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Inspired by the birth of his twin nephews, Richard Serra conceived the design for Twins in 1972. He wrote about the design, named it after the birth event, and dedicated the sculpture to the parents of the twins, his brother and sister-in-law, Tony and Mary Edna. The actual sculpture was created when the current owner of the piece commissioned Richard Serra to fabricate a site-specific sculpture in 1993. can be seen emerging from the gravel like a monumental megalith. The sculpture consists of two thin, weathered triangular sheets of steel that meet at the small end. Twins can be best described as two pieces that gently meet at the middle and then move away from each other as they expand. It was exhibited in front of the Beverly Hills City Hall and Library in 2015.

Twins: To Tony and Mary Edna

120 x 480 x 1 7/8 in.

two rolled cor-ten steel plates

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

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

Haring created this double-paneled canvas as a central set piece for “Secret Pastures,” a critically acclaimed dance performance by Bill T. Jones and Arnie Zane at the Brooklyn Academy of Music in 1984. The performance was one of multiple artistic collaborations between Haring and Jones's team, which include the iconic body-painting sessions that led to the sensational Tseng Kwong Chi photographs that landed in museum collections around the world.
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<br>Between 1976 and 1978, Haring dropped out of commercial art school and moved to New York, quickly ingratiating himself in the 1980s downtown arts scene. In its nascent days, the downtown arts community was notable for its multidisciplinary approach. Artists were frequently self-taught and engaged in performance art, experimental music, graffiti, and unplanned happenings. Haring is best known for a graphic style with rapid rhythmic lines and a recognizable vocabulary of images.
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<br>This large-scale work from 1984 presents Haring’s most celebrated and sought-after forms. It was produced within a few years of Haring’s most notable murals and museum exhibitions. Shortly before creating “Untitled,” he was featured in “documenta 7” (1982) and the Whitney Biennial (1983), and a couple of years after, he produced the iconic “Crack is Wack” (1986) mural. 1984 is Haring at the height of his career.
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<br>Click here for photos of this piece in the 1984 dance performance by Bill T. Jones and Arnie Zane: http://levyarchive.bam.org/Detail/occurrences/15

89 1/4 x 90 1/2 x 1 in.

acrylic on cotton tarp

Gustave Caillebotte’s paintings of his country home at Yerres display soft brushwork and a pastel palette typical of the Impressionists. Although closely associated with that movement, Caillebotte drew inspiration from other approaches as well, resulting in a style closer to Realism than many of his contemporaries. He aimed to paint the world as he observed it, producing works that resisted theatricality in favor of a more grounded sense of reality. His noteworthy urban scenes employ flatter colors and dramatic perspectives inspired by Japanese wood block prints. One such example, created in the same year as the present work, is one of his best-known paintings, Paris Street; Rainy Day at the Art Institute of Chicago.
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<br>Caillebotte did not only contribute his painting to the Impressionist movement, but also became a crucial benefactor upon receiving a sizable inheritance. He helped to fund exhibitions, purchased works for his own collection, and even paid rent for Claude Monet’s studio.
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<br>This canvas from 1877 belonged to the personal collection of American Impressionist Mary Cassatt until her death in 1926. Here, Caillebotte’s delicate paint handling compliments his measured use of color. Naturalistic hues of the artist’s garden and the valley beyond – a bed of cool green and blue that divide the canvas into contrasting swaths of heavy and light tones – underscore the details touched by light.

GUSTAVE CAILLEBOTTE

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

19 1/8 x 25 1/2 in.

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

Le Mont Riboudet a Rouen au Printemps

21 1/2 x 28 5/8 in.

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

FREDERICK CARL FRIESEKE

Afternoon at the Beach

1905 / 1906 in Fra

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

ALEXANDER CALDER

39 ½ x 29 ¾ in.

Renowned for his monumental outdoor sculptures made of industrial metals, Mark di Suvero created “Whale’s Cry” in 1988. Constructed with stainless steel and cor-ten steel, it demonstrates the imposing and expansive qualities that characterize di Suvero’s work. Often towering over the landscape and incorporating kinetic elements, these works both interrupt and participate in their environments. His sculptural structures have been associated with the Abstract Expressionist movement, in the same vein as David Smith and Alexander Calder, due to their emphasis on materiality and expressive form.

stainless steel and cor-ten steel

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

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

acrylic and steel

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

A Whirling Square

acrylic on canvas

SAM FRANCIS - Coral Trails - acrylic on canvas - 78 x 108 in.

acrylic on canvas

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

SUSAN ROTHENBERG

45 7/8 x 60 1/8 in.

acrylic and tempera on canvas

SAM FRANCIS - Untitled, 1961-62 - oil on canvas - 83 3/4 x 75 5/8 in.

Untitled, 1961-62

83 3/4 x 75 5/8 in.

San Loretto (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit.

mixed media 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

91 1/4 x 116 x 39 1/2 in.

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

79 x 110 x 51 in.

rusted and varnished steel

PIERRE-AUGUSTE RENOIR - Femme à Corsage à Rayures Jaune et Rouge Ecrivant - oil on canvas - 17 3/4 x 21 in.

PIERRE-AUGUSTE RENOIR

Femme à Corsage à Rayures Jaune et Rouge Ecrivant

17 3/4 x 21 in.

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

57 1/4 x 38 3/4 in.

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

JAMES ROSENQUIST

101 3/4 x 85 in.

oil on canvas laid on panel

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

KURT SCHWITTERS

Ohne Titel (Merzbild Mit Schuhsohle)

21 1/4 x 17 3/4 in.

oil and relief assemblage on plywood

IRVING NORMAN - The Human Condition - oil on canvas - 120 x 182 in.

The Human Condition

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

oil and tempera on cardboard

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

Cape Split, Maine

22 1/4 x 28 1/4 in.

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.

12 7/8 x 19 3/8 in.

charcoal on paper

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

ROBERT MOTHERWELL

acrylic on canvas

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

307 x 67 x 59 in.

stainless steel

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

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

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

RICHARD DIEBENKORN

53 1/2 x 40 1/2 in.

etching, aquatint and drypoint in colors on Somerset paper

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

RICHARD DIEBENKORN

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

welded scrap iron

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

JULIAN SCHNABEL

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

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

JULIAN SCHNABEL

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

SAM FRANCIS - Yellow, Blue & Orange - watercolor on paper - 22 1/8 x 30 1/8 in.

Yellow, Blue & Orange

22 1/8 x 30 1/8 in.

watercolor on paper

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.

ANDY WARHOL - Portrait of Dorothy Blau-Red - acrylic and silkscreen ink on canvas - 40 x 40 in.

Portrait of Dorothy Blau-Red

acrylic and silkscreen ink on canvas

MEL RAMOS - Carmelina-Homage to Henri - oil on canvas - 67 3/4 x 52 in.

Carmelina-Homage to Henri

67 3/4 x 52 in.

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

GRANVILLE REDMOND

The Evening Desert

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

Electric Chairs

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

SAM FRANCIS - New York, New York - gouache/egg tempera on gessoed French paper - 39 3/4 x 27 in.

New York, New York

39 3/4 x 27 in.

gouache/egg tempera on gessoed French paper

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

GABRIEL OROZCO - Samurai Tree - Invariant Gold 2 - acrylic on canvas - 47 1/4 x 47 1/4 in.

Samurai Tree - Invariant Gold 2

47 1/4 x 47 1/4 in.

acrylic on canvas

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

Portrait of a Girl with a Red Scarf

31 1/2 x 25 5/8 in.

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

CAMILLE PISSARRO - Les Gardeuses de Vaches - mixed media, gouache and watercolor with charcoal on paper - 11 1/2 x 8 1/2 in.

CAMILLE PISSARRO

Les Gardeuses de Vaches

11 1/2 x 8 1/2 in.

mixed media, gouache and watercolor with charcoal on paper

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

Double Silver Point Robes

53 1/2 x 96 in.

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

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

Overwhelming Love

household gloss, butterflies

LARRY RIVERS - Lions on the Dreyfus Fund, Inc. - pencil and oil on cut wood and canvas - 63 x 35 1/2 in.

Lions on the Dreyfus Fund, Inc.

63 x 35 1/2 in.

pencil and oil on cut wood and canvas

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

21 1/4 x 29 in.

watercolor on paper

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

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

gloss paint on aluminum in four panels

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

Two Lines Up, Oblique

stainless steel

DEBORAH BUTTERFIELD - Yellow River - steel - 26 x 96 x 56 in.

DEBORAH BUTTERFIELD

26 x 96 x 56 in.

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

37 x 30 5/8 in.

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

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

EDWARD HOPPER - Old Ice Pond at Nyack - oil on canvas - 11 3/4 x 19 3/4 in.

Old Ice Pond at Nyack

11 3/4 x 19 3/4 in.

Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

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

Two Seated Figures Against Wall

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

bronze with brown patina

JEAN ARP - Evocation d'une Forme Humaine Lunaire Spectrale - cast cement - 33 1/8 in.

Evocation d'une Forme Humaine Lunaire Spectrale

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

River Oaks Theater

40 x 61 1/4 in.

acrylic on canvas

In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. Untitled (Portrait)(Boy) was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work challenges ideas of authorship, capturing a sense of immediacy within the apparatus of social media.

Untitled (Portrait)(Boy)

65 3/4 x 48 3/4 in.

inkjet on canvas

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

MATTHEW MONAHAN

107 x 62 x 27 in.

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 x 1 3/4 in.

NATHAN OLIVEIRA

Han Stele with Wheels

84 x 70 x 1 3/4 in.

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.

NATHAN OLIVEIRA - Wing IV - oil on canvas - 84 x 63 in.

NATHAN OLIVEIRA

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

GUENTHER UECKER

Poesie der Destruktion

24 x 24 x 5 1/2 in.

mixed media on canvas

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

25 x 17 1/2 x 2.25 in.

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

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

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

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

Big Grid / Solo Tear

84 x 84 x 36 in.

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

DEMETRE CHIPARUS

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

cold-painted, patinated and enameled bronze and chryselephantine

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

acrylic on canvas

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

SADAMASA MOTONAGA

16 x 12 1/2 in.

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

28 1/4 x 22 1/4 in.

mixed media (miraflage) on paper on canvas

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

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

MERET OPPENHEIM

9 1/2 x 7 1/2 in.

horse hair and photo collage on title page

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

Eulogy (Commission)

159 x 72 x 4 in.

acrylic on canvas

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

JANNIS KOUNELLIS

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

iron, canvas and enamel

PAUL JENKINS - Untitled - acrylic on canvas - 71 1/2 x 128 1/2 in.

71 1/2 x 128 1/2 in.

acrylic on canvas

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

JOHN PHILIP FALTER

tempera on board

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

ROY LICHTENSTEIN

Reflections on Crash

59 1/8 x 75 in.

lithograph, screenprint, relief, and metalized PVC collage

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

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

ELAINE DE KOONING

Untitled (Totem Pole)

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

oil on canvas stretched over cardboard cylinders

IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.

To Have and Have Not, Charity Gala

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

ALEXANDER CALDER

Woman with Square Umbrella

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

65 x 58 x 40 in.

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

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

chrome-plated aluminum

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

80 x 60 3/4 in.

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

WILLIAM KENTRIDGE

World on its Hind Legs

64 x 26 x 30 in.

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

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

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

Henri Matisse is one of the most influential artists of the twentieth century and whose oeuvre covers painting, drawing, sculpture, etchings, linocuts, lithographs, aquatints, paper cutouts, and book illustration. An early proponent of Fauvism with its outrageous colors and dynamic composition, Matisse would also move into abstraction, pioneering the use of color and form in each stage of his career. This drawing depicts Madame Monchaux and displays the incredible draftsmanship that often characterized his work. Striving to achieve “the art of balance, of purity and serenity”, his drawings appear effortless but are careful studies to unite line and form.

Madame Monchaux

pencil on paper

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.

ALEXANDER CALDER - Le Pyramide Orange - gouache and ink on paper - 29 3/4 x 42 1/8 in.

ALEXANDER CALDER

Le Pyramide Orange

29 3/4 x 42 1/8 in.

gouache and ink on paper

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

201 x 48 x 48 in.

HERB ALPERT - Charity - bronze - 150 in.

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

201 x 48 x 48 in.

HERB ALPERT - Gratitude - bronze - 206 in.

HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.

212 x 48 x 48 in.

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

MAURICE PRENDERGAST

Sunday in the Park

11 1/2 x 16 in.

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

77 x 46 x 46 in.

bronze, painted stainless steel

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

TAKASHI MURAKAMI

24 x 23 3/4 x 2 in.

acrylic on canvas layed on wood

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

149 x 23 x 30 1/2 in.

copper and bronze

HENRY MOORE - Reclining Figure Curved: Rough - bronze - 5 x 8 1/4 x 5 1/4 in.

Reclining Figure Curved: Rough

5 x 8 1/4 x 5 1/4 in.

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

NATHAN OLIVEIRA

Couple with Red

50 1/8 x 42 in.

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

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

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

ROLAND PETERSEN

Girl with Trees

71 x 59 1/2 in.

JEAN-BAPTISTE GREUZE - Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length - oil on panel - 23 5/8 x 19 3/8 in.

JEAN-BAPTISTE GREUZE

Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length

23 5/8 x 19 3/8 in.

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

oil on linen canvas

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

RICHARD DIEBENKORN

paper: 35 x 26 1/4 in.

spit bite aquatint & drypoint aquatint on paper

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

Untitled (Cloth and Paint Work #2)

15 1/2 x 16 in.

rope and oil on canvas

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

glass hologram set

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

ROBERT RAUSCHENBERG

Berm (Hoarfrost)

62 1/2 x 35 1/2 in.

solvent transfer on fabric with cardboard

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

Figure in a Tub

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

ED RUSCHA - The End - glass hologram set - 11 x 14

glass hologram set

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 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.

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

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

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

STANTON MACDONALD-WRIGHT

TONY CRAGG - Bodicea - bronze - 81 x 27 x 33 in.

81 x 27 x 33 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.

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

Norman Bluhm's Black and Red (1953), first owned by fellow artist Sam Francis, is an explosive drip painting that characterizes the artist’s style in the late 1950s. Bluhm's process and resulting work epitomizes the category of Abstract Expressionist painters that earned the moniker "action" painters. The energy and passion present in Bluhm’s work was likely fueled by his experience fighting in World War II. The intensity of his paintings from the decade following the war is one reason why Bluhm’s work from the 1950s are some of the most highly sought-after. The top ten prices for the artist at auction are held by paintings from this era.

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

Mycenaean Goddess

61 x 22 x 15 1/2 in.

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

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.

HERB ALPERT - Warrior - bronze - 156 x 40 x 40 in.

156 x 40 x 40 in.

TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

Study for Bedroom Painting #6

5 1/4 x 6 3/4 in.

pencil and thinned Liquitex on paper

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

Self-Portrait, 2000

58 1/3 x 48 in.

screenprint on paper

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

Fallow Deer Situla

16 x 23 1/2 x 13 in.

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

LOUISE BOURGEOIS

dimension variable

suite of 8 glass holograms

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

Minotaure, version à la base carrée

Conceived circa 18

24 x 28 1/2 x 27 in.

bronze with brown and green patina

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

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

plaster and resin on board

HANS HOFMANN - Purple Tree - casein on board - 20 x 24 in.

casein on board

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

IRVING NORMAN - 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.

KATHARINA GROSSE - Untitled 2015 - acrylic aluminum - 41 1/2 x 40 x 18 in.

KATHARINA GROSSE

41 1/2 x 40 x 18 in.

acrylic aluminum

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.

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 CARL FRIESEKE

Afternoon Tea on the Terrace

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

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.

THEASTER GATES - Lathe Black Box - wood, glass and lathe - 50 1/4 x 53 x 6 7/8 in.

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

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

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

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.

ANDY GOLDSWORTHY - Red Stone Hole - drumlanrigg stone - 35 1/2 x 27 1/2 x 23 1/2 in.

ANDY GOLDSWORTHY

35 1/2 x 27 1/2 x 23 1/2 in.

drumlanrigg stone

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

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

To Be Remembered

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

26 x 14 x 12 in.

RICHARD DIEBENKORN - Untitled - ink and graphite on paper - 16 7/8 x 13 3/4 in.

RICHARD DIEBENKORN

16 7/8 x 13 3/4 in.

ink and graphite on paper

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

34 x 23 1/4 in.

color photograph

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

Carte de Triunfo

46 x 40 x 23 1/2 in.

stainless steel and aluminum

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

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

72 x 48 x 1 3/4 in.

wood and mixed media

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.

RICHARD ANUSZKIEWICZ - Translumina - acrylic on wood - 48 x 48 in.

RICHARD ANUSZKIEWICZ

acrylic on wood

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

RICHARD ANUSZKIEWICZ

acrylic on canvas

RICHARD DIEBENKORN - Touched Red - etching - 35 1/4 x 26 1/2 in.

RICHARD DIEBENKORN

35 1/4 x 26 1/2 in.

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

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

THOMAS DOWNING - Red Fours - acrylic on canvas - 85 1/4 x 87 1/4 in.

85 1/4 x 87 1/4 in.

acrylic on canvas

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

The Bull Fighter

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

NATHAN OLIVEIRA

HASSEL SMITH - Piano, Bass and Drums - oil on canvas - 67 7/8 x 48 1/4 in.

Piano, Bass and Drums

67 7/8 x 48 1/4 in.

WILLIAM MORRIS - Artifact Pouch - blown glass - 20 x 20 x 20 in.

20 x 20 x 20 in.

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

Barn Group Near Marion

11 1/2 X 23 7/8 in.

oil on masonite

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

Girl With Bow Tie

39 1/4 x 28 3/4 in

GRACE HARTIGAN - Medieval Costumes - oil on linen - 72 x 84 in.

Medieval Costumes

GRACE HARTIGAN - Renaissance Costumes - oil on linen - 72 x 84 in.

Renaissance Costumes

GRACE HARTIGAN - Caribbean Interior - oil on linen - 72 x 78 in.

Caribbean Interior

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

GRACE HARTIGAN - Chinese Calendar - oil on linen - 84 1/4 x 61 1/4 in.

Chinese Calendar

84 1/4 x 61 1/4 in.

GRACE HARTIGAN - Follies '27 - oil on linen - 77 3/4 x 60 in.

77 3/4 x 60 in.

GRACE HARTIGAN - Palm Tree - oil on linen - 80 x 40 in.

RODNEY MCMILLIAN - Lollipop - latex on canvas - 78 1/4 x 68 in

RODNEY MCMILLIAN

latex on canvas

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

RODNEY MCMILLIAN

97 1/2 x 102 in.

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

SADAMASA MOTONAGA - Untitled - acrylic on paper - 10 1/2 x 9 in.

SADAMASA MOTONAGA

acrylic on paper

GRACE HARTIGAN - My Fair Lady - oil on linen - 60 x 48 in.

ED MOSES - Nambo Panel I & II - acrylic on canvas - 84 x 66 in.

Nambo Panel I & II

acrylic on canvas

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

RICHARD DIEBENKORN

Untitled (Urbana Series)

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

Formas Tensionales

oil, cardboard on masonite

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

JOSEPH KLEITSCH

Portrait of Hedda Nova

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

72 x 30 x 54 in.

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

20 1/4 x 15 in.

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

83 x 27 x 27 in.

bronze with gold patina

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

132 x 36 x 48 in.

stainless steel, steel base

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

Untitled (After Courbet and Hiroshige)

colored pencil, pencil, gesso and charcoal on paper

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

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

19 x 18 x 14 in.

stainless steel balls and wire

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

Rue Aubriot, Paris 1975

13 1/4 x 8 7/8 in.

vintage gelatin silver print

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

LUIS CRUZ AZACETA

acrylic on canvas

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.

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

Passionnément, Pas du Tout

12 1/4 x 9 1/4 in.

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

Die Besten Jahre

Painted in 2001/20

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

FRANCIS CELENTANO - 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

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

Phenomena Silver Sinister

76 5/8 x 59 1/4 in.

acrylic on canvas

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

Tewa Plaza at First Mesa

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

Interior Still Life

oil on masonite

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

LOUISE BOURGEOIS

Plate 5 of 9 from He Disappeared Into Complete Silence

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

84 x 108 1/4 in.

acrylic on canvas

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

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

GEORGE GARDNER SYMONS

White River Bank

25 1/4 x 30 in.

HASSEL SMITH - About 9 - acrylic on canvas - 90 x 68 in.

acrylic on canvas

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

acrylic on canvas

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

71 x 82 1/2 in.

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

LOS CARPINTEROS COLLECTIVE

Basket (Diptych)

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

WOLFGANG PAALEN

14 3/4 x 18 in.

oil, tempera and ink on canvas

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

JOANNA POUSETTE-DART

81 x 117 1/4 in

acrylic on canvas over wood panels

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

canvas collage on canvas

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

PABLO PICASSO - Jacqueline au Chevalet - partly glazed ceramic - 16 3/4 x 16 3/4 in.

Jacqueline au Chevalet

16 3/4 x 16 3/4 in.

partly glazed ceramic

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

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.

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.

DAVID MORRIS - Matador's Cape - bronze on steel base - 76 x 60 x 36 in.

76 x 60 x 36 in.

bronze on steel base

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.

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

The Modest Orgasms of the Middle Class

gouache, charcoal, and collage on paper

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 King - acrylic on canvas - 67 1/2 x 68 in.

In the Valley of the King

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

Homage to the Headhunters

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

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

11 7/8 x 15 3/4 in.

oil on masonite

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

44 1/2 x 57 1/2 in.

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.

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

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

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 - Chambord Revisited - acrylic on canvas - 68 x 68 in.

Chambord Revisited

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 - Flys Expect to be Swatted - #9 Painting - acrylic on canvas - 68 x 68 in.

Flys Expect to be Swatted - #9 Painting

acrylic on canvas

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

acrylic on canvas

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

acrylic on canvas

HASSEL SMITH - About 99 - 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 - wood construct - 68 x 68 in.

HASSEL SMITH - More and More Cosmic Funk - acrylic on canvas - 68 x 68 in.

More and More Cosmic Funk

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 - 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 - Alone with the Killer #2 - acrylic on canvas - 68 x 68 in.

Alone with the Killer #2

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

ANDREW WYETH - Study - Ink on board - 16 x 16 in.

TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in.

29 1/2 x 37 1/2 in.

enamel on cut-out steel

ROBERT NATKIN - Amethyst - oil on canvas - 71 x 100 1/8 in.

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.

JOE ZUCKER - Interior #2 (Diptych) - acrylic on canvas and wood - 48 1/4 x 48 1/4 in.; 47 1/4 x 47 in.

Interior #2 (Diptych)

48 1/4 x 48 1/4 in.; 47 1/4 x 47 in.

acrylic on canvas and wood

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

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

acrylic and wood on canvas

ROBERT NATKIN - Young Acrobat - acrylic on canvas - 47 1/2 x 113 in.

47 1/2 x 113 in.

acrylic on canvas

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

58 1/2 x 16 x 16 in.

cast bronze, patinaed or painted oil

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

88 x 116 1/4 in.

acrylic on canvas

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

acrylic on canvas

ALEXANDER CALDER - Untitled - gouache and ink on paper - 81 3/4 x 37 1/2 in.

ALEXANDER CALDER

81 3/4 x 37 1/2 in.

gouache and ink on paper

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, gouache - 8 3/4 x 11 7/16 in.

Two Reclining Figures

8 3/4 x 11 7/16 in.

charcoal, green chalk, brown conte, watercolor wash, gouache

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

MICHAEL CORINNE WEST

84 5/8 x 49 7/8 in.

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

LORSER FEITELSON

Dancers - Magical Forms

DAMIEN HIRST - Pharmaceuticals - inkjet in colors - 41 x 33 in.

Pharmaceuticals

inkjet in colors

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

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

GUILLERMO KUITCA

18 1/4 x 25 5/8 in.

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

No One In Particular (Old)

40 x 32 x 7 1/2 in.

silicone, pigment, hair on aluminum

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

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

TADASUKE (Tadasky) KUWAYAMA - Multicolor with Black, C-176 - acrylic on canvas - 46 x 46 in.

TADASUKE (Tadasky) KUWAYAMA

Multicolor with Black, C-176

acrylic on canvas

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

TADASUKE (Tadasky) KUWAYAMA

acrylic on canvas

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

JOSEPH KLEITSCH

40 1/2 x 28 1/4 in.

MAURICE ASKENAZY

Nude with a Japanese Folding Screen

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

GEORGE BRANDRIFF

Fishermen on the Dock Loading Supplies

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

Toboggan Slide and Dufferin Terrace

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

TONY DELAP - Zanadu - acrylic - 64 x 86 x 10 1/2 in.

64 x 86 x 10 1/2 in.

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

15 7/8 x 11 3/4 in.

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 - In Berkley - acrylic on canvas - 70 x 49 in.

acrylic on canvas

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

Eyeball to Eyeball

BARBARA KRUGER - Picture/Readings - text and photograph - 16 3/8 x 39 in.

Picture/Readings

16 3/8 x 39 in.

text and photograph

BARBARA KRUGER - Picture/Readings - text and photograph - 15 1/4 x 39 1/2 in.

Picture/Readings

15 1/4 x 39 1/2 in.

text and photograph

BARBARA KRUGER - Picture/Readings - text and photograph - 15 1/2 x 39 in.

Picture/Readings

15 1/2 x 39 in.

text and photograph

ROLAND PETERSEN - Luncheon - oil on canvas - 24 1/4 x 26 3/8 in.

ROLAND PETERSEN

24 1/4 x 26 3/8 in.

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

PABLO PICASSO - Faune Musicien No. 4 - lithograph - 28 1/2 x 21 1/4 in.

Faune Musicien No. 4

28 1/2 x 21 1/4 in.

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

PABLO PICASSO - Tete sur Fond Noir - lithograph - 28 3/4 x 21 3/4 in.

Tete sur Fond Noir

28 3/4 x 21 3/4 in.

PABLO PICASSO - Faune et Vieux Roi / Le Vieux Bouffon - linocut in colors - 27 1/2 x 22 3/4 in.

Faune et Vieux Roi / Le Vieux Bouffon

27 1/2 x 22 3/4 in.

linocut in colors

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

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

Picture/Readings

15 1/4 x 39 in.

text and photograph

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 x 48 in.

acrylic on canvas

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

acrylic on canvas

HASSEL SMITH - Military 2-Step - wood construct - 48 x 68 in.

Military 2-Step

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 - Cirlces Etc. #2 - acrylic on canvas - 68 x 48 in.

Cirlces Etc. #2

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

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

Kingstown, St. Vincent

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

RAIMONDS STAPRANS

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

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

GUSTAVO LOPEZ ARMENTIA

Imágenes, Recuerdos y Soledades

acrylic on panel

KENNETH NOLAND - Doors and Ghosts - unique monotype on paper - 78 1/2 x 42 1/2 in.

Doors and Ghosts

78 1/2 x 42 1/2 in.

unique monotype on paper

KENNETH NOLAND - Doors and Ghosts #17 - unique monotype on paper - 78 3/4 x 43 in.

Doors and Ghosts #17

78 3/4 x 43 in.

unique monotype on paper

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.

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

watercolor and pencil

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

Phenomenon High Vortex

acrylic on canvas

RAIMONDS STAPRANS - House in a Red Landscape - oil on canvas - 22 x 25 in.

RAIMONDS STAPRANS

House in a Red Landscape

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

Pencil Study for "We Greet Thee, Mary"

c. 1891 (Tahiti)

11 3/4 x 7 1/4 in.

pencil on paper

CHUL-HYUN AHN - Mirror Drawing #11 - plywood, LED lights, mirror - 40 1/2 x 40 1/2 in.

Mirror Drawing #11

40 1/2 x 40 1/2 in.

plywood, LED lights, mirror

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.

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

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

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

oil and acrylic on canvas

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

LINO TAGLIAPIETRA

13 x 11 x 3 in.

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

FRANCISCO TOLEDO

mixed media on paper

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

acrylic and coffee on canvas

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

CHRISTIAN ECKART

Zootrope (Sandwers Curve)

65 x 55 x 5 in.

lacquer on aluminum

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

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

MABEL MAY WOODWARD

14 1/2 x 19 1/2 in.

MARC CHAGALL - The Yellow Sun - lithograph - 20 x 24 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

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

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

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

55 1/4 x 55 1/2 in.

JAE KON PARK - Untitled - oil on canvas - 35 x 33 7/8 in.

35 x 33 7/8 in.

ADAM EMORY ALBRIGHT - Two Boys with Cows "Coming Home" - oil on canvas - 35 3/4 x 59 3/4 i in.

ADAM EMORY ALBRIGHT

Two Boys with Cows "Coming Home"

35 3/4 x 59 3/4 i in.

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

acrylic and paper on canvas

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

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

screenprint in colors on wove paper

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

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

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

Untitled - 1035

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

50 x 38 1/4 in.

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

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.

TADAAKI KUWAYAMA - Off White - acrylic on 6 chrome-joined canvases - 85 1/2 x 55 in.

TADAAKI KUWAYAMA

85 1/2 x 55 in.

acrylic on 6 chrome-joined canvases

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

PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in

Phenomena Lucifer Edge

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

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

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

44 1/8 x 57 1/4 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

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

EDWARD LEE HENDRICKS

19 1/2 x 24 x 24 in.

aluminum & urethane enamel with 6" spheres

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

acrylic on canvas

DAMIEN HIRST - The Souls on Jacob's Ladder Take Their Flight - color photogravure etching - 47 1/2 x 43 1/4 in.

The Souls on Jacob's Ladder Take Their Flight

47 1/2 x 43 1/4 in.

color photogravure etching

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

39 x 35 x 16 in.

machined aluminum, gilded 23.5k rose gold

SAM FRANCIS - Untitled - acrylic on gessoed masonite wood panel - 9 x 6 1/4 in.

acrylic on gessoed masonite wood panel

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

3 Heures D'Après Midi

24 x 19 3/4 in.

acrylic on canvas

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

4 5/8 x 5 1/2 in.

ink on illustration board

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

32 x 25 1/4 in.

screenprint with digital inkjet on Somerset paper

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

EDWARD HENRY POTTHAST

PABLO PICASSO - L'Atelier du Vieux Peintre (Old Painter's Studio) - lithograph - 17 x 24 in.

L'Atelier du Vieux Peintre (Old Painter's Studio)

PABLO PICASSO - Man Uncovering a Woman (Homme dévoilant une femme) - etching/engraving - 16 x 12 1/2 in.

Man Uncovering a Woman (Homme dévoilant une femme)

16 x 12 1/2 in.

etching/engraving

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

FRANCESCO CLEMENTE

26 x 18 3/4 in.

pastel on paper

ARISTIDES DEMETRIOS - Succession - bronze - 27 1/4 x 17 x 13 in.

ARISTIDES DEMETRIOS

27 1/4 x 17 x 13 in.

ELAINE DE KOONING - Bacchus II - watercolor on paper - 29 5/8 x 22 3/8 in.

ELAINE DE KOONING

29 5/8 x 22 3/8 in.

watercolor on paper

WILLIAM TUCKER - Tuche, Greek Goddess of Fortune - bronze - 12 x 13 x 8 in.

Tuche, Greek Goddess of Fortune

12 x 13 x 8 in.

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

JAE KON PARK - Untitled - oil on canvas - 52 1/4 x 64 1/2 in.

52 1/4 x 64 1/2 in.

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

BILLY AL BENGSTON

Syltkakor Draculas

acrylic on canvas

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

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

FRANCOISE GILOT

Femme au Telephone

25 5/8 x 19 5/8 in.

charcoal on paper

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.

MARC CHAGALL - A Sequestered Garden - original lithograph in colors - 23 3/4 x 20 in.

A Sequestered Garden

23 3/4 x 20 in.

original lithograph in colors

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

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

Tree Shadowed Road

40 1/8 x 50 1/4 in.

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

43 1/2 x 15 1/2 in.

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

51 1/4 x 64 in.

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

38 1/4 x 51 1/2

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.

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

JULIO SUSANA - Vida Musical - oil on canvas - 64x 80 in.

RUSSELL YOUNG - Mountain - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

indigo pigment screenprint on felt in 6 panels

RUSSELL YOUNG - Wave - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

indigo pigment screenprint on felt in 6 panels

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 33 x 81 in.

recycled ganpi paper fiber, old documents, mica and sumi

DAVID SMITH - Untitled - You're A Man Now - enamel on canvas - 23 1/4 x 11 1/2 in.

Untitled - You're A Man Now

23 1/4 x 11 1/2 in.

enamel on canvas

ED RUSCHA - Pepto-Caviar Hollywood - screenprint in colors on Copperplate Deluxe paper with Pepto-Bismol and caviar - 14 1/2 x 42 in.

Pepto-Caviar Hollywood

14 1/2 x 42 in.

screenprint in colors on Copperplate Deluxe paper with Pepto-Bismol and caviar

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

CHARLES HERBERT WOODBURY

Beach Scene with Umbrella

PAUL WONNER - Figure and Plant - oil on canvas - 48 x 40 in.

Figure and Plant

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

acrylic on canvas

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

WILLEM DE KOONING

22 3/4 x 18 1/8 in.

charcoal on vellum

FELIPE CASTANEDA - Mujer Hincada - Black Onyx - 15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA

15 3/4 x 8 1/2 x 9 in

FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA

18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA - Pensando - Marble - 11 1/2 x 7 x 7 in.

FELIPE CASTANEDA

11 1/2 x 7 x 7 in.

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

NAOTO NAKAGAWA - New York Post - oil on canvas - 56 x 70 1/8 in.

56 x 70 1/8 in.

NAOTO NAKAGAWA - Aggressive Still Life - oil on canvas - 56 1/4 x 70 1/4 in.

Aggressive Still Life

56 1/4 x 70 1/4 in.

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

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

FELIPE CASTANEDA - Mujer con Guitarra - marble - 16 1/2 x 10 1/2 x 10 in.

FELIPE CASTANEDA

Mujer con Guitarra

16 1/2 x 10 1/2 x 10 in.

MARC CHAGALL - Plate 8, Anacreon - lithograph on Arches - 22 x 17 1/4 in.

Plate 8, Anacreon

22 x 17 1/4 in.

lithograph on Arches

ARISTIDES DEMETRIOS - Lutist - bronze - 40 1/2 x 18 x 24 in.

ARISTIDES DEMETRIOS

40 1/2 x 18 x 24 in.

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

30 1/4 x 30 1/4 in.

oil, acrylic, oil pastel and spray paint on canvas

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

SYLVIA PLIMACK MANGOLD

Gray Winter Glaze

ARISTIDES DEMETRIOS - Reaching for a Star - stainless steel welded - 34 1/4 x 8 7/8 x 5 3/4 in.

ARISTIDES DEMETRIOS

Reaching for a Star

34 1/4 x 8 7/8 x 5 3/4 in.

stainless steel welded

RUSSELL YOUNG - If You Believed They Put a Man on the Moon - indigo pigment screen print on felt in ten panels - 72 x 120 in.

If You Believed They Put a Man on the Moon

indigo pigment screen print on felt in ten panels

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

Tominaga Ai Wears Prada

RUSSELL YOUNG - Mountain - indigo pigment screen print on felt in 6 panels - 74 x 119 in.

indigo pigment screen print on felt in 6 panels

RUSSELL YOUNG - Wave. Rage, rage against the dying of the light - indigo pigment screen print on felt in 6 panels - 73 1/2 x 119 1/2 in.

Wave. Rage, rage against the dying of the light

73 1/2 x 119 1/2 in.

indigo pigment screen print on felt in 6 panels

TONY DE LOS REYES - Border Compression #1 - oil and dye on linen - 78 x 108 1/4 in.

TONY DE LOS REYES

Border Compression #1

78 x 108 1/4 in.

oil and dye on linen

KARL BENJAMIN - Bars- Black, Yellow, Purple - oil on canvas - 48 x 16 in.

Bars- Black, Yellow, Purple

KARL BENJAMIN - Bars- Black and Purple - oil on canvas - 48 x 16 in.

Bars- Black and Purple

PAUL WONNER - Untitled (Table with Fruit, Potatoes, Meat, and Flowers) - acrylic on paper - 38 1/2 x 27 in.

Untitled (Table with Fruit, Potatoes, Meat, and Flowers)

38 1/2 x 27 in.

acrylic on paper

NATHAN OLIVEIRA - Homage to Giacommetti (in same show) - watercolor on paper - 11 7/8 x 8 3/4 in.

NATHAN OLIVEIRA

Homage to Giacommetti (in same show)

11 7/8 x 8 3/4 in.

watercolor on paper

NATHAN OLIVEIRA - Homage to Schoenberg - monotype - 29 3/4 x 22 1/4 in.

NATHAN OLIVEIRA

Homage to Schoenberg

29 3/4 x 22 1/4 in.

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

44 1/4 x 64 in.

JOSE BEDIA - Caballo Ganador - acrylic on canvas - 69 3/4 x 92 in.

Caballo Ganador

69 3/4 x 92 in.

acrylic on canvas

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

Sandra Mendelsohn Rubin

Valley View: Late Summer

oil on polyester

PABLO PICASSO - Deux Nus Assis - etching - 15 x 11 1/2 in.

15 x 11 1/2 in.

PABLO PICASSO - Le Danseur - linocut in colors - image: 25 x 20 3/4 in. sheet: 29 1/2 x 24 3/8 in.

image: 25 x 20 3/4 in. sheet: 29 1/2 x 24 3/8 in.

linocut in colors

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

ADAM EMORY ALBRIGHT

Boy Standing with Fishing Pole

48 x 36 1/4 in.

ADAM EMORY ALBRIGHT - Boy Sitting in Boat - oil on canvas - 48 x 36 1/4 in.

ADAM EMORY ALBRIGHT

Boy Sitting in Boat

48 x 36 1/4 in.

BRUCE COHEN - Untitled, Interior with Daffodils and Blue Chair - oil on canvas - 54 x 36 in.

Untitled, Interior with Daffodils and Blue Chair

ROBERT FRAME - Untitled - oil on canvas - 40 x 48 in.

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

META GEHRING CRESSEY

Segovia Girl in Fiesta Costume, La Montera

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

acrylic on canvas

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

FERNANDO CANOVAS

Sodom & Gomorrah

63 5/8 x 51 1/4 in.

acrylic on canvas

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

FERNANDO CANOVAS

63 5/8 x 51 1/4 in.

acrylic on canvas

FELIPE CASTANEDA - Provinciana - white carrera marble - 20 7/8 x 13 1/4 x 10 1/4 in.

FELIPE CASTANEDA

20 7/8 x 13 1/4 x 10 1/4 in.

white carrera marble

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

SUSAN HUTCHINSON

resin and acrylic on wood panel

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

94 x 47 x 16 in.

reinforced Kozo washi

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