Artwork on view at Palm Desert gallery

Artists Categories Price
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. <br> <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. <br> <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. <br> <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
KEITH HARING
Untitled
1984
89 1/4 x 90 1/2 x 1 in.
acrylic on cotton tarp
GUSTAVE CAILLEBOTTE - Vue du Jardin de l’Artiste et de la Vallée de Yerres - oil on canvas - 19 1/8 x 25 1/2 in.
GUSTAVE CAILLEBOTTE
Vue du Jardin de l’Artiste et de la Vallée de Yerres
1877
19 1/8 x 25 1/2 in.
oil on canvas
Created at a seminal point early in the artist’s career, Le Mont Riboudet a 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.
CLAUDE MONET
Le Mont Riboudet a Rouen au Printemps
1872
21 1/2 x 28 5/8 in.
oil on canvas
EDWARD HOPPER - Farm House at Essex - watercolor on paper - 14 x 19 15/16 in
EDWARD HOPPER
Farm House at Essex
1929
14 x 19 15/16 in
watercolor on paper
Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.
ANISH KAPOOR
Blood Cinema
2000
77 1/4 x 77 1/4 x 18 3/4 in.
acrylic and steel
Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.
TOM WESSELMANN
1962 Plus 35 Nude Sketch II
1997
43 x 58 5/8 in.
alkyd oil on canvas
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
1918
17 3/4 x 21 in.
oil on canvas
JAMES ROSENQUIST - Untitled - oil on canvas laid on panel - 101 3/4 x 85 in.
JAMES ROSENQUIST
Untitled
1988
101 3/4 x 85 in.
oil on canvas laid on panel
IRVING NORMAN - The Human Condition - oil on canvas - 120 x 182 in.
IRVING NORMAN
The Human Condition
1980-1981
120 x 182 in.
oil on canvas
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.
JOHN MARIN
Cape Split, Maine
1945
22 1/4 x 28 1/4 in.
oil on canvas
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
Gesture No. 45
c. 1977
48 x 36 in.
acrylic on canvas
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.
CARL ANDRE
16 Ace Zinc Square
2007
16 x 16 x 1/4 in. ea./installed 64 x 64 x 1/4 in.
zinc
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
1883
11 1/2 x 8 1/2 in.
mixed media, gouache and watercolor with charcoal on paper
DAMIEN HIRST - Overwhelming Love - household gloss, butterflies - 36 x 60 in
DAMIEN HIRST
Overwhelming Love
2008
36 x 60 in
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.
LARRY RIVERS
Lions on the Dreyfus Fund, Inc.
1964
63 x 35 1/2 in.
pencil and oil on cut wood and canvas
GARY HUME - Seabird - gloss paint on aluminum in four panels - 87 x 48 1/2 x 1 1/4 in. ea.
GARY HUME
Seabird
2006
87 x 48 1/2 x 1 1/4 in. ea.
gloss paint on aluminum in four panels
Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.
DEBORAH BUTTERFIELD
Untitled (Horse)
1981
100 x 157 x 36 in.
sticks and paper on wire armature
Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.
PETER HALLEY
Eulogy (Commission)
2004
159 x 72 x 4 in.
acrylic on canvas
PAUL JENKINS - Untitled - acrylic on canvas - 71 1/2 x 128 1/2 in.
PAUL JENKINS
Untitled
71 1/2 x 128 1/2 in.
acrylic on canvas
IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.
IRVING NORMAN
To Have and Have Not, Charity Gala
1979-1980
92 x 104 in.
oil on canvas
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
c. 1945
28 x 34 in.
oil on canvas
HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.
HERB ALPERT
Arrowhead
2015
201 x 48 x 48 in.
bronze
HERB ALPERT - Charity - bronze - 150 in.
HERB ALPERT
Charity
2017
150 in.
bronze
HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.
HERB ALPERT
Freedom
2008
201 x 48 x 48 in.
bronze
HERB ALPERT - Gratitude - bronze - 206 in.
HERB ALPERT
Gratitude
2009
206 in.
bronze
HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.
HERB ALPERT
Hope
2009
212 x 48 x 48 in.
bronze
IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.
IRVING NORMAN
The Academy
1975-1976
110 x 90 in.
oil on canvas
ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.
ANTHONY CARO
Figure in a Tub
1985-86
42 x 30 1/4 x 24 1/4 in.
bronze
IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.
IRVING NORMAN
M.F.I. Complex
1981
100 x 76 in.
oil on canvas
IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.
IRVING NORMAN
To the Unknown
1977
96 x 72 in.
oil on canvas
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)
2012
78 3/4 x 118 1/4 in.
colored woodcut on canvas
HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.
HERB ALPERT
Illumination
2010
159 x 40 x 40 in.
bronze
HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.
HERB ALPERT
Radiance
2009
161 x 40 x 40 in.
bronze
HERB ALPERT - Warrior - bronze - 156 x 40 x 40 in.
HERB ALPERT
Warrior
2011
156 x 40 x 40 in.
bronze
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
Untitled
1998-2014
dimension variable
suite of 8 glass holograms
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.
WILLIAM WENDT
Spring
1916
40 x 50 in.
oil on canvas
IRVING NORMAN - War Wounded - oil on canvas - 70 x 60 in.
IRVING NORMAN
War Wounded
1960
70 x 60 in.
oil 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
1924
22 1/8 x 27 in.
oil on canvas
IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.
IRVING NORMAN
Draftee
1982
100 x 38 in.
oil on canvas
IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.
IRVING NORMAN
Flight
1955
60 x 74 in.
oil on canvas
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.
PAT STEIR
Untitled (After Courbet and Hiroshige)
1985
60 x 173 in.
colored pencil, pencil, gesso and charcoal on paper
GENE DAVIS - Licorice Stick - acrylic on canvas - 80 3/4 x 32 3/4 in.
GENE DAVIS
Licorice Stick
1973
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.
IRVING NORMAN
Totem of a Holy Family
1974
90 x 19 3/4 in.
oil on canvas
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.
PAUL JENKINS
Phenomena Silver Sinister
1962
76 5/8 x 59 1/4 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.
HASSEL SMITH
Untitled
1987
84 x 108 1/4 in.
acrylic on canvas
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.
oil on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.
HASSEL SMITH
Untitled
1975
68 x 67 3/4 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.
HASSEL SMITH
Untitled
1983-84
68 1/4 x 68 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.
HASSEL SMITH
Untitled
1978
68 x 68 in.
acrylic on canvas
ROBERT NATKIN - Amethyst - oil on canvas - 71 x 100 1/8 in.
ROBERT NATKIN
Amethyst
1960
71 x 100 1/8 in.
oil on canvas
THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.
THEASTER GATES
Untitled (flooring)
2011
35 x 35 x 3 in.
white cement, debris, flooring
EVAN PENNY - No One In Particular (Old) - silicone, pigment, hair on aluminum - 40 x 32 x 7 1/2 in.
EVAN PENNY
No One In Particular (Old)
2005
40 x 32 x 7 1/2 in.
silicone, pigment, hair on aluminum
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
Woman in Pink
c. 1915-1920
40 1/2 x 28 1/4 in.
oil on canvas
"Interior" is one of Maurice Askenazy’s more modern compositions, calling to mind the work of Bonnard or Vuillard. The intimate scene shows a nude female model, dramatically seen in profile, posing for a painter in a sun-drenched studio. The door to the room is open, giving the impression that the viewer is stealing a glimpse of a private interaction between artist and model. A cleverly placed mirror on the back of the open door reveals the reflection of the painter, who we are meant to take as Askenazy himself, at work. Askenazy takes great care to depict the details of the room, from the patterned ottoman to the framed paintings on the walls, each a mosaic of Impressionistic color.
MAURICE ASKENAZY
Nude with a Japanese Folding Screen
c. 1935
40 x 32 in.
oil on canvas
"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
c. 1929
24 x 28 in.
oil on canvas
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.
ALSON CLARK
Toboggan Slide and Dufferin Terrace
1907
30 x 38 in.
oil on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.
HASSEL SMITH
Untitled
1990
68 1/8 x 48 in.
acrylic on canvas
HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.
HASSEL SMITH
Untitled
1991
68 x 48 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.
WILLIAM THEOPHILUS BROWN
Horse with Swimmers at Beach
1990
36 x 48 in.
acrylic on canvas
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)
1968
38 x 42 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.
WILLIAM THEOPHILUS BROWN
Landscape with Rocks
1985-2005
48 x 48 in.
acrylic on canvas
PAUL LAURITZ - Tree Shadowed Road - oil on canvas - 40 1/8 x 50 1/4 in.
PAUL LAURITZ
Tree Shadowed Road
40 1/8 x 50 1/4 in.
oil on canvas
FELIPE CASTANEDA - Mujer Hincada - Black Onyx - 15 3/4 x 8 1/2 x 9 in
FELIPE CASTANEDA
Mujer Hincada
1983
15 3/4 x 8 1/2 x 9 in
Black Onyx
FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.
FELIPE CASTANEDA
Mujer Desnuda
1985
18 1/2 x 6 1/2 x 11 in.
marble
FELIPE CASTANEDA - Pensando - Marble - 11 1/2 x 7 x 7 in.
FELIPE CASTANEDA
Pensando
1986
11 1/2 x 7 x 7 in.
Marble
FELIPE CASTANEDA - Mujer con Guitarra - marble - 16 1/2 x 10 1/2 x 10 in.
FELIPE CASTANEDA
Mujer con Guitarra
1983
16 1/2 x 10 1/2 x 10 in.
marble
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
24 x 20 in.
oil on canvas
FELIPE CASTANEDA - Provinciana - white carrera marble - 20 7/8 x 13 1/4 x 10 1/4 in.
FELIPE CASTANEDA
Provinciana
1990
20 7/8 x 13 1/4 x 10 1/4 in.
white carrera marble
RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.
RICHARD ARTSCHWAGER
Chair
1990
39 x 40 x 52 in.
oak, cow hide, formica, steel
RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.
RICHARD ARTSCHWAGER
Chair
1990
39 x 40 x 52 in.
oak, cow hide, formica, steel
FELIPE CASTANEDA - Mujer en Reposo - bronze - 14 x 9 x 15 3/4 in.
FELIPE CASTANEDA
Mujer en Reposo
1983
14 x 9 x 15 3/4 in.
bronze
FELIPE CASTANEDA - Mujer Peinandose - Bronze - 16 1/4 x 11 3/4 x 11 in.
FELIPE CASTANEDA
Mujer Peinandose
1983
16 1/4 x 11 3/4 x 11 in.
Bronze
MATTEO SANDONA - Gertrude and Boots - oil on canvas - 56 1/2 x 40 1/2 in.
MATTEO SANDONA
Gertrude and Boots
1914
56 1/2 x 40 1/2 in.
oil on canvas
HELENA ADELE DUNLAP - The Fruit Server - oil on canvas - 40 x 36 in.
HELENA ADELE DUNLAP
The Fruit Server
40 x 36 in.
oil on canvas
JOHN HUBBARD RICH - Portrait of Tyrone Power's Sister - oil on canvas on panel - 12 5/8 x 10 3/8 in.
JOHN HUBBARD RICH
Portrait of Tyrone Power's Sister
1945
12 5/8 x 10 3/8 in.
oil on canvas on panel
PAUL JENKINS - Phenomena D.H. Lawrence Gala - watercolor on paper - 43 1/8 x 31 1/4 in.
PAUL JENKINS
Phenomena D.H. Lawrence Gala
1980
43 1/8 x 31 1/4 in.
watercolor on paper
PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.
PAUL JENKINS
Untitled
1979
29 3/4 x 42 3/4 in.
watercolor and ink on paper
WILLIAM THEOPHILUS BROWN - Untitled (Nudes with Tree) (Woman and Child) - acrylic on canvas - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Nudes with Tree) (Woman and Child)
2002
11 x 14 in.
acrylic on canvas
PAUL WONNER - Steps in Lafayette Park - acrylic and pencil on paper - 15 x 22 1/4 in.
PAUL WONNER
Steps in Lafayette Park
2005
15 x 22 1/4 in.
acrylic and pencil on paper
HENRY RICHTER - Seascape - oil on canvas - 29 x 39 in.
HENRY RICHTER
Seascape
29 x 39 in.
oil on canvas
GENEVE RIXFORD SARGEANT - Gypsy Woman - oil on canvas - 24 1/4 x 18 1/4 in.
GENEVE RIXFORD SARGEANT
Gypsy Woman
24 1/4 x 18 1/4 in.
oil on canvas
JESSIE ARMS BOTKE - Untitled - charcoal on paper - 17 1/4 x 13 1/4 in.
JESSIE ARMS BOTKE
Untitled
17 1/4 x 13 1/4 in.
charcoal on paper
WILLIAM THEOPHILUS BROWN - Untitled (Three Nudes One Seated) - acrylic on paper - 11 1/8 x 14 1/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (Three Nudes One Seated)
2001
11 1/8 x 14 1/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Jamie Seated (Green Background) - acrylic and oil on canvas - 14 x 9 3/4 in.
WILLIAM THEOPHILUS BROWN
Jamie Seated (Green Background)
1997
14 x 9 3/4 in.
acrylic and oil on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Soldiers) - acrylic on canvas - 14 x 18 in.
WILLIAM THEOPHILUS BROWN
Untitled (Soldiers)
14 x 18 in.
acrylic on canvas
WILLIAM THEOPHILUS BROWN - Untitled (Seated Figure) - charcoal and gouache on paper - 18 3/4 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Seated Figure)
1988
18 3/4 x 14 in.
charcoal and gouache on paper
PAUL WONNER - Youth and Old Age - acrylic on paper - 14 1/2 x 16 5/8 in.
PAUL WONNER
Youth and Old Age
2001
14 1/2 x 16 5/8 in.
acrylic on paper
PAUL WONNER - Artist and Model, Hands on Hips - acrylic and pencil on paper - 14 1/4 x 16 1/4 in.
PAUL WONNER
Artist and Model, Hands on Hips
2002
14 1/4 x 16 1/4 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Untitled (Landscape with Rocks) - oil on board - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Untitled (Landscape with Rocks)
1999
11 x 14 in.
oil on board
JOHN CHRISTOPHER SMITH - Fisherman's Wharf, Monterey - oil on canvas - 26 x 34 in.
JOHN CHRISTOPHER SMITH
Fisherman's Wharf, Monterey
26 x 34 in.
oil on canvas
WILLIAM THEOPHILUS BROWN - Untitled (2 Male Nudes) - acrylic on paper - 14 x 9 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (2 Male Nudes)
1998
14 x 9 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Untitled (Bathers) - acrylic on paper - 10 3/4 x 13 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled (Bathers)
2001
10 3/4 x 13 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 13 7/8 x 9 7/8 in.
WILLIAM THEOPHILUS BROWN
Jamie
1998
13 7/8 x 9 7/8 in.
acrylic on paper
PAUL WONNER - Youth and Old Age, Artist and Model - acrylic and pencil on paper - 13 1/4 x 15 in.
PAUL WONNER
Youth and Old Age, Artist and Model
2001
13 1/4 x 15 in.
acrylic and pencil on paper
PAUL WONNER - Park with Figures - acrylic and pencil on paper - 15 x 22 in.
PAUL WONNER
Park with Figures
2005
15 x 22 in.
acrylic and pencil on paper
MAX WIECZOREK - Girl in Mantilla - charcoal and pastel on board - 25 1/4 x 18 1/4 in.
MAX WIECZOREK
Girl in Mantilla
1919
25 1/4 x 18 1/4 in.
charcoal and pastel on board
WILLIAM THEOPHILUS BROWN - Jamie - acrylic on paper - 14 x 10 3/4 in.
WILLIAM THEOPHILUS BROWN
Jamie
1999
14 x 10 3/4 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Up - acrylic on paper - 16 1/2 x 11 1/2 in.
WILLIAM THEOPHILUS BROWN
Up
2010
16 1/2 x 11 1/2 in.
acrylic on paper
PAUL WONNER - Youth and Old Age: Artist, Model, Pots of Flowers - acrylic and pencil on paper - 14 1/4 x 12 1/4 in.
PAUL WONNER
Youth and Old Age: Artist, Model, Pots of Flowers
2003
14 1/4 x 12 1/4 in.
acrylic and pencil on paper
PAUL WONNER - Landscape with Bathers - acrylic and pencil on paper - 14 7/8 x 22 1/8 in.
PAUL WONNER
Landscape with Bathers
2003
14 7/8 x 22 1/8 in.
acrylic and pencil on paper
PAUL WONNER - Landscape with Bathers After Cezanne - acrylic and pencil on paper - 14 7/8 x 22 1/2 in.
PAUL WONNER
Landscape with Bathers After Cezanne
2003
14 7/8 x 22 1/2 in.
acrylic and pencil on paper
ALEXANDER CALDER - Quilt - color lithograph - 22 x 29 1/2 in.
ALEXANDER CALDER
Quilt
1966
22 x 29 1/2 in.
color lithograph
WILLIAM THEOPHILUS BROWN - Untitled (Two Nudes) (Two Figures) - acrylic and charcoal on paper - 11 x 15 in.
WILLIAM THEOPHILUS BROWN
Untitled (Two Nudes) (Two Figures)
1994
11 x 15 in.
acrylic and charcoal on paper
WILLIAM THEOPHILUS BROWN - Untitled (Seated Female Nude) - charcoal, pencil and wash on paper - 25 1/2 x 19 1/2 in.
WILLIAM THEOPHILUS BROWN
Untitled (Seated Female Nude)
1981
25 1/2 x 19 1/2 in.
charcoal, pencil and wash on paper
TSENG KWONG CHI - London, England - silver gelatin print - 16 x 20 in.
TSENG KWONG CHI
London, England
1983
16 x 20 in.
silver gelatin print
TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.
TSENG KWONG CHI
Monument Valley, Arizona
1987
16 x 20 in.
silver gelatin print
LAWRENCE SCHILLER - Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963 - silver gelatin print - 16 x 20 in.
LAWRENCE SCHILLER
Oswald's Gun, Dallas Polic Station, Dallas Texas, November 23, 1963
1963
16 x 20 in.
silver gelatin print
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Floor) - acrylic and charcoal on paper - 11 x 15 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Floor)
1975
11 x 15 in.
acrylic and charcoal on paper
PAUL WONNER - Artist Drawing The Model - acrylic and pencil on paper - 12 x 10 1/4 in.
PAUL WONNER
Artist Drawing The Model
2004
12 x 10 1/4 in.
acrylic and pencil on paper
PAUL WONNER - Trees and Rock on the Bay - acrylic and pencil on paper - 15 x 22 in.
PAUL WONNER
Trees and Rock on the Bay
2003
15 x 22 in.
acrylic and pencil on paper
PAUL WONNER - In Lafayette Park VI - acrylic and pencil on paper - 13 5/8 x 20 5/8 in.
PAUL WONNER
In Lafayette Park VI
2004
13 5/8 x 20 5/8 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Split Rock, Cisco Grove - acrylic on canvas - 11 x 14 in.
WILLIAM THEOPHILUS BROWN
Split Rock, Cisco Grove
1997
11 x 14 in.
acrylic on canvas
PAUL WONNER - At Mission Rock - acrylic and pencil on paper - 14 1/2 x 16 in.
PAUL WONNER
At Mission Rock
2004
14 1/2 x 16 in.
acrylic and pencil on paper
WILLIAM THEOPHILUS BROWN - Untitled (Nude Male on Floor) - acrylic on paper - 11 3/4 x 9 in.
WILLIAM THEOPHILUS BROWN
Untitled (Nude Male on Floor)
2010
11 3/4 x 9 in.
acrylic on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing - pencil and wash on paper - 15 x 11 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing
1993
15 x 11 in.
pencil and wash on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Block) - pencil and wash on paper - 15 x 10 3/4 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Block)
1995
15 x 10 3/4 in.
pencil and wash on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Nude on Step) - pencil and wash on paper - 14 1/2 x 11 1/2 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Nude on Step)
1988
14 1/2 x 11 1/2 in.
pencil and wash on paper
WILLIAM THEOPHILUS BROWN - Untitled Drawing (Standing Nude, Arm on Head) - pencil and wash on paper - 15 x 11 1/4 in.
WILLIAM THEOPHILUS BROWN
Untitled Drawing (Standing Nude, Arm on Head)
1990
15 x 11 1/4 in.
pencil and wash on paper
EDWARD STEICHEN - Colette - silver gelatin print - 13 x 10 1/4 in.
EDWARD STEICHEN
Colette
1935 / 1986
13 x 10 1/4 in.
silver gelatin print
WILLIAM THEOPHILUS BROWN - Self Portrait with Sketchbook - gouache - 8 1/2 x 6 in.
WILLIAM THEOPHILUS BROWN
Self Portrait with Sketchbook
1971
8 1/2 x 6 in.
gouache
WILLIAM THEOPHILUS BROWN - Two Cranes Take Flight (Into the Sunset) - gouache on paper - 11 x 14 1/2 in.
WILLIAM THEOPHILUS BROWN
Two Cranes Take Flight (Into the Sunset)
1971
11 x 14 1/2 in.
gouache on paper
DAVID MACH - Matchead - matchstick - 5 1/2 x 2 3/4 x 3 3/4 in.
DAVID MACH
Matchead
c.1992
5 1/2 x 2 3/4 x 3 3/4 in.
matchstick
DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.
DAVID MACH
(small white and lavender)
5 1/2 x 2 1/2 x 2 3/4 in.
matchstick
WILLIAM THEOPHILUS BROWN - Self Portrait - gouache - 7 1/4 x 6 in.
WILLIAM THEOPHILUS BROWN
Self Portrait
1979
7 1/4 x 6 in.
gouache
ROBERT NATKIN - Untitled - lithograph on paper - 30 x 39 in.
ROBERT NATKIN
Untitled
1979
30 x 39 in.
lithograph on paper
ROBERT NATKIN - Untitled - lithograph on paper - 29 1/2 x 39 1/2 in.
ROBERT NATKIN
Untitled
1979
29 1/2 x 39 1/2 in.
lithograph on paper
PAUL JENKINS - Phenomena Coriolis Wedge - oil on canvas - 66 x 77 in.
PAUL JENKINS
Phenomena Coriolis Wedge
1979
66 x 77 in.
oil on canvas
PAUL JENKINS - Phenomena Zodiac Violet - watercolor on paper - 40 x 29 in.
PAUL JENKINS
Phenomena Zodiac Violet
1973
40 x 29 in.
watercolor on paper
PAUL JENKINS - Phenomena Yoshihara Sound - watercolor on paper - 30 x 40 1/2 in.
PAUL JENKINS
Phenomena Yoshihara Sound
1975
30 x 40 1/2 in.
watercolor on paper