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Oeuvres d'art exposées à la galerie Jackson Hole

Voir par: Artistes Catégories prix

<div><font face=Lato> </font><font face=Lato size=3 color=black>Diebenkorn’s path to the “<em>Ocean Park”</em> series was as layered and nuanced as his canvases. Born in Portland, Oregon in 1922, he found his artistic footing in the San Francisco Bay Area, where he absorbed the Abstract Expressionism of figures like Clyfford Still and Willem de Kooning. Yet even in his early abstractions, such as those inspired by the aerial views of the Southwestern landscape during flights to New Mexico, Diebenkorn’s work displayed a grounding in the tangible world. His shift to figuration in the mid-1950s, influenced by Bay Area peers like David Park and Elmer Bischoff, was met with surprise but underscored his belief in continuity rather than rupture. “I was never throwing things away,” he reflected. This ethos carried him back to abstraction in 1967 when the “<em>Ocean Park”</em> series began—a natural and revelatory return.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black><em>“Ocean Park #108”</em> (1978) showcases the spirit of Diebenkorn’s remarkable ability to translate the visual world into a meditative abstraction laden with intellectual rigor and personal resonance. Part of his acclaimed “<em>Ocean Park”</em> series, which spanned over two decades and more than 140 works, this painting captures the essence of Diebenkorn’s artistic philosophy: a fusion of restraint and spontaneity, where light, geometry, and color converge in perfect equipoise. Birthed in his Santa Monica studio overlooking this coastal neighborhood, the vantage point—framed by urban grids, oceanic expanses, and the shimmering Southern California light—shaped the language of these paintings. Yet <em>“Ocean Park #108,”</em> like its siblings, transcends a specific locality; it is less a depiction of a specific place and more a dialogue with the landscape of memory, perception, and art history.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In this work, the coral-hued arch hovers above turquoise, ochre, and alabaster bands, evoking the interplay of horizon and sky. Below, an expansive blue-gray plane is bisected by a diagonal line, lending the composition a quiet dynamism. This scaffold of lines and planes—Diebenkorn’s signature vocabulary—draws on his early admiration for Cezanne’s structured landscapes and Mondrian’s architectonic grids but with a distinct California sensibility. The work’s veiled layers and pentimenti reveal the artist’s process: a cycle of addition and erasure, as though the painting itself is a record of thought in motion. “Indecision, conflict, and tinkering” were, as Diebenkorn once noted, essential to his practice, and here, they coalesce into a harmony that feels earned rather than imposed.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>What distinguishes <em>“Ocean Park #108” </em>within this celebrated series is its quiet confidence, a quality Diebenkorn achieved through rigorous exploration rather than easy fluency. While influenced by Matisse—whose luminous color and spatial tension left an indelible mark on his work—Diebenkorn resisted prettiness, instead striving for what he called “tension beneath calm.” In “<em>Ocean Park #108</em>,” this tension is palpable in the interplay between the precision of its linear framework and the softness of its painted surface. The visible corrections and reworkings imbue the painting with a human quality, a sense that it is not merely an object but an ongoing conversation.</font></div><br><br><div><font face=Lato> </font></div><br><br><div><font face=Lato size=3 color=black>In the context of American abstraction, “<em>Ocean Park #108”</em> is a masterpiece of subtlety and nuance. Its interplay of horizon and sky geometry recalls earlier the desert roads Diebenkorn once photographed from an airplane, while its luminous palette evokes the marine light of the Pacific. But the painting’s emotional resonance—its “breadth of reference,” as one critic noted—elevates it. To stand before “<em>Ocean Park #108” </em>is to be enveloped in a space that feels both constructed and organic, abstract and deeply familiar. It is a testament to Diebenkorn’s lifelong inquiry into what painting could be: not a conclusion, but a possibility, ever unfolding.</font></div>

RICHARD DIEBENKORN

Ocean Park n° 108

77 3/4 x 62 in.

huile sur toile

Of the many modernist painters who imbued their geometries with a spiritual dimension, Agnes Martin is the one whose paintings resonate most deeply with a life of ascetic simplicity. In 1967, she left New York City and the art world, renounced worldly pursuits, and embarked on an eighteen-month odyssey across the untamed Western American landscape. It was the prelude to a life of seclusion, where on a remote mesa near Cuba, New Mexico, Martin built a sanctuary by hand, shaping adobe and timber into a unique domicile. Living without the conveniences of a telephone, electricity, or indoor plumbing, she practiced the art of life, not the life of a painter. That deeply devoted spiritual and moral quest separates Agnes Martin from the geometric visionaries such as Piet Mondrian or Ad Reinhardt, with whom she would otherwise be associated. After a seven-year hiatus, 62-year-old Martin reemerged in 1974 to renew her journey creating radiant minimalist paintings. <br><br>"No. 7" (1974) is among the earliest paintings from this second major phase of her career. Intent upon emphasizing a dramatic reorientation emphasizing color rather than the line or tabulated grids of her pre-1967 work, a distanced viewing of the pale, luminescent bands allows for an expansive appreciation of subtle, radiant shifts between the color zones. Numerous natural phenomena and elements embedded in the New Mexican desert experience may have inspired these new and expansive ideas. The sheer verticality of its mesas, cliffs, and ravines, or the shafts of light that dramatically stream through gaps in clouds to the desert floor, may have inspired the vertical orientation here. Yet the impact of "No. 7" (1974) is most assuredly delivered via her devotion to Buddhist and Daoist ideals that seek beauty from within, not from extraneous points of reference. Martin asks the viewer to think of her repetitive shafts or bands of pale color as a sort of mantra as much as a visual experience. She challenges the capacity of our imagination, encouraging it to run free and consider this work as an object of contemplation, knowing well that her paintings require a degree of commitment. And as if to admonish those without the patience to absorb the impact of the otherworldly mystical radiance inherent in the paintings or how they affect one's greater awareness of the potential for expressing the sublime, we have her comment, "There's nobody who can't stand all afternoon in front of a waterfall."

Sans titre n° 7

acrylique, crayon et gesso sur toile

<br>In Diego Rivera’s portrait of Enriqueta Dávila, the artist asserts a Mexicanidad, a quality of Mexican-ness, in the work along with his strong feelings towards the sitter. Moreover, this painting is unique amongst his portraiture in its use of symbolism, giving us a strong if opaque picture of the relationship between artist and sitter.<br><br>Enriqueta, a descendent of the prominent Goldbaum family, was married to the theater entrepreneur, José María Dávila. The two were close friends with Rivera, and the artist initially requested to paint Enriqueta’s portrait. Enriqueta found the request unconventional and relented on the condition that Rivera paints her daughter, Enriqueta “Quetita”. Rivera captures the spirit of the mother through the use of duality in different sections of the painting, from the floorboards to her hands, and even the flowers. Why the split in the horizon of the floorboard? Why the prominent cross while Enriqueta’s family is Jewish? Even her pose is interesting, showcasing a woman in control of her own power, highlighted by her hand on her hip which Rivera referred to as a claw, further complicating our understanding of her stature.<br><br>This use of flowers, along with her “rebozo” or shawl, asserts a Mexican identity. Rivera was adept at including and centering flowers in his works which became a kind of signature device. The flowers show bromeliads and roselles; the former is epiphytic and the latter known as flor de jamaica and often used in hibiscus tea and aguas frescas. There is a tension then between these two flowers, emphasizing the complicated relationship between Enriqueta and Rivera. On the one hand, Rivera demonstrates both his and the sitter’s Mexican identity despite the foreign root of Enriqueta’s family but there may be more pointed meaning revealing Rivera’s feelings to the subject. The flowers, as they often do in still life paintings, may also refer to the fleeting nature of life and beauty. The portrait for her daughter shares some similarities from the use of shawl and flowers, but through simple changes in gestures and type and placement of flowers, Rivera illuminates a stronger personality in Enriqueta and a more dynamic relationship as filtered through his lens.<br><br>A closer examination of even her clothing reveals profound meaning. Instead of a dress more in line for a socialite, Rivera has Enriqueta in a regional dress from Jalisco, emphasizing both of their Mexican identities. On the other hand, her coral jewelry, repeated in the color of her shoes, hints at multiple meanings from foreignness and exoticism to protection and vitality. From Ancient Egypt to Classical Rome to today, coral has been used for jewelry and to have been believed to have properties both real and symbolic. Coral jewelry is seen in Renaissance paintings indicating the vitality and purity of woman or as a protective amulet for infants. It is also used as a reminder, when paired with the infant Jesus, of his future sacrifice. Diego’s use of coral recalls these Renaissance portraits, supported by the plain background of the painting and the ribbon indicating the maker and date similar to Old Master works.<br><br>When combined in the portrait of Enriqueta, we get a layered and tense building of symbolism. Rivera both emphasizes her Mexican identity but also her foreign roots. He symbolizes her beauty and vitality but look closely at half of her face and it is as if Rivera has painted his own features onto hers. The richness of symbolism hints at the complex relationship between artist and sitter.

Portrait d'Enriqueta G. Dávila

79 1/8 x 48 3/8 in.

huile sur toile

WILLEM DE KOONING - Femme dans une barque - huile sur papier couché sur masonite - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

Une femme dans un bateau à rames

47 1/2 x 36 1/4 in.

huile sur papier couché sur masonite

Au début des années 1870, Winslow Homer a souvent peint des scènes de la vie à la campagne près d'un petit hameau agricole réputé depuis des générations pour ses remarquables champs de blé, situé entre la rivière Hudson et les Catskills, dans l'État de New York. Aujourd'hui, Hurley est bien plus célèbre pour avoir inspiré l'une des plus grandes œuvres d'Homer, Snap the Whip, peinte au cours de l'été 1872. Parmi les nombreuses autres peintures inspirées par la région, Girl Standing in the Wheatfield est riche en sentiments, mais sans sentimentalisme excessif. Elle est directement liée à une étude peinte en France en 1866 et intitulée In the Wheatfields (Dans les champs de blé), ainsi qu'à une autre étude peinte l'année suivante, après son retour en Amérique. Mais Homère aurait sans doute été le plus fier de celle-ci. Il s'agit d'un portrait, d'une étude de costume, d'une peinture de genre dans la grande tradition de la peinture pastorale européenne, et d'un tour de force atmosphérique dramatiquement rétro-éclairé, imprégné de la lumière de l'heure qui s'estompe rapidement, avec des notes lambda et fleuries et des touches d'épis de blé. En 1874, Homer a envoyé quatre tableaux à l'exposition de la National Academy of Design. L'une d'entre elles était intitulée "Girl". Ne serait-ce pas celle-ci ?

Dans le champ de blé (Fille debout dans un champ de blé)

21 3/4 x 13 1/2 in.

huile sur toile

Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show, "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York. <br><br>"Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier. <br><br>Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.

GERHARD RICHTER

Abstraktes Bild 758-2

24 1/2 x 32 1/4 in.

huile sur toile

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

SEAN SCULLY (EN)

huile sur aluminium

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>

59 3/8 x 47 1/4 in.

huile sur toile

<div><font face=Lato size=3 color=black>Hans Hofmann's "<em>Astral Image #1"</em> of 1947 captures a pivotal moment in his artistic evolution as he wrestled with the competing forces of linearity and painterly abstraction. Exhibited in the same year at Betty Parsons Gallery in New York—Hofmann's first show with Parsons — the painting represents a phase of intense experimentation in which Cubist-inspired linear elements took center stage. Lines arc and stretch across the canvas, creating a dynamic framework that opens into areas filled with flatly applied alizarin crimson. These contrasting forces give the work a sense of tension and vitality.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>During this period, Hofmann's reliance on linearity provided a departure from the more fluid, painterly dynamism of his earlier works. From 1944 to 1951, this linear impulse permeated his practice, signaling a prolonged exploration of modes of expression in which he grappled with reconciling abstraction and structure. While some viewed this phase as a retreat from the energetic breakthroughs that defined American art's rise to global prominence, others recognized the distinctiveness of these paintings. <em>Astral Image #1</em> challenged the framework of Hofmann's singular vision, blending Cubist discipline with the vibrant, unruly energy that remained a hallmark of his oeuvre.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work's flat planes of bright alizarin crimson, contrasted with the angular momentum of the lines, evoke a cosmos of restless energy, hinting at the celestial themes suggested by its title. This painting reflects Hofmann's deliberate explorations during the late 1940s that underscore his unique ability to create works that resist easy categorization, standing apart as deeply personal explorations of form and color.</font></div><br><br><div> </div>

Image astrale n° 1

huile sur toile

$<div><font face=Lato size=3 color=black>Hans Hofmann explored linearity and color with persistence during the late 1940s, creating a tension between Cubist structure and gestural abstraction. In this painting, <em>Fruit Bowl #1</em>, the linear impulse takes center stage, with dynamic black contours weaving and unspooling across the canvas, limning forms that merely hint at a still-life composition. Hofmann's approach is far from conventional; the traditional fruit bowl is fractured and reimagined into an abstract interplay of geometric and organic shapes. The addition of bright, flatly applied patches and demarcation of green, red, and yellow punctuates the composition, adding an energetic entropy and vitality. Hofmann's raw, alluring, yet slightly uncomfortable palette and gestural freedom elevate the piece beyond its Cubist origins, revealing an artist deeply engaged with the challenges of mid-20th-century abstraction. Hofmann's lines and color fields balance spontaneity with control, oscillating between chaos and structure.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Fruit Bowl #1</em> reflects Hofmann's ongoing dialogue with earlier European modernists while pushing toward the freer instincts of American Abstract Expressionism. Often criticized as misaligned with the rising dominance of gestural abstraction, paintings from this period in Hofmann's career remain his own—vibrant, exploratory, and unapologetically personal.</font></div>$

Coupe de fruits n° 1

29 1/2 x 37 1/2 in.

huile sur toile

<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>

Paysage n° 108

23 1/4 x 29 1/4 in.

huile sur panneau

HANS HOFMANN - Sans titre - huile sur toile - 25 x 30 1/4 in.

25 x 30 1/4 in.

huile sur toile

HANS HOFMANN - Song of Love - huile sur toile - 36 1/4 x 48 1/4 in.

36 1/4 x 48 1/4 in.

huile sur toile

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

Cheval vitrifié avec couverture de fourrure coupée

Dynastie Tang (618-907 AD)

29 1/2 x 33 x 12 in.

poterie émaillée

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - pastel sur papier posé sur carton - 10 3/8 x 14 3/4 in.

PISSARRO CAMILLE

Paysage avec batteuse a Montfoucault

10 3/8 x 14 3/4 in.

pastel sur papier posé sur carton

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

Leta et la colline Myna

60 x 52 pouces.

huile sur toile

<div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div>

12 1/4 x 9 1/4 in.

gouache sur papier howell

ROLAND PETERSEN - Figure en attente - huile sur toile - 68 x 56 in.

ROLAND PETERSEN

Figure d'attente

huile sur toile

GEORGE RICKEY - Space Churn with Squares - sculpture cinétique en acier inoxydable - 35 1/2 x 20 x 13 in.

Le barattage de l'espace avec des carrés

35 1/2 x 20 x 13 in.

sculpture cinétique en acier inoxydable

ANDY WARHOL - Mick Jagger - sérigraphie en couleurs - 43 5/8 x 28 3/4 in.

ANDY WARHOL (EN)

43 5/8 x 28 3/4 in.

sérigraphie en couleurs

<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>

techniques mixtes sur papier

ANDY WARHOL - Howdy Doody - sérigraphie - 38 x 38 in.

ANDY WARHOL (EN)

<div><font face=Calibri size=3 color=black>Richard Prince's "<em>Untitled</em>" from 2009 is a provocative and multilayered piece that engages with the themes of censorship, appropriation, and the boundaries of art. Prince uses a photographic montage of naked, intertwined bodies—imagery that evokes the explicit nature of an orgy and obscures its tawdry nature with a pattern of pink, egg-shaped acrylic elements covering much of the underlying image. The placement of these shapes is seemingly arbitrary, yet they play a crucial role in how the viewer perceives the piece. This obscuring overlay can be interpreted as a visual metaphor for censorship, alluding to how society imposes restrictions on what is deemed acceptable for public consumption. By covering parts of the bodies, Prince draws attention to the act of censorship itself rather than merely the content being censored. The viewer is left to imagine what lies beneath, heightening the sense of curiosity and the taboo.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Prince's work often critiques mass media and the commercialization of culture, and this piece is no exception. By altering found images, he questions the ownership and authorship of visual culture. The "censorship" elements in this work might also reference the commodification of sex and how the media sanitizes or obscures the raw, human aspects of such imagery to make it more palatable for the public.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In "<em>Untitled</em>," Prince challenges viewers to confront their perceptions of morality, art, and the power dynamics inherent in censorship. The work serves as a commentary on how images are manipulated and controlled in society, pushing the boundaries of what is considered art and what is considered obscene. Through this layered approach, Prince continues his exploration of the intersections between art, culture, and societal norms.</font></div>

Sans titre (peinture rose du censeur)

35 1/2 x 30 in.

acrylique sur panneau jet d'encre

HARRY BERTOIA - Untitled (Sounding Sculpture) - cuivre au béryllium et bronze avec base en bois - 36 1/2 x 8 x 8 in.

Sans titre (Sculpture sonore)

36 1/2 x 8 x 8 in.

cuivre au béryllium et bronze avec base en bois

HARRY BERTOIA - Willow Sculpture - acier inoxydable - 61 1/2 x 39 x 39 in.

Sculpture de saule

61 1/2 x 39 x 39 in.

acier inoxydable

<div><font face=Aptos size=3 color=black>María Blanchard, born in 1881, initially emerged as a committed Cubist painter, heavily influenced by her friendships with Juan Gris and other avant-garde figures. Her work in the 1910s showcased rigorous geometric abstraction, yet by the early 1920s, she began to transition toward a more figurative style. This shift aligned her with the “<em>Retour à l'ordre”</em> movement, in which many artists returned to more classical forms after the upheavals of war and early avant-garde experimentation. Blanchard's increasing focus on emotional depth and human subjects became a defining feature of these later works, culminating in pieces like "<em>Fillette à la pomme</em>."</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's Cubist roots, prominent in the angular treatment of the hands and apple, are softened throughout the girl's modest attire, suggesting a spiritual or religious significance. The model's pious countenance and the muted palette of browns, grays, and blues further reinforce that the painting continues a thread of religious themes, as seen in Picasso's early masterwork, "<em>The First Communion</em>," and Blanchard's own "<em>Girl at her First Communion</em>." The apple held in hand introduces layers of symbolism, often representing knowledge, innocence, or temptation, an association that suggests an emotional transition, bridging childhood and deeper awareness.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's ability to fuse Cubist form with symbolic narrative and emotional complexity makes this painting a poignant reflection of her evolution as an artist. She humanizes the rigid forms of Cubism while imbuing her subjects with depth and inner life.</font></div>

MARIA BLANCHARD

Fillette à la pomme

28 1/4 x 23 5/8 in.

huile sur toile

<div><font face=Aptos size=3 color=black>Born in 1881, the same year as fellow Spaniard Pablo Picasso, María Blanchard carved her distinct path within modernist art, blending Cubist influences with emotional depth. <em>"La Comida" </em>demonstrates Blanchard's evolution towards a more figurative style while retaining explicit Cubist references. This shift aligns her work with the “<em>Retour à l'ordre”</em> movement, a tendency many fellow artists embraced at the time. Thematically, “<em>La  Comida</em>” recalls van Gogh's early works, particularly "<em>The Potato Eaters</em>" (1885), in both palette and subject matter. Like van Gogh, Blanchard draws attention to the simplicity of rural life, using muted tones of browns, reds, and ochres to convey the grounded, almost austere nature of the figures around the table.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard’s work after 1921 progressively bridged the gap between the rigid forms of early Cubism and a more emotive, personal representation of her subjects. Geometric rigors are present, but the scene's naturalistic light and volumetric composition echo Cézanne's influence. The sharp brushstrokes and angular figures evoke a sense of protection, reflecting Blanchard's intention to shield the inner spirit of her characters from the gaze of others. Yet, her sensitive portrayal invites viewers to connect emotionally with her work, engendering a sense of intimacy and quiet communion. Despite the somber palette, there is a subtle warmth, with the figures' inner spirit shielded from judgment, much like those in van Gogh's painting. Yet in synthesizing elements of Cubism, Blanchard added emotional complexity to the rural themes van Gogh explored, making her contribution distinct yet reflective of earlier artistic traditions.</font></div>

MARIA BLANCHARD

21 1/2 x 28 3/4 in.

huile sur toile

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN (EN)

69 1/2 x 39 1/2 in.

huile sur toile

IRVING NORMAN - L'homme et le temps - huile sur toile - 58 x 30 in.

IRVING NORMAN (EN)

L'homme et le temps

huile sur toile

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

Nouvelle synthèse n° 15

acrylique sur toile

Karl Benjamin et ses pairs Lorser Feitelson, Frederick Hammersley et John McLaughlin occupent une place à part dans l'histoire de l'art abstrait américain. Connus pour leurs formes géométriques précises et leurs bords nets soulignant la planéité, ils sont les peintres californiens de la "Hard Edge" qui ont émergé à la fin des années 1950. Contrairement à Ellsworth Kelly, par exemple, leurs œuvres reflètent une luminosité, une clarté et une palette qui suggèrent l'environnement naturel et bâti de la Californie plutôt que les influences plus urbaines et industrielles ressenties sur la côte est. En outre, comparé à la scène artistique compétitive de la côte Est, le groupe californien était une communauté d'artistes relativement petite et soudée, avec un sens de la collaboration et de l'exploration partagée qui a contribué à un mouvement cohésif avec une identité distincte.

KARL BENJAMIN (EN)

huile sur toile

KHMER - Torse d'homme - grès - 24 x 9 x 5 in.

PAUL JENKINS - Phénomènes avec Anadem noir - encre, acrylique et huile sur toile - 51 x 51 in.

PAUL JENKINS (EN)

Phénomènes avec Anadem noir

encre, acrylique et huile sur toile

ANDY WARHOL - Northwest Coast Mask - sérigraphie en couleurs sur panneau Lenox Museum - 38 x 38 in.

ANDY WARHOL (EN)

Masque de la côte nord-ouest

sérigraphie en couleurs sur panneau Lenox Museum

Né en 1944, Thomas Nozkowski crée de petites peintures richement colorées qui reflètent les influences dichotomiques des expressionnistes abstraits et des réfugiés du Bauhaus avec lesquels il a étudié à la Cooper Union. À l'aide d'un petit pinceau, il gratte et frotte la peinture d'une manière qui s'inscrit dans l'œuvre finale. Il a développé un vocabulaire distinctif et étendu, déployant des formes géométriques de type biomorphique dans des combinaisons de couleurs variées et un large éventail d'associations : carrelage, grappes de cellules, architecture et espace. Souvent, elles sont distillées à partir de ses propres souvenirs et expériences. Nozkowski a commenté cette peinture spécifique (Sans titre, 1994) en disant qu'elle reflétait sa fascination pour les scènes mythologiques peintes sur les panneaux de commodes en cassone de la Renaissance. Il a déclaré qu'il s'agissait du meilleur des trois ou quatre panneaux de 15" x 30" de cette série. Nozkowski a été manipulé pendant de nombreuses années par la galerie Pace. Il est décédé en 2019.

THOMAS NOZKOWSKI

huile sur toile sur panneau

PORTAILS D'ASSISTANCE - Stand-Ins for Period of Wreckage 25 - béton et porcelaine blancs - 48 x 12 x 12 po (48 x 12 x 12 po).

Stand-Ins pour la période de l'épave 25

48 x 12 x 12 x 12 po.

béton blanc et porcelaine

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

ASIE DU SUD-EST

Culture Dongson (1000 BC-200 AD)

22 1/2 x 12 x 10 in.

ROY LICHTENSTEIN - Interior with Chair, tiré du Leo Castelli 90th Birthday Portfolio - sérigraphie en couleurs sur papier Somerset - 27 x 20 1/2 in.

ROY LICHTENSTEIN

Intérieur avec chaise, extrait du portfolio du 90e anniversaire de Leo Castelli

27 x 20 1/2 in.

sérigraphie en couleurs sur papier Somerset

KHMER - Tête d'Avalokiteshvara - grès gris - 13 x 7 x 7 x 7 po.

Tête d'Avalokiteshvara

Khmer, 12e-13e siècle

ROY LICHTENSTEIN - Modern Print - lithographie et sérigraphie en couleurs sur papier Arjomari - 24 x 24 in.

ROY LICHTENSTEIN

Impression moderne

lithographie et sérigraphie en couleurs sur papier Arjomari

FRANK STELLA - Fattipuff, from Imaginary Places II - lithographie, sérigraphie, eau-forte, aquatinte et relief en couleurs sur papier TGL fait main - 32 1/2 x 32 1/2 in.

FRANK STELLA (EN)

Fattipuff, tiré de Lieux imaginaires II

32 1/2 x 32 1/2 in.

lithographie, sérigraphie, eau-forte, aquatinte et relief en couleurs sur papier TGL fait main

RUSSELL YOUNG - Portrait de Brando - sérigraphie sur lin avec poussière de diamant - 62 5/8 x 47 3/4 po.

RUSSELL YOUNG (EN)

Portrait de Brando

62 5/8 x 47 3/4 po.

sérigraphie sur le lin avec de la poussière de diamant

JACK ROTH - Sans titre - acrylique sur toile - 18 x 30 1/8 in.

18 x 30 1/8 in.

acrylique sur toile

ALEX KATZ - Vivien - sérigraphie sur panneau de musée - 39 x 41 in.

sérigraphie sur carton musée

LAWRENCE SCHILLER - Barbra Streisand (chapeau de fourrure) - photographie argentique ancienne en gélatine - 11 x 14 in.

LAURENT SCHILLER

Barbra Streisand (chapeau de fourrure)

photographie argentique d'époque en gélatine

NATIVE AMERICAN - Socorro Black-on-White Storage Jar - pot en terre cuite peint - 16 x 14 x 14 in.

INDIEN D'AMÉRIQUE

Jarre de rangement Socorro noir sur blanc

c. 1100-1250 AP.

16 x 14 x 14 in.

pot en argile peint

Le caractère représenté ici est le caractère de longue vie, qui se lit shou en chinois et kotobuki en japonais. L'élégance des caractères, en particulier lorsqu'ils sont représentés dans leur forme cursive, en a fait des motifs décoratifs populaires sur les textiles, les céramiques, les laques et de nombreux autres supports. Ici, le personnage, construit à l'aide de fils enveloppés d'or, est entouré de chrysanthèmes, qui sont également des symboles de longévité en raison de leurs propriétés bénéfiques pour la santé. Cette fukusa a probablement été fabriquée pour couvrir un cadeau d'anniversaire.

Caractère chinois pour longue vie

Période Meiji (1868-1912)

broderie de soie

demander

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Recherche et documentation sur l'époque nazie et la Seconde Guerre mondiale, conformément aux lignes directrices relatives à l'acquisition d'objets susceptibles d'avoir séjourné dans l'Europe occupée par les Allemands entre 1933 et 1945.

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Heather James Fine Art n'est pas un conseiller agréé en matière d'investissement, de droit ou de fiscalité. Toutes les opinions financières et d'investissement exprimées par Heather James Fine Art sont des opinions basées sur des recherches personnelles. Les performances passées ne constituent pas une garantie de rendement futur et ne sont pas nécessairement indicatives des performances futures.

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HJ Art Advisory se concentre sur la recherche d'œuvres d'art pour des acquisitions potentielles à partir de ventes privées, de maisons de vente aux enchères et de commandes d'artistes. HJ Art Advisory surveille en permanence le marché privé et public à la recherche d'œuvres d'art importantes qui intéressent nos clients et qui enrichiront leurs collections. Nous négocions la vente ou le prix de vente au nom d'un collectionneur afin d'obtenir la meilleure transaction possible pour nos clients.

Valeur et assurance

Le groupe HJ Art Advisory évalue les collections d'œuvres d'art en vue de leur évaluation par les assurances, de leur acquisition et de leur cession. Cela implique des recherches approfondies sur l'analyse du marché de l'art privé et public afin de déterminer la valeur.

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