x 8 1/4 x 4 1/2 in.

bronze with brown patina

PABLO PICASSO - Original Copper Plate and Engraving from Carmen - copper plate and engraving - 15 x 10 1/4 in.

Original Copper Plate and Engraving from Carmen

15 x 10 1/4 in.

copper plate and engraving

PABLO PICASSO - Original Copper Plate and Engraving from Carmen - copper plate and engraving - 14 1/4 x 11 in.

Original Copper Plate and Engraving from Carmen

14 1/4 x 11 in.

copper plate and engraving

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

acrylic and paper on canvas

JAE KON PARK - Untitled - oil on canvas - 51 1/4 x 64 in.

51 1/4 x 64 in.

ROBERT NATKIN - Apollo XL - acrylic on canvas - 88 x 116 1/4 in.

88 x 116 1/4 in.

acrylic on canvas

IRVING NORMAN - Crossing the Bridge - oil on canvas - 90 x 60 in.

Crossing the Bridge

TIM HAWKINSON - Tusk - 132 jello molds on iron plate - 16 x 14 1/2 x 8 in.

16 x 14 1/2 x 8 in.

132 jello molds on iron plate

Natkin’s Young Acrobat was a gift from the artist to his friend and noted art critic, Peter Fuller, upon the occasion of his wedding in 1984. Fuller literally wrote the book on Natkin, (Robert Natkin, 1981, published by Harry N. Abrams) and lived with him and his family at his Connecticut property during the '70s in order to better write the biography. The two developed quite the friendship, and this setting makes another appearance in Fuller’s own autobiography "Marches Past," detailing the significance of their relationship. "Young Acrobat" was the centerpiece of the lounge in Fuller’s home in Bath, Sommerset, where he and his wife entertained the titans of the art world during the '80s. Since Peter’s tragic and untimely passing, this has stayed with the family, as a cherished reminder of that golden period of their lives with Peter and Bob.

47 1/2 x 113 in.

acrylic on canvas

ANDY WARHOL - Self-Portrait in Fright Wig - Polaroid - 4 1/4 x 3 3/8 in.

Self-Portrait in Fright Wig

4 1/4 x 3 3/8 in.

ANDY WARHOL - Self Portrait in Drag - unique Polacolor ER print - 4 1/4 x 3 3/8 in.

Self Portrait in Drag

4 1/4 x 3 3/8 in.

unique Polacolor ER print

ANDY WARHOL - Self-Portrait with Skull - Polaroid, Polacolor - 4 1/4 x 3 1/2 in.

Self-Portrait with Skull

4 1/4 x 3 1/2 in.

Polaroid, Polacolor

ANDY WARHOL - Self-Portrait with Camera (diptych) - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

Self-Portrait with Camera (diptych)

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

PHILIP GUSTON - Untitled - ink on paper - 11 7/8 x 16 1/8 in.

11 7/8 x 16 1/8 in.

ARNE HIERSOUX - Yonder Cisco - acrylic and paper on canvas - 59 x 93 3/4 in.

59 x 93 3/4 in.

acrylic and paper on canvas

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

acrylic on canvas

JAE KON PARK - Untitled - oil on canvas - 44 1/4 x 64 in.

44 1/4 x 64 in.

JAE KON PARK - Untitled - oil on canvas - 44 1/8 x 57 1/4 in.

44 1/8 x 57 1/4 in.

MAURICE GOLUBOV - Promenade - oil on canvas - 25 x 30 in.

MAURICE GOLUBOV

MAURICE GOLUBOV - Night Visitors - oil on canvas - 46 x 36 in.

MAURICE GOLUBOV

MAURICE GOLUBOV - Untitled - oil on canvas - 26 x 34 in.

MAURICE GOLUBOV

PABLO PICASSO - La Corrida - original color aquatint - 22 1/2 x 28 1/2 in.

22 1/2 x 28 1/2 in.

original color aquatint

DALE CHIHULY - Ikebana Diptych (from Burned Drawings series) - crushed charcoal, acrylic paint and pigment - 60 x 40 1/2 in. ea.

Ikebana Diptych (from Burned Drawings series)

60 x 40 1/2 in. ea.

crushed charcoal, acrylic paint and pigment

HENRY MOORE - Two Reclining Figures - charcoal, green chalk, brown conte, watercolor wash, and gouache on paper - 8 3/4 x 11 1/2 in.

Two Reclining Figures

8 3/4 x 11 1/2 in.

charcoal, green chalk, brown conte, watercolor wash, and gouache on paper

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

LORSER FEITELSON

Dancers - Magical Forms

SALVADOR DALI - Les Caprices De Goya de Dali - 80 drypoint etchings on heliogravures - sheet: 17 3/8 x 12 1/4 in.

Les Caprices De Goya de Dali

sheet: 17 3/8 x 12 1/4 in.

80 drypoint etchings on heliogravures

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

THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.

Stand-Ins for Period of Wreckage 25

48 x 12 x 12 in.

white concrete and porcelain

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

LEONORA CARRINGTON

pencil on paper

MARC CHAGALL - Bacchante - lithograph - 24 x 30 in.

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

Untitled (flooring)

35 x 35 x 3 in.

white cement, debris, flooring

JAE KON PARK - Untitled - oil on canvas - 44 1/4 x 57 3/8 in.

44 1/4 x 57 3/8 in.

IRVING NORMAN - Prisoner - oil on canvas - 54 x 20 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

IRVING NORMAN - Homeless 1 - oil on canvas - 48 x 60 in.

GEORGE CONDO - Abstract Face - oil on board - 15 7/8 x 11 3/4 in.

15 7/8 x 11 3/4 in.

IRVING NORMAN - Homeless 2 - oil on canvas - 72 x 36 in.

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

ROBERT RAUSCHENBERG

Prime Pump from ROCI USA (Wax Fire Works Series)

63 1/2 X 44 1/4 IN.

color screenprint on paper and Lexan

"Assured Measure-10", 1978 is an experimental Olitski work from a period when the Artist was spending much of his time in Florida. The beaches and light of Florida perhaps inspire the open, expansive format of the work.
<br>
<br>In 1980, one year after the present work was created- Olitski would marry Jean Gorby. The work from this period in Olitski's career is a sharp contrast to the heavy- expressionist works from the 1950s.
<br>
<br>His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Chicago Art Institute, Chicago IL; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art, The Museum of Modern Art, The Solomon R. Guggenheim Museum and The Whitney Museum of American Art, New York.

Assured Measure-10

acrylic on canvas

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor II - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor II

Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory.
<br>
<br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014

Sogni di Gloria

70 3/4 x 70 3/4 in.

Puccetto was a small yellow canary that sang from his cage in Pellegrini’s studio for twelve years. To him, tiny and frail, Pellegrini dedicated the large painting to emphasize the importance he had in his life.
<br>
<br>– In conversation with Max Pellegrini, November 201

Quadro teologico in onore di Puccetto, Canarino Morto da Tempo

62 3/4 x 78 3/4 in.

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.
<br>
<br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

La Regina della Notte e della Luna

63 1/4 x 79 in.

A young man and woman embrace one another, a woman holds a child, a sleeping baby holds a black and red thread, another young woman undresses, and an angel spreads its wings in this collage like composition. Together, these characters create a narrative in which young love, fate, and life are intertwined: the sleeping baby holds a red thread and black thread, reminiscent of the mythological three Fates, who spun life and death on their loom. These threads are physically connected to the young lovers, who embrace each other, wholly unaware of the hold that the infant has on them. A woman holding a child watches over the love of the youthful boy and girl, just as Mary and Jesus watch over and defend mankind. The merging of narratives and symbols is a common element in Pellegrini’s oeuvre, and is masterfully expressed here.

Gli Amanti che si amano non ci Sono per Nessuno

59 1/4 x 78 3/4 x 1 in.

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

Yellow Tulip #18

oil and tar on paper

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.

68 1/8 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Eyeball to Eyeball - oil on canvas - 46 x 46 in.

Eyeball to Eyeball

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

PETER SHELTON - noarm. - plastic and acrylic - 45 x 15 3/4 x 8 in.

45 x 15 3/4 x 8 in.

plastic and acrylic

JAE KON PARK - Untitled - oil on canvas - 38 x 51 in.

JAE KON PARK - Untitled - oil on canvas - 38 1/4 x 51 1/2

38 1/4 x 51 1/2

Paul Wonner is one of the most celebrated artists of the Bay Area Figurative movement, along with David Park, Elmer Bischoff, Richard Diebenkorn, and his partner William Theophilus Brown. The Bay Area Figurative Movement was a loose collection of artists that broke away from the dominant and overly-influential style of abstract expressionism, pushing considerations of what is modern away from abstraction once more onto the body and figuration. This painting comes from Wonner’s period in which he adopted the crisp realism of Dutch Baroque still life painting, populating his works with objects from everyday contemporary life. Acclaimed for his expressive figurative paintings and distinctive style of still life painting, Wonner had numerous solo exhibitions in New York, Los Angeles and San Francisco and his works are held at major museums throughout the United States, including the Smithsonian American Art Museum in Washington, D.C., the San Francisco Museum of Modern Art, and the Solomon R. Guggenheim Museum in New York. Heather James is proud to partner with the Crocker Art Museum to represent the estate of Paul Wonner and William Theophilus Brown.

Striped Cloth with Fruit and Cheese

acrylic on canvas

William Theophilus Brown, along with his partner Paul Wonner, is one of the most celebrated artists of the Bay Area Figurative movement, along with David Park, Elmer Bischoff, and Richard Diebenkorn. The inspiration to take chances and to try new mediums is evident in Brown’s works including his fearless examination of nude forms, bold colors, his shifts from sensual form to precise architectural landscapes, and even his experimentation during his last decade with collage and pure abstraction. This painting is a great example of Brown’s draftsmanship in its careful but bright study of the seated figure. Brown ran through many artistic circles and included among his friends, Samuel Barber, Igor Stravinski, Paul Hindemith, André Previn, Mary Sarton, Christopher Isherwood, and Don Bacardy. Heather James is proud to partner with the Crocker Art Museum to represent the estate of Paul Wonner and William Theophilus Brown.

WILLIAM THEOPHILUS BROWN

acrylic on canvas

WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.

WILLIAM THEOPHILUS BROWN

Horse with Swimmers at Beach

acrylic on canvas

IRVING NORMAN - Slum Youth - oil on canvas - 44 1/4 x 20 1/4 in.

44 1/4 x 20 1/4 in.

HELMUT NEWTON - Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975 - vintage gelatin silver print - 8 x 11 3/4 in.

Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975

vintage gelatin silver print

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 48 1/8 in.

68 1/4 x 48 1/8 in.

acrylic on canvas

ANDY WARHOL - The Shadow (from Myths) - color screenprint with diamond dust on paper - 37 1/2 x 37 1/2 in.

The Shadow (from Myths)

37 1/2 x 37 1/2 in.

color screenprint with diamond dust on paper

MAURICE GOLUBOV - White - oil on canvas - 15 x 53 1/4 in.

MAURICE GOLUBOV

15 x 53 1/4 in.

MAURICE GOLUBOV - City Nocturne - oil on canvas - 32 x 42 in.

MAURICE GOLUBOV

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

MAURICE GOLUBOV

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

etching with aquatint

ANDY WARHOL - Campbell's Soup Can (Tomato) - screenprint in colors on colored t-shirt - 29 x 26 1/2 in.

Campbell's Soup Can (Tomato)

29 x 26 1/2 in.

screenprint in colors on colored t-shirt

RICO LEBRUN - Burning Tank - mixed media on board - 35 x 50 in.

mixed media on board

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 4 1/2 x 3 3/8 in.

4 1/2 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Self Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Self-Portrait in Drag - Polaroid - 4 1/4 x 3 3/8 in.

Self-Portrait in Drag

4 1/4 x 3 3/8 in.

SEAN SCULLY - Mirror - watercolor and graphite on paper - 30 x 22 1/4 in.

30 x 22 1/4 in.

watercolor and graphite on paper

CINDY SHERMAN - Untitled No. 110 - c-print - 45 x 30 in.

Untitled No. 110

OTTO PIENE - Up - oil and soot on printed paperboard - 44 x 27 3/4 in.

44 x 27 3/4 in.

oil and soot on printed paperboard

RICO LEBRUN - Objects in Dawn Light - 36 x 48 in.

Objects in Dawn Light

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

Kingstown, St. Vincent

NORMAN ZAMMITT - Panel for Black to White - acrylic on canvas on pine board - 100 x 11 1/4 in.

Panel for Black to White

100 x 11 1/4 in.

acrylic on canvas on pine board

Mirror images of a cloaked figure embrace a bare-chested and bearded man, who is almost child-like in his relative stature. Their embrace mirrors that of Michelangelo’s Pieta, and the many similar depictions of Christ and the Madonna. A dark shade of blue casts a shadow over the composition, assuredly a temporal indicator, but possibly a reference to Picasso’s blue period as well, a major influencer on Pellegrini’s artwork. The wall panels behind the figures depict religious scenes, and remind the viewer of stained glass walls in churches and chapels. Light shines from windows in the city below, also illuminated by a full moon peaking over mountainous scenery.

59 1/4 x 59 1/4 in.

From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”
<br>
<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

Vita di un’anarchica: la scelta

In an abstracted image of St. Peter’s basilica in Rome, Pellegrini returns to religious narratives to express his “anti-ideological and anti-pauperist” impression of the church and its relationship with faith (Antonio Monda, “Interview with Max Pellegrini). In the lower half of the painting, the birth of Jesus is the central focus, while the life of the church is highlighted in the upper half. According to Pellegrini, he depicted the birth of Jesus in the style of a baroque 18th century Neapolitan nativity scene that can be interpreted “as a feast for the birth of faith.” This faith is conceived of as “the material support for the Popes’ power and of the Church’s glory,” represented in this painting by the Pope clutching the moon in his hand.
<br>
<br>
<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

59 1/4 x 59 1/4 x 1 in.

MAX PELLEGRINI - Il Cavallo di Padova - oil on canvas - 59 x 59 in.

Il Cavallo di Padova

MAX PELLEGRINI - La Geisha e il Cavaliere - oil on canvas - 63 x 51 in.

La Geisha e il Cavaliere

ROBERT NATKIN - Untitled - acrylic on canvas - 60 x 60 in.

acrylic on canvas

HERB ALPERT - Flight 447 - acrylic and coffee on canvas - 64 x 96 in.

acrylic and coffee on canvas

ANDY WARHOL - Vote McGovern - screenprint - 42 x 42 in.

JAE KON PARK - Untitled - oil on canvas - 34 x 43 1/4 in..

34 x 43 1/4 in..

JAE KON PARK - Untitled - oil on canvas - 36 x 45 1/2 in.

36 x 45 1/2 in.

JAE KON PARK - Untitled - oil on canvas - 35 1/4 x 46 in.

35 1/4 x 46 in.

JAE KON PARK - Untitled - oil on canvas - 45 3/4 x 35 1/2 in.

45 3/4 x 35 1/2 in.

ALEXANDER CALDER - Compositions with Faces and Forms - ink on paper - 15 1/2 x 23 in. ea.

ALEXANDER CALDER

Compositions with Faces and Forms

15 1/2 x 23 in. ea.

PAUL JENKINS - Phenomenon High Vortex - acrylic on canvas - 48 x 50 in.

Phenomenon High Vortex

acrylic on canvas

ROBERTO MATTA - L'epreuve - oil on canvas - 29 1/2 x 25 1/2 in.

29 1/2 x 25 1/2 in.

CARLOS LUNA - Iluminado - byzantine mosaic - 47 1/2 x 82 in.

47 1/2 x 82 in.

byzantine mosaic

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi on linen - 42 1/2 x 103 1/2 in.

42 1/2 x 103 1/2 in.

recycled ganpi paper fiber, old documents, mica and sumi on linen

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

CARLOS LUNA - Gallo / Rooster - bronze - 27 1/2 x 7 1/2 x 16 in

Gallo / Rooster

27 1/2 x 7 1/2 x 16 in

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

LINO TAGLIAPIETRA

13 x 11 x 3 in.

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

FRANCISCO TOLEDO

mixed media on paper

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

acrylic and coffee on canvas

Jiang Guofang - Woman with a Red Scarf - oil on canvas - 20 7/8 x 25 5/8 in

Woman with a Red Scarf

20 7/8 x 25 5/8 in

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

Portrait of the Artist's Wife

20 7/8 x 25 5/8 in

MABEL MAY WOODWARD - Beach Scene - watercolor 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.

WILLIAM THEOPHILUS BROWN - Untitled (Painting with Jumping Man and Snake) - acrylic on canvas - 38 x 42 in.

WILLIAM THEOPHILUS BROWN

Untitled (Painting with Jumping Man and Snake)

acrylic on canvas

IRVING NORMAN - Strange Lovers (The Hard Marriage) - ink and colored pencil on paper - 22 3/4 x 29 in.

Strange Lovers (The Hard Marriage)

22 3/4 x 29 in.

ink and colored pencil on paper

JOSEPH KLEITSCH - Portrait of Charles F. W. Nichols - oil on canvas - 27 x 22 in.

JOSEPH KLEITSCH

Portrait of Charles F. W. Nichols

WILLIAM THEOPHILUS BROWN - Untitled (Industrial Landscape with One Way Street) - acrylic on canvas - 54 x 76 in.

WILLIAM THEOPHILUS BROWN

Untitled (Industrial Landscape with One Way Street)

acrylic on canvas

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

oil and acrylic on canvas

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

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

Blackglama (Judy Garland)

screenprint on Lenox Museum Board

RICHARD ARTSCHWAGER - Diving Boy I - acrylic and rubberized hair on masonite - 35 x 45 x 2 1/4 in.

RICHARD ARTSCHWAGER

35 x 45 x 2 1/4 in.

acrylic and rubberized hair on masonite

RICHARD ARTSCHWAGER - Diving Boy II - acrylic and rubberized hair on masonite - 32 x 45 x 2 1/4 in.

RICHARD ARTSCHWAGER

32 x 45 x 2 1/4 in.

acrylic and rubberized hair on masonite

ANDY WARHOL - Warhol Self-Portrait (Fright Wig) - Polaroid, Polacolor - 4 1/4 x 3 1/4 in.

Warhol Self-Portrait (Fright Wig)

4 1/4 x 3 1/4 in.

Polaroid, Polacolor

ANDY WARHOL - Self Portrait at 'Flowers' Exhibition - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Self Portrait at 'Flowers' Exhibition

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ALLAN D'ARCANGELO - Landscape - acrylic on canvas - 76 x 68 1/8 in.

ALLAN D'ARCANGELO

76 x 68 1/8 in.

acrylic on canvas

FIONA RAE - Untitled (yellow, red + brown) - oil on canvas - 72 x 78 in.

Untitled (yellow, red + brown)

DONNA HUANCA - Gatorade - plaster and 3D paint on canvas - 63 x 47 1/4 in.

63 x 47 1/4 in.

plaster and 3D paint on canvas

RICO LEBRUN - Woman in the Rain - oil on plywood - 48 x 41 in.

Woman in the Rain

PABLO PICASSO - Portrait de Jacqueline - lithograph printed in black, blue, and brown - 26 x 20 in.

Portrait de Jacqueline

lithograph printed in black, blue, and brown

MEL RAMOS - Tomato Catsup; A.C. Annie; Lola Cola; and Tobacco Red - four offset lithographs printed in colors - 30 3/4 x 25 1/4 in. (each)

Tomato Catsup; A.C. Annie; Lola Cola; and Tobacco Red

30 3/4 x 25 1/4 in. (each)

four offset lithographs printed in colors

ANDY WARHOL - Andy Warhol and Unidentified Man - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Andy Warhol and Unidentified Man

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

LOUISE NEVELSON - Untitled - wood and paper collage - 37 1/4 x 25 1/8 in.

LOUISE NEVELSON

37 1/4 x 25 1/8 in.

wood and paper collage

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

REMBRANDT VAN RIJN

The Good Samaritan

HERB ALPERT - Robotic Revolution - acrylic on canvas - 60 x 84 in.

Robotic Revolution

acrylic on canvas

HERB ALPERT - Salutation - acrylic on canvas - 60 x 84 in.

acrylic on canvas

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

PAUL WONNER - Fruit and Kitchen Towels on Two Tables - acrylic and ink on paper - 38 1/4 x 26 3/4 in.

Fruit and Kitchen Towels on Two Tables

38 1/4 x 26 3/4 in.

acrylic and ink on paper

JAE KON PARK - Untitled - oil on canvas - 35 1/2 x 45 1/2 in.

35 1/2 x 45 1/2 in.

JAE KON PARK - Untitled - oil on canvas - 36 x 46 in.

Warhol began depicting the "Hammer and Sickle" in 1976 after seeing the symbol from the Soviet flag used in graffiti while visiting Italy. The icon represents the union of industrial and farm workers’ interests. To Warhol, the symbol was more Pop than politics. One of his assistants scoured books for reproductions and ultimately purchased a double-headed hammer and a sickle and arranged them in different positions to photograph. Warhol used the images for his series of silkscreens, which New York’s Castelli Gallery exhibited in 1977. His almost expressionist use of the hammer and sickle diffuses some of the Cold War tension that prevailed from the early 1940s through the 1980s.

Hammer & Sickle

image: 30 x 40 1/8 in. board: 32 1/2 x 42 1/2 in.

ARISTIDES DEMETRIOS - The Eternal Flame - steel - 47 3/4 x 6 x 7 in.

ARISTIDES DEMETRIOS

The Eternal Flame

47 3/4 x 6 x 7 in.

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

JOSE MARIA SICILIA

Yellow Flower IV

acrylic on linen

KENNETH NOLAND - Winds 82-23 - painted monotype on handmade paper - 86 1/2 x 31 3/8 in.

86 1/2 x 31 3/8 in.

painted monotype on handmade paper

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

5 1/2 x 8 3/4 in.

acrylic on canvas

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

RICHARD ANUSZKIEWICZ

Arcade of Verdue

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

50 1/4 x 50 in.

NATHAN OLIVEIRA - Runner (Ochre) - bronze - 17 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

17 x 16 x 23 1/2 in.

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

Untitled (Oak Leaves)

NORMAN BLUHM - Untitled - acrylic on canvas - 28 x 24 in.

acrylic on canvas

JAMES ROSENQUIST - Sky Hole (from Welcome to the Water Planet) - color pressed paper pulp with lithographic collage - 103 1/2 x 58 1/2 in.

JAMES ROSENQUIST

Sky Hole (from Welcome to the Water Planet)

103 1/2 x 58 1/2 in.

color pressed paper pulp with lithographic collage

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor SX-70 - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid, Polacolor SX-70

ANDY WARHOL - Lee Radziwill - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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 on paper

RICO LEBRUN - Woman with Arms Over Head - bronze

Woman with Arms Over Head

LOUISE NEVELSON - Untitled - painted wood, violin key and clothespin - 4 3/8 x 7 3/8 x 4 1/4 in.

LOUISE NEVELSON

4 3/8 x 7 3/8 x 4 1/4 in.

painted wood, violin key and clothespin

RICO LEBRUN - St. John, After Grunewald's Isenheim Alter - mixed media - 39 x 29 1/2 in.

St. John, After Grunewald's Isenheim Alter

39 x 29 1/2 in.

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

HERB ALPERT - East of the Sun - acrylic on canvas - 71 3/4 x 71 3/4 in.

East of the Sun

71 3/4 x 71 3/4 in.

acrylic on canvas

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

3 Heures D'Après Midi

24 x 19 3/4 in.

acrylic on canvas

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

4 5/8 x 5 1/2 in.

ink on illustration board

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

FRANCESCO CLEMENTE

26 x 18 3/4 in.

pastel on paper

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

Tuche, Greek Goddess of Fortune

12 x 9 x 14 in.

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

Color Sound 15 Intro Version

46 3/4 x 46 3/4 in.

nitro lacquer on plastic material

ANDY WARHOL - Self-Portrait - Polaroid on board - 4 1/4 x 3 3/8 in.

4 1/4 x 3 3/8 in.

Polaroid on board

ROBERT NATKIN - Untitled - acrylic on canvas - 85 3/4 x 48 in.

85 3/4 x 48 in.

acrylic on canvas

ANDY WARHOL - Warhol with Corn Flakes - Polaroid, Polacolor - 3 3/8 x 4 1/2 in.

Warhol with Corn Flakes

3 3/8 x 4 1/2 in.

Polaroid, Polacolor

ANDY WARHOL - Arnold Schwarzenegger - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Arnold Schwarzenegger

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Self-Portrait - Polaroid, Polacolor - 3 3/8 x 4 1/2 in.

3 3/8 x 4 1/2 in.

Polaroid, Polacolor

ANDY WARHOL - Self Portrait with Mask - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Self Portrait with Mask

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Any Warhol Self-Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Any Warhol Self-Portrait

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

ANDY WARHOL - Andy Warhol - gelatin silver print - 10 x 8 in.

gelatin silver print

ANTONY GORMLEY - Zones of Attachment - gouache on paper - 15 x 11 in.

Zones of Attachment

gouache on paper

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

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

CLARENCE HINKLE

Portrait of a Chinese Boy

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

Étude de cheval

12 1/4 x 9 3/8 in.

black chalk on laid paper

ANDY WARHOL - Yves Saint Laurent - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

Yves Saint Laurent

4 1/4 x 3 3/8 in.

Polaroid, Polacolor

MAX PELLEGRINI - Resurrection no. 3: The Faun’s rebirth - oil on canvas - 39 1/4 x 51 in.

Resurrection no. 3: The Faun’s rebirth

39 1/4 x 51 in.

ALEXANDER CALDER - El Circulo de Piedra - gouache and ink on paper - 20 1/2 x 15 1/2 in.

ALEXANDER CALDER

El Circulo de Piedra

20 1/2 x 15 1/2 in.

gouache and ink on paper

DAVID MORRIS - The Matador - cast steel - 43 1/2 x 15 1/2 in.

43 1/2 x 15 1/2 in.

ZENG JIANYONG - Discipline-Reading Boy - Ink and Watercolor on Handmade Paper - 56 1/2 x 28 1/4 in.

Discipline-Reading Boy

56 1/2 x 28 1/4 in.

Ink and Watercolor on Handmade Paper

ZENG JIANYONG - Discipline-Flying Bird - ink and watercolor on handmade paper - 56 1/2 x 28 1/4 in.

Discipline-Flying Bird

56 1/2 x 28 1/4 in.

ink and watercolor on handmade paper

MAURICE GOLUBOV - Metaphysical Dimension - oil on canvas - 14 x 27 7/8 in.

MAURICE GOLUBOV

Metaphysical Dimension

14 x 27 7/8 in.

ANDY WARHOL - Dennis Hopper - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

4 1/4 x 3 3/8 in. ea.

Polaroid, Polacolor

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.

TONY DE LOS REYES - The Needle - oil on linen - 89 x 119 x 6 in.

TONY DE LOS REYES

89 x 119 x 6 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.

KENNETH NOLAND - Winds 82-08 - painted monotype on handmade paper - 86 x 32 in.

painted monotype on handmade paper

LAWRENCE SCHILLER - Marilyn Monroe - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

vintage silver gelatin photograph

JULIO SUSANA - Mariachi - oil on canvas - 63 x 73 in.

first 1 2 3 4 last all

Join List Short Form

If you are human, leave this field blank.

CONNECT

Back to Top

© Copyright 2021 Heather James. All Rights Reserved.

Privacy Policy
Terms and Conditions

Thank you for contacting us!

Would you like to customize your art preferences?

Go to Communication Preferences

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

Inquire - Art Single

Name *

Inventory # *

Email *

Phone Number

Message *

reCAPTCHA

If you are human, leave this field blank.

English

日本語
中文 (简体)
Deutsch
Français
Español
עברית
العربية‏