Artwork By Price

Artists Categories Price
PABLO PICASSO - Clarinette, Violon, Compotier avec Fruits, Feuille de Musique et Guéridon - oil on canvas - 39 1/4 x 31 3/4 in.
PABLO PICASSO
Clarinette, Violon, Compotier avec Fruits, Feuille de Musique et Guéridon
Fall 1913
39 1/4 x 31 3/4 in.
oil on canvas

THOMAS MORAN - Jupiter Terrace, Yellowstone - oil on canvas - 20 x 30 in.
THOMAS MORAN
Jupiter Terrace, Yellowstone
1893
20 x 30 in.
oil on canvas

CLAUDE MONET - Le Mont Riboudet a Rouen au Printemps - oil on canvas - 21 1/2 x 28 5/8 in.
CLAUDE MONET
Le Mont Riboudet a Rouen au Printemps
1872
21 1/2 x 28 5/8 in.
oil on canvas

TOM WESSELMANN - Bedroom Breast - oil on cut-out aluminum - 80 x 76 x 10 in.
TOM WESSELMANN
Bedroom Breast
2004
80 x 76 x 10 in.
oil on cut-out aluminum

Afternoon at the Beach depicts elegant young ladies with bonnets, as well as several children — two of which appear on a donkey — and an occasional male enjoying a day at the beach under striped parasols. Female figures, flowers, and domestic interiors and exteriors were recurring elements in his paintings. Their fairly close tonalities reflect the deep influence that James Abbott McNeill Whistler had on Frieseke’s style. Here, Frieseke found his aesthetic and asserted his familiar theme. <br> <br>Department store magnate Rodman Wanamaker commissioned the 15-foot-long painting for the Hotel Shelburne in Atlantic City. Frieseke designed it as a single composition in 1905, and completed it in segments in 1906. The painting was installed at the Hotel Shelburne in February 1906. <br> <br>In 2000 and 2001, Afternoon at the Beach was exhibited at the Telfair Museum of Art in Savannah, Georgia, during the 2000-2001 exhibition Frederick Carl Frieseke: The Evolution of an American Impressionist.
FREDERICK CARL FRIESEKE
Afternoon at the Beach
1905 / 1906 in Fra
60 x 178 in.
oil on canvas

ROBERT RAUSCHENBERG - Bugle (Scale) - solvent transfer, fabric, mirrored plexiglass, and acrylic on plywood with electric lights and objec - 73 x 61 1/2 x 6 1/4 in.
ROBERT RAUSCHENBERG
Bugle (Scale)
1979
73 x 61 1/2 x 6 1/4 in.
solvent transfer, fabric, mirrored plexiglass, and acrylic on plywood with electric lights and objec

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.
SAM FRANCIS
A Whirling Square
1975
222 x 210 in.
acrylic on canvas

WIFREDO LAM - Sans Titre - oil on canvas - 63 1/4 x 51 1/4 in.
WIFREDO LAM
Sans Titre
1963
63 1/4 x 51 1/4 in.
oil on canvas

ANISH KAPOOR - Blood Cinema - acrylic and steel - 77 1/4 x 77 1/4 x 18 3/4 in.
ANISH KAPOOR
Blood Cinema
2000
77 1/4 x 77 1/4 x 18 3/4 in.
acrylic and steel

DAVID PARK - Woman at Piano - oil on canvas - 29 1/4 x 24 in.
DAVID PARK
Woman at Piano
1954
29 1/4 x 24 in.
oil on canvas

TOM WESSELMANN - 1962 Plus 35 Nude Sketch II - alkyd oil on canvas - 43 x 58 5/8 in.
TOM WESSELMANN
1962 Plus 35 Nude Sketch II
1997
43 x 58 5/8 in.
alkyd oil on canvas

WILLIAM BAZIOTES - Whirlwind - oil and graphite on canvas - 60 x 72 1/4 in.
WILLIAM BAZIOTES
Whirlwind
1957
60 x 72 1/4 in.
oil and graphite on canvas

SAM FRANCIS - Coral Trails - acrylic on canvas - 78 x 108 in.
SAM FRANCIS
Coral Trails
1986
78 x 108 in.
acrylic on canvas

This oil painting by the preeminent and wildly eccentric artist amplifies a common theme not only in the artist’s work, but also in Surrealism as a movement. Dalí often depicted eyes in his paintings, sculpture, and fashion (especially jewelry) as both a symbol for the act of perception and as an allusion, and to promote a new way of seeing. It also imparts a sense of all-knowing power, which fed his “obsessive desire to become a clairvoyant in order to explore the unconscious,” a 2008 Sotheby’s catalog suggests. <br> <br>In 1942, a few months after his retrospective exhibition at the Museum of Modern Art in New York, Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting, Les Yeux Fleuris, from the same year, Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Its provenance traces to Marques Jorge de Cuevas, who also owned a similar work by Dalí — the 15-foot-wide Yeux Fleuris, a 1931 tempera and oil on canvas that was used on the set for Mad Tristan. <br> <br>Eyes appear in Dalí paintings throughout his career — as late as the 1981 painting Argus, which has five eyes. Most notably, the eye appears in paintings Dalí made for the dream sequences of the film Spellbound starring Ingrid Bergman and directed by Alfred Hitchcock. By this time, a motor disorder forced Dalí into retirement, unable to hold and move a paintbrush. After his wife, Gala, died in 1982, Dalí moved into a castle in Pubol, where he was severely burned in a fire. About eight years later, he died of heart failure in the city where he was born, Figueres, Spain.
SALVADOR DALI
Les Yeux Fleuris
1944
27 x 19 3/8 in.
oil on canvas

SUSAN ROTHENBERG - Diagonal - acrylic and tempera on canvas - 45 7/8 x 60 1/8 in.
SUSAN ROTHENBERG
Diagonal
1975
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.
SAM FRANCIS
Untitled, 1961-62
1961-62
83 3/4 x 75 5/8 in.
oil on canvas

MAX PECHSTEIN - Akt & Fuchsschwanz - oil on canvas - 19 7/8 x 25 3/4 in.
MAX PECHSTEIN
Akt & Fuchsschwanz
c. 1909-1917
19 7/8 x 25 3/4 in.
oil on canvas

ANISH KAPOOR - Untitled - alabaster - 40 5/8 x 48 1/2 x 17 1/2 in.
ANISH KAPOOR
Untitled
2011
40 5/8 x 48 1/2 x 17 1/2 in.
alabaster

AD REINHARDT - Untitled - oil on canvas - 40 x 32 in.
AD REINHARDT
Untitled
1949
40 x 32 in.
oil on canvas

ANTHONY CARO - Nectarine - rusted and varnished steel - 79 x 110 x 51 in.
ANTHONY CARO
Nectarine
c. 1976
79 x 110 x 51 in.
rusted and varnished steel

NORMAN ROCKWELL - Study for "Scouts of Many Trails" - oil on masonite - 40 x 28 1/2 in.
NORMAN ROCKWELL
Study for "Scouts of Many Trails"
c. 1937
40 x 28 1/2 in.
oil on masonite

JULIAN SCHNABEL - Nicknames of Maitre D's - oil and modeling paste on velvet, in 3 parts - 108 x 252 in.
JULIAN SCHNABEL
Nicknames of Maitre D's
1984
108 x 252 in.
oil and modeling paste on velvet, in 3 parts

ROBERT HENRI - Girl with Muff - oil on canvas - 57 1/4 x 38 3/4 in.
ROBERT HENRI
Girl with Muff
c. 1900
57 1/4 x 38 3/4 in.
oil on canvas

N.C. WYETH - "- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi - oil on canvas - 40 3/4 x 30 in.
N.C. WYETH
"- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi
1920
40 3/4 x 30 in.
oil on canvas

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)
1945
21 1/4 x 17 3/4 in.
oil and relief assemblage on plywood

YAYOI KUSAMA - Increment in the Spring - acrylic, synthetic fibre, plastic and stuffed fabric in wooden box construction - 39 1/2 x 23 1/2 x 11 7/8
YAYOI KUSAMA
Increment in the Spring
1986
39 1/2 x 23 1/2 x 11 7/8
acrylic, synthetic fibre, plastic and stuffed fabric in wooden box construction

ROBERT MOTHERWELL - Gesture No. 45 - acrylic on canvas - 48 x 36 in.
ROBERT MOTHERWELL
Gesture No. 45
c. 1977
48 x 36 in.
acrylic on canvas

RUDOLF BAUER - Larghetto III - oil and tempera on cardboard - 24 x 34 in.
RUDOLF BAUER
Larghetto III
1919
24 x 34 in.
oil and tempera on cardboard

JOHN MARIN - Cape Split, Maine - oil on canvas - 22 1/4 x 28 1/4 in.
JOHN MARIN
Cape Split, Maine
1945
22 1/4 x 28 1/4 in.
oil on canvas

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.
FERNAND LEGER
Femme Couchee
1912
12 7/8 x 19 3/8 in.
charcoal on paper