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Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

ジョージア・オキーフ

ニューメキシコ州・コットンウッドツリー（アビキウ近郊

キャンバスに油彩

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

アルフレッド・シスレー

レグリーズ・ドゥ・モレ、ル・ソワール

31 1/4 x 39 1/2 in.

キャンバスに油彩

1870年代初頭、ウィンスロー・ホーマーは、ニューヨーク州のハドソン川とキャッツキル山脈の間に位置する、小麦の栽培が盛んな小さな集落での田舎暮らしの風景を頻繁に描いていました。ハーリーといえば、1872年の夏に描かれたホーマーの代表作『鞭打ちのスナップ』のインスピレーション源として知られる。この地域からインスピレーションを得た他の多くの絵画の中でも、「麦畑に立つ少女」は情感に富んでいるが、過度に感傷的になることはない。この作品は、1866年にフランスで描いた習作「麦畑で」と、アメリカに戻った翌年に描いた別の作品に直接関連している。しかし、ホーマーが最も誇りに思ったのは間違いなくこの作品であろう。肖像画であり、衣装の習作であり、ヨーロッパの牧歌的な絵画の偉大な伝統に則った風俗画であり、ドラマチックな逆光と雰囲気のある力作で、すぐに消えてしまう宵闇の時間に、花の香りと麦の穂のタッチで浮き立たせた。1874年、ホーマーはナショナル・アカデミー・オブ・デザイン展に4点の絵画を出品した。そのうちの1枚に「少女」というタイトルがつけられていた。それはこの作品ではないだろうか？

ウィンスロー・ホーマー

イン・ザ・ウィートフィールド（少女は麦畑に佇む）

21 3/4 x 13 1/2 in.

キャンバスに油彩

<div>When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved.   </div><br><br><div> </div><br><br><div>Viewed from the perspective of a bird or a plane, "The Riverhouse" is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water. "The Riverhouse" is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, "The Riverhouse" is a heady concoction of vibrant pigment and rich impasto, one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.  As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” </div><br><br><div> </div><br><br><div>Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as "The Riverhouse" rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.</div>

ウェイン・ティーボー

ザ・リバーハウス

18 x 35 3/4 in.

キャンバスに油彩

<div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div><br><br><div> </div><br><br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div><br><br><div> </div><br><br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div>

アルフレッド・シスレー

キャバリエ・デ・フォーレ

19 1/4 x 25 3/4 インチ

キャンバスに油彩

<div><font face=Lato size=3>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.    "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.    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.</font></div>

ゲルハルト・リヒター

24 1/2 x 32 1/4インチ。

キャンバスに油彩

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

トム・ヴェッセルマン

ベッドルームブルネットwithアイリス

105 3/4 x 164 5/8 in.

切り抜きアルミニウムに油

<div><font face=Lato size=3 color=black>Irving Norman conceived and created <em>The Human Condition</em> at a time when he must have reflected deeply on the totality of his life. Given its grand scale and cinematic treatment, it impresses as a profound culmination of his artistic journey, synthesizing decades of themes, insights, and experiences into a single monumental work. A man of great humility and an artist of uncommon skill, he translated a horrendous war experience into impactful allegories of unforgettable, often visceral imagery. He worked in solitude with relentless forbearance in a veritable vacuum without fame or financial security. Looking to the past, acutely aware of present trends, he knew, given the human predicament, he was forecasting the future. As one New York Times reviewer mused in 2008, "In light of current circumstances, Mr. Norman's dystopian vision may strike some…as eerily pertinent," an observation that recalled recent events.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Irving Norman's figures, manipulated by their environment and physical space, are of a style that exaggerates the malleability of the human form to underscore their vulnerability and subjugation. This literal and symbolic elasticity suggests that these figures are stretched, compressed, or twisted by the forces of their environment, emphasizing their lack of autonomy and the oppressive systems that govern their existence. While these figures reflect vulnerability, Norman's structural choice in <em>The Human Condition</em> creates a stark juxtaposition that shifts attention toward the central tableau. A commanding female figure, rising above the calamitous failures and atrocities of the past, is joined by a man, forming a symbolic "couple,” suggesting the unity and shared responsibility of a new vision. Their hands, magnified and upturned, present these children as a vision offering hope and renewal for the future. The gesture, combined with the futuristic clothing of the diminutive figures, reinforces the idea of an alternative path—a brighter, forward-looking humanity. The central tableau acts as a metaphorical offering, inviting the viewer to consider a future untouched by the weight of darkness from which these figures emerge.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Here, Norman underscores a hopeful, if not optimistic, vision for generations ahead. The structural decision suggests a deliberate shift in focus: the darker scenes relegated to the sides represent the burdens, past and present. At the same time, the central figures embody the potential for a future shaped by resilience and renewal. This juxtaposition distinguishes <em>The Human Condition</em> as a reflection of Norman's later years, where a tempered hope emerges to claim the high ground over the war-mongering, abject corruption, frantic pleasure-seeking, and the dehumanizing effects of modern society.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Throughout his long career, Norman stood tall in his convictions; he turned, faced the large, empty canvases, and designed and painted complex, densely populated scenes. As for recognition, he rationalized the situation—fame or fortune risked the unsullied nature of an artist's quest. Ultimately, <em>The Human Condition</em> is a summation of Norman's life and work and a call to action, urging us to examine our complicity in the systems he so vividly depicted. Through meticulous craftsmanship and allegorical intensity, it is a museum-worthy masterwork that continues to resonate, its themes as pertinent today as they were when Norman painstakingly brought his vision to life.</font></div>

アーヴィング・ノーマン

人間の状態

キャンバスに油彩

<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>

ハンス・ホフマン

59 3/8 x 47 1/4インチ。

キャンバスに油彩

<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>

ハンス・ホフマン

アストラル・イメージ No.

キャンバスに油彩

MANOLO VALDES - Portrait of a Woman - 油彩、麻布、キャンバス - 60 x 60 in.

ある女性の肖像

油彩・麻布・キャンバス

<div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of </font><font<br>face=HelveticaNeue size=3 color="#191919">Pointilist </font><font face=Lato<br>size=3 color=black>technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div>

サン＝ブリアック塀

25 1/2 x 18 1/8インチ。

キャンバスに油彩

WIFREDO LAM - ポートレート/ラ・テーブルI、コイン・ダトリエ - 紙にテンペラ（両面） - 38 x 24 3/4 in.

ウィフレド・ラム

ポートレート／ラ・テーブルI、コイン・ダクト

38 x 24 3/4 in.

ハンス・ホフマン

21 3/8 x 24 1/2 インチ

パネル上のオイル

<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>

ハンス・ホフマン

23 1/4 x 29 1/4 インチ

パネル上のオイル

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

エレーン・デ・クーニング

無題(トーテムポール)

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

ダンボールシリンダーの上に伸ばされたキャンバスに油

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

カミーユ・クローデル

ラ・ヴァーグ（波）

c.1897年／1997年

24 1/4 x 19 x 24インチ。

<div>Modigliani's premature death due to tuberculosis in 1920 at the age of 35 robbed the world of one of the fathers of Modern Art.  His work was revolutionary; living and working in Paris during the first quarter of the Twentieth Century put the young artist at the center of the most significant advancement of painting since Impressionism, several decades before.  </div><br><br><div>His short and brilliant career, filled with his signature nudes, could not be completely appreciated without considering the significant body of works on paper. "Cariatide" refers to the Greek architectural sculptures, the Caryatids. These columns carved into female figures hold up the entablature of temples. Modigliani called the subject his </div><br><br><div>"columns of tenderness." This drawing offers an early instance of the curving lines and almond shapes that mark Modigliani's signature style.</div>

アメデオ・モディリアーニ

カリアティード

バフ紙に青クレヨン

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

楮紙に天然顔料とプラチナ、ボードにマウント

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.

毛皮カット毛布付きサンカイ焼き馬

29 1/2 x 33 x 12 in.

DAVID SMITH - Untitled - 油彩・キャンバス - 12 x 16 in.

デビッド・スミス

キャンバスに油彩

DAVID SMITH - Untitled - 油彩・キャンバス - 12 x 15 3/4 in.

デビッド・スミス

12 x 15 3/4 in.

キャンバスに油彩

ハーブアルパート - アローヘッド - ブロンズ - 201 x 48 x 48インチ。

ハーブ・アルパート

201 x 48 x 48 in.

<div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div>

アンドリュー・ワイス

クオート＆ハーフ

21 x 29 1/4インチ。

紙に水彩画

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

ハリー・ベルトイア

無題(サウンディング・スカルプチャー)

103 x 16 x 16 インチ

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.

メル・ラモス

レタと丘のマイナ

60 x 52 インチ。

キャンバスに油彩

CAMILLE PISSARRO - Paysage avec batteuse a Montfoucault - Pastel on paper laid down on board - 10 3/8 x 14 3/4 in.

カミール・ピサロ

モンフーコーでバットを持っての撮影

10 3/8 x 14 3/4 in.

RICHARD SERRA - Cape Breton Horizontal Reversal No.

リチャード・セラ

ケープ・ブレトン水平反転16号

19 3/4 x 55 7/8インチ。

手漉き和紙2枚にリト・クレヨン

<div><font face=Lato size=3>Andy Warhol’s <em>Grace Kelly</em> (1984) is a dazzling screenprint that immortalizes one of Hollywood’s most iconic stars, who later became Princess of Monaco. This impression, one of 30 artist’s proofs aside from the regular edition of 225, depicts Kelly with radiant canary yellow hair set against a turquoise ground. Her face, rendered through Warhol’s crisp silkscreened contours, is at once immediately recognizable and transformed into a bold graphic emblem. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The image is based on a film still from<em> Fourteen Hours</em> (1951), Kelly’s screen debut, which Warhol reimagines through his signature Pop sensibility. By isolating and intensifying her features with vibrant color contrasts, he heightens both the glamour of the actress and the constructed nature of celebrity imagery. The turquoise background vibrates against Kelly’s luminous hair, underscoring Warhol’s mastery of color as a tool of both allure and abstraction. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Created during a period when Warhol was revisiting the great icons of his earlier career, <em>Grace Kelly</em> encapsulates his fascination with beauty, fame, and cultural mythmaking. The work distills Kelly’s presence into a timeless symbol—simultaneously a celebration of her cinematic allure and a meditation on the transformation of star into legend. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3> </font></div>

アンディ・ウォーホル

グレース・ケリー

カラースクリーン印刷

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

アレクサンダー・カルダー

正方形の傘を持つ女性

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.<br><br>The November 2018 sale of Schnabel's "Large Rose Painting, (Near Van Gogh's Grave)" for $1.2 million at auction demonstrates a strong demand for the artist's work. This major sale was only the second-highest price paid for a Schnabel at auction: the record was set in November of 2017 when "Ethnic Type #14" sold for $1.4 million. <br><br>A recent museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

ジュリアン・シュナベル

縫製ドロップクロスのオイル、樹脂、ゲッソ、生地、革

<div><font face=Lato size=3 color=black>Alexander Calder’s <em>Tornado in Space</em> (1932) is a rare drawing from the crucial moment when he was redefining his artistic language through abstraction and movement. Authenticated by the Calder Foundation (registration number A08417), the work is composed of bold, spiraling lines that circle and intersect in rhythmic trajectories. These orbit-like forms suggest both natural forces and mechanical precision, capturing the sensation of motion on a flat surface and foreshadowing the spatial dynamics of his earliest mobiles.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The drawing embodies Calder’s fascination with the invisible energies of the universe, transforming paper into a field of movement and space. The economy of line emphasizes gesture and rhythm rather than depiction, distilling his explorations into a graphic composition of striking clarity. This sheet belongs to a key group of works on paper from 1932, including <em>Space Tunnel</em> and <em>Movement in Space</em>, in which Calder experimented with drawing as a means of testing ideas that would later find expression in three-dimensional form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The provenance further strengthens the importance of this work. <em>Tornado in Space </em>was acquired through Calder’s longtime New York dealer, Klaus Perl's of Perls Gallery, and has remained in the same private collection for over fifty years. Closely related works from this period are now housed in the Centre Pompidou, the National Gallery of Art, and the Museum of Modern Art, underscoring the rarity and art-historical resonance of this drawing.</font></div><br><br><div> </div><br><br><div>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York</div>

アレクサンダー・カルダー

宇宙の竜巻

30 1/2 x 22 1/2インチ

紙にインク

ROLAND PETERSEN - Waiting Figure - キャンバスに油彩 - 68 x 56 in.

ローランド・ピーターセン

ウェイティング・フィギュア

68×56インチ。

キャンバスに油彩

ALEXANDER CALDER - Soucoupes Volantes - 紙にインクとグワッシュ - 29 1/2 x 43 1/4 in.

アレクサンダー・カルダー

スークー・ヴォラント

29 1/2 x 43 1/4インチ

紙にインクとガッシュ

元永定正は、1954年から1972年まで活動した伝説的な「具体美術協会」のメンバーとして、ポストアトミックな超現実主義の実存主義が日本の芸術発展の最先端を走っていた時代に登場しました。しかし、彼は別の道を選んだ。彼は、戦争による破壊に背を向け、新鮮で陽気で遊び心のある作品を制作しました。"1966年の「無題」は、モリス・ルイスの「ヴェール」と呼ばれる絵画と並行して発展した、彼の古典的なスタイルである。この作品は、明るい光を放つガチョウの櫛や目、斑模様の羽を連想させるかもしれませんが、そのような連想はおそらく恣意的で意図されたものではありません。それよりも、日本の伝統的な「たらしこみ」（絵具が完全に乾く前に、キャンバスをさまざまな角度に傾けて、樹脂とエナメルの混合物を互いに流し込む技法）を元永がアバンギャルドにアレンジした作品が見事に成功しているのです。

16 x 12 1/2 in.

キャンバスに油彩

ロジャー・ブラウンは、個人的でしばしば幻想的なイメージと、日常的な体験への関心を反映した人物やオブジェを用いた高度に様式化された絵画で知られている。アシッド・レイン』は、社会におけるアーティストの役割や、変化を促すアートの可能性を反映した、現代生活や社会的な批評のテーマを探求している。より個人的なレベルでは、酸性雨というテーマは、鬱や不安、自分の力ではどうにもならない状況に圧倒される感覚など、腐食した感情や心理状態を象徴しているのかもしれない。酸性雨が、ほとんど目に見えないが壊滅的な環境問題であったように、HIV/AIDSの流行の危機は、個人的な悲しみを処理し、政治指導者の不十分な対応を批判し、思いやり、理解、医学研究を提唱するために、ブラウンを作品制作に駆り立てたのだろう。

ロジャー・ブラウン

48×72×2インチ。

キャンバスに油彩

GEORGE RICKEY - Space Churn with Squares - ステンレススチール製の運動彫刻 - 35 1/2 x 20 x 13 in.

ジョージ・リッキー

正方形でスペース・チャーン

35 1/2 x 20 x 13インチ。

ステンレス鋼のキネティック・スカルプチャー

<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>

ハンス・ホフマン

紙に混文メディア

アレクサンダー・カルダーの《ルージュ・ムイユ（濡れた赤）》は、赤い円形の背景が特徴で、あるものは爆発のように飛び散り、エネルギッシュな広がりを感じさせる。このアニメーションの背景は、黒を中心とした不透明な丸い球で飾られているが、印象的な青、赤、微妙な黄色の球が散りばめられている。爆発的な赤を背景に色とりどりの球体を戦略的に配置することで、花火大会の畏怖とスペクタクルを表現し、この絵画をこのまばゆいばかりの祝祭イベントの視覚的メタファーへと変貌させている。この作品は興奮と活気に満ち、静的な媒体に儚い美しさを封じ込めた。

アレクサンダー・カルダー

ルージュ・ムイユ

42 1/4 x 29 5/8 in.

紙の上のガッシュとインク

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York<br>Two Crosses by Alexander Calder is a striking work on paper, blending transparent watercolor and gouache, showcasing his signature repertoire of shapes and symbols. At its heart lies a large, black 'X' on a fluid, grayish wash, and nearby, a smaller, opaque black cross overlapping a semi-opaque red ball, and to its left, a roundish transparent wash patch hosts a black crescent shape. Several spheres in black provide accompaniment, and the artist's favored primary colors, and at the lower margin, his charming undulating line. Calder's sparing use of watercolor allows the paper's white to showcase the forms and symbols, creating a dynamic, impactful artwork where simplicity and the interplay of transparent and opaque elements captivate the viewer.

アレクサンダー・カルダー

二つの十字架

21 1/8 x 29 1/2 in.

紙の上のガッシュとインク

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

スリーピラミッド＋ブルーボール

29 1/2 x 43 1/4インチ

紙の上のガッシュとインク

IRVING NORMAN - How Come - キャンバスに油彩 - 90 x 60 in.

アーヴィング・ノーマン

キャンバスに油彩

Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“It was early one morning on a calm sea, off Guatemala, when over my couch — a coil of rope — I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better.

アレクサンダー・カルダー

ジグザグの太陽と岩場

29 1/2 x 43インチ

紙の上のガッシュとインク

JOHN CHAMBERLAIN - ASARABACA - 工業用アルミニウム箔、アクリルラッカー、ポリエステル樹脂 - 20 x 23 x 22 in.

ジョン・チェンバレン

アサラバカ

20×23×22インチ。

アクリルラッカーとポリエステル樹脂を使用した工業用アルミ箔

<div><font face=Lato size=3>Roy Lichtenstein’s <em>Reverie</em> (1965) is a landmark screenprint that exemplifies the artist’s transformation of comic book imagery into high art. Published as part of the influential <em>11 Pop Artists </em>portfolio, this work comes from an edition of 200, with this impression numbered 121/200. In addition, approximately 50 Roman numeral proofs and a small number of artist’s proofs were also issued. The portfolio, which brought together emerging figures such as Lichtenstein, Andy Warhol, and Tom Wesselmann, played a pivotal role in cementing Pop Art’s place within the contemporary art canon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Reverie depicts a pensive, stylized heroine rendered in Lichtenstein’s hallmark Ben-Day dots, bold outlines, and primary colors, capturing both the melodrama and restraint of comic-book narrative. The title recalls the nostalgic 1927 song <em>Stardust</em> by Hoagie Carmichael, specifically the line “The melody haunts my reverie,” underscoring the nostalgic mood conveyed in the sitter’s far-off gaze. Lichtenstein himself considered his contributions to <em>11 Pop Artists</em> his first true fine-art prints, the culmination of years mastering multiple printmaking techniques, from etching to screenprinting. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Impressions from this edition are now held in major public collections, including the Art Institute of Chicago, the National Gallery of Art, the Museum of Modern Art, and the Smithsonian American Art Museum, affirming its historical and artistic importance. </font></div>

ロイ・リヒテンシュタイン

レヴェリー

27×23インチ。

スクリーンプリント、織物紙

<div><font face=Aptos size=3 color=black>Michael Corinne West’s story is a significant one. A prolific painter and poet at the forefront of the Abstract Expressionist movement, West is the artist least likely to be acknowledged as standing among the first generation with the core group of male artists. Placed in a confrontational role as one of the few women defying a male-dominated mythology, she shifted to gestural painting in the mid-1940s, often laying the canvases on the floor and working like Jackson Pollock. Her earliest work in black and white predates Franz Kline’s by several years. It included “<em>Black and White” </em>of 1947, which impressed Clement Greenberg, who was never inclined to dish a gratuitous compliment. Despite the changing tides of art and fashion, her devotion to mysticism, inner emotional states, and the subconscious as they relate to Abstract Expressionism continued unfazed and steady.  </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>“<em>The Day After</em>,” painted in 1963, is West’s visceral, abstract response to a pivotal moment in American history — the assassination of President John F. Kennedy. The overlapping layers of saturated blood-red tones clashing with forceful strokes of black suggest the rupture in the national consciousness and evoke feelings of disruption and confusion, embodying the artist’s internalized grief. West transformed the event into a deeply personal expression of mourning, capturing the weight of a nation’s sorrow in a form that defies literal representation yet speaks volumes emotionally.  </font></div>

マイケル・コリンヌ・ウェスト

85 1/4 x 50 1/8 インチ。

キャンバスに油彩

アレクサンダー・カルダーによる魅惑的なグワッシュ画 "Wigwam rouge et jaune "は、デザインと色彩の鮮やかな探求である。頂点付近で交差する対角線の格子によって支配された構図は、ダイナミックなバランスを醸し出している。カルダーは赤と黄色の菱形で気まぐれな要素を取り入れ、作品に遊び心を吹き込み、祝祭的な雰囲気を作り出している。右寄りの線の頂点にある赤い球は気まぐれな印象を呼び起こし、左寄りの線の上にある小さな灰色の球はコントラストと均衡を与えている。カルダーはシンプルさと重要なデザイン要素を見事に融合させ、「ウィグワム・ルージュ・エ・ジョーヌ」を視覚的に楽しませている。

アレクサンダー・カルダー

ウィグワムルージュ＆ジョーン

29 1/2 x 43 1/4インチ

紙の上のガッシュとインク

WILLIAM KENTRIDGE - Porter Series:モヘアとシルクの刺繍タペストリー「Carte L'Europe (Shower Woman)」98 3/8 x 137 7/8 in.

ウィリアム・ケントリッジ

ポーターシリーズカルト・ヨーロッパ（シャワーウーマン）

98 3/8 x 137 7/8 in.

モヘアとシルクの刺繍タペストリー

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

29 1/2 x 43 1/4インチ

紙の上のガッシュとインク

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.

アーヴィング・ノーマン

アメリカの街並み

74×90インチ

キャンバスに油彩

ミニマリストの彫刻家トニー・スミスの娘であるキキの芸術は、単一の媒体や技法に限定されるものではなく、彼女の作品はしばしば複数の解釈を誘う。クラブは、動きと安定に不可欠な要素である人間の脚の形と寸法を具現化したものだ。スミスのタイトルは、足を武器として再想像し、人間の状態のもろさ、身体の自律性のパワー・ダイナミクス、強さと弱さの間の複雑な相互作用について考えるよう、見る者を誘う。このような身体の一部から物体への変換は、保護と攻撃性の両方を伝え、性差のある身体が私たちの社会的・個人的環境をどのようにナビゲートするかを考察する。クラブは、象徴性に富み、解釈の余地があり、人間の経験について思考を喚起する作品を創り出すスミスの能力を例証している。

キキ・スミス

33×8×6インチ。

ALEXANDER CALDER - ミッキーマウス - 紙にガッシュとインク - 30 x 43 3/8インチ。

アレクサンダー・カルダー

ミッキーマウス

30 x 43 3/8インチ

紙の上のガッシュとインク

ジム・ダインはアメリカのポップアーティストで、普遍的でノスタルジックな言語を見つけるために子供のような魅力を持つオブジェクトに瞑想した作品です。ディーンのローブは、彼の長く輝かしいキャリアから生まれた最も有名なイメージの一つです。彼らは1964年の秋にシドニー・ジャニス・ギャラリーで最初に展示されました - これはそのような例の一つです。ダブルシルバーポイントローブは、大規模な混合メディアアセンブリです。この作品はシルバーポイントで行われ、銀の一部を特別に用意された地面の上に描く道具として利用し、数ヶ月にわたって酸化して暖かい茶色のトーンを作り出す技術です。2つの結合されたキャンバスは、頭部があるべき場所の代わりに木のブロックと空気の流れに応じて動く吊り下げ木要素を備えています。

ジム・ダイン

ダブルシルバーポイントローブ

2つの結合されたキャンバス、木材、ナイフ、およびアーティストのフレームの文字列にシルバーポイントとアクリル

ALEXANDER CALDER - Directions - ガッシュ、インク、紙 - 29 1/2 x 43 1/4 in.

アレクサンダー・カルダー

29 1/2 x 43 1/4インチ

紙の上のガッシュとインク

ALEXANDER CALDER - The Forest - 紙にガッシュとインク - 43 x 29 1/4インチ

アレクサンダー・カルダー

ザ・フォレスト

43 x 29 1/4インチ

紙の上のガッシュとインク

ALEXANDER CALDER - 赤い花びら、青い月 - 紙にガッシュとインク - 29 1/2 x 43 1/4 in.

アレクサンダー・カルダー

赤い花びら、青い月

29 1/2 x 43 1/4インチ

紙の上のガッシュとインク

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

30 x 43 3/8インチ

紙の上のガッシュとインク

ALEXANDER CALDER - The Oval Spiral - 紙にガッシュ、インク - 43 1/4 x 29 1/2 in.

アレクサンダー・カルダー

オーバルスパイラル

43 1/4 x 29 1/2インチ

紙の上のガッシュとインク

$<div><font face=Lato size=3>Maurice de Vlaminck’s <em>Le Viaduc de Saint-Germain-en-Laye</em> (circa 1910-1911), an arresting oil on canvas framed in ornate gold, captures the industrial elegance of a viaduct west of Paris. This work, set to be included in the forthcoming catalogue raisonné by the Wildenstein Plattner Institute, reflects Vlaminck’s fascination with the Saint-Germain area. Known for painting its urban landscapes and Seine-side scenes, he infused this particular scene with angular Cubist elements gaining traction in early 20th-century art. The viaduct, built in the 1880s to carry the Paris-Saint-Germain railway line, looms with golden arches against a turbulent gray sky, its unyielding structure juxtaposed with the fractured rooflines of quaint village houses. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Vlaminck’s bold brushstrokes and muted palette create a textured, almost sculptural effect, with trees and rooftops rendered in dynamic, faceted shapes. The overcast sky enhances the scene’s ambient intensity, while the viaduct’s arches dominate, symbolizing modernity amid rural charm. This work exemplifies his early Fauvist roots evolving into Cubist influences, showcasing a pioneering style. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>A resident of the region, Vlaminck frequently depicted its evolving landscape, blending tradition with innovation. "Le Viaduc de Saint-Germain-en-Laye" offers collectors a rare glimpse into his transformative period. Its striking composition and historical context make it a compelling addition to any collection, celebrating Vlaminck’s contribution to modern art’s development. </font></div>$

モーリス・デ・ブラミンク

ル・ヴィアデュック・ドゥ・サンジェルマン＝アン＝レー

26×32×1インチ。

キャンバスに油彩

<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>

リチャード・プリンス

無題 (ピンクの検閲画)

35 1/2 x 30 in.

アクリル、インクジェット・ボード

"夢の中の夢 "は、エドガー・アラン・ポーの有名な詩からその名を取った、ライアン・マクギネスの絵画とシルクスクリーンの重要なシリーズである。知覚、現実、潜在意識といったテーマを探求するマクギネスは、幾何学的な形、植物的な要素、具象的なモチーフなど、さまざまなシンボルやモチーフを取り入れ、見る者の目の前で変化し変容していくような複雑なパターンに配置している。タイトルは、現実のとらえどころのなさや、人間の経験の逃げやすさを反映した、あいまいで不確かな感覚を示唆している。知覚と幻想というテーマに取り組むことで、マクギネスは鑑賞者に世界についての思い込みを疑い、現実が見かけよりも流動的で主観的である可能性を考えるよう促す。

ライアン・マクギネス

夢の中の夢

96 1/4 x 143 x 2 3/4インチ。

キャンバスにアクリル

<div>"Untitled”, a rare and intimate mixed media on paper piece by Anni Albers, was a personal gift to its owner, Katherine Weber, wife of Albers Foundation president Nicholas Fox Weber, presented during a visit in Connecticut. Never offered for sale, this artwork stands apart from Albers’ renowned textile creations, showcasing her versatility as an abstract artist. Created with a delicate interplay of pencil, ink, and watercolor, the composition features geometric shapes and subtle color gradients that dance across the surface, reflecting her inventive exploration of form and texture. This piece, likely from her later career, highlights her shift toward printmaking and drawing after 1963, moving beyond the pictorial weavings of the 1950s. </div><br><br><div> </div><br><br><div>Born in Berlin and trained at the Bauhaus in the 1920s, where she later taught, Albers pioneered avant-garde textile designs blending functionality with bold abstractions. Her time at Black Mountain College and trips to Mexico exposed her to pre-Columbian art, influencing her use of forgotten techniques and abstract motifs, as seen in simplified and intuitive form in our work. Its intimate scale and personal provenance lend it a unique charm, contrasting with her larger public commissions. This piece offers a window into the experimental spirit that marks Albers’ legacy within 20th-century art and design. </div>

アニ・アルバース

紙にフェルトペン

ALEXANDER CALDER「Tracks」紙にグワッシュ、インク 29 3/8 x 41 1/8インチ

アレクサンダー・カルダー

29 3/8 x 41 1/8インチ

紙の上のガッシュとインク

"A drawing is simply a line going for a walk."<br>-Paul Klee<br><br>A significant draftsman, Paul Klee's works on paper rival his works on canvas in their technical proficiency and attention to his modern aesthetic. As an early teacher at the Bauhaus school, Klee traveled extensively and inspired a generation of 20th Century Artists. <br><br>Klee transcended a particular style, instead creating his own unique visual vocabulary. In Klee's work, we see a return to basic, geometric forms and a removal of artistic embellishment. "Der Hafen von Plit" was once owned by Alfred H. Barr, Jr., the First Director of the Museum of Modern Art, New York.

ポール・クレー（PAUL KLEE

プリトのハーフェン

14 1/4 x 19 1/2 in.

けいひつじゅ

IRVING NORMAN - Snapshots - キャンバスに油彩 - 40 x 90 in.

アーヴィング・ノーマン

スナップ写真

40×90インチ。

キャンバスに油彩

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

30 3/4 x 22 1/2 in.

紙の上のガッシュとインク

IRVING NORMAN - Wanderers - 油彩・キャンバス - 90 x 30 in.

アーヴィング・ノーマン

ワンダラーズ

キャンバスに油彩

HARRY BERTOIA - Untitled (Sounding Sculpture) - ベリリウム銅とブロンズ、木製ベース - 36 1/2 x 8 x 8 in.

ハリー・ベルトイア

無題(サウンディング・スカルプチャー)

36 1/2 x 8 x 8インチ。

ベリリウム銅とブロンズ、ウッドベース

HARRY BERTOIA - 柳の彫刻 - ステンレススチール - 61 1/2 x 39 x 39 in.

ハリー・ベルトイア

61 1/2 x 39 x 39 in.

ステンレス鋼

2023 カルダー財団、ニューヨーク / アーティスト・ライツ・ソサエティ（ARS）、ニューヨーク

アレクサンダー・カルダー

43 3/8 x 30 in.

紙の上のガッシュとインク

マニュエル・ネリは、1960年代のベイエリア・フィギュラティブ・ムーブメントの中心人物である。抽象的な形ではなく、人間の形の力によって感情を表現することを重視した。本作「Untitled」（1982年）は、等身大の女性の姿を追求した作品である。ネリは60年のキャリアを通じて、マリア・ユリア・クリメンコという一人のモデルとの制作を好んだ。多くの作品に顔がないことが、謎と曖昧さの要素を加えている。無題 "の構図は、人物の構造と形態に焦点が当てられている。マニュエル・ネリは、アディソンギャラリー/フィリップスアカデミー、スタンフォード大学アンダーソンコレクション、シカゴ美術館、スタンフォード大学カンターアートセンター、シンシナティ美術館、サクラメント・クロッカー美術館、デンバー美術館、テキサス州エルパソ美術館、サンフランシスコ美術館、ハーバード大学美術館、ワシントンDCハーシュホーン美術館と彫刻庭園など世界中の多くの美術館でコレクションされ、その作品は世界的に知られています。ホノルル美術館、メトロポリタン美術館（ニューヨーク）、ナショナルギャラリー（ワシントンD.C.）。

マヌエル・ネリ

67×24×26インチ

ペイントされたブロンズ

<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>

マリア・ブランチャード

ラ・コミダ

21 1/2 x 28 3/4インチ。

キャンバスに油彩

<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>

マリア・ブランチャード

フィレ・ア・ラ・ポム

28 1/4 x 23 5/8インチ。

キャンバスに油彩

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

三彩釉の馬

25×26×9インチ。

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

三彩釉地霊

47 1/4 x 14 x 14 in.

<div><font face=Calibri size=3 color=black>Harry Bertoia was an authentic visionary in art, and they are rare. Of those whose métier is sculpture, Alexander Calder and Harry Bertoia are the twentieth-century American standouts. They are engineers of beauty; their creative currency is feats of invention and pure artistry that honor our experience of them (if we are willing to quiet our mind) as if a sacred event. It was Duchamp who suggested Calder call his kinetic works “mobiles”, but it was up to Bertoia himself to coin a word to describe something for which there was little precedent. Visually precise, kinetic, and offering resonant, vibratory sound, a “Sonambient” sculpture is at once a metaphor for our sentient experience in the world yet capable of inducing an aura of transcendent experience. Given that insight, it is easy to understand Bertoia’s view that “I don’t hold onto terms like music and sculpture anymore. Those old distinctions have lost all their meaning.”</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>The present “Sonambient” sculpture is a forty-eight-inch-tall curtain of thin-gauged tines. Once activated, it becomes a 15 3/4 inch long, 8 inches deep wall of sound. Five rows of narrow tines are staggered in number, alternating between 30 and 29 tines that, when activated, present as an undulating wall of sound. When touched or moved by air currents, the rods produce a sound that, while metallic, does not betray its source of inspiration: the serene connection Bertoia felt in observing the gentle undulating movement of desert grasses. As always, this is a Bertoia sculpture that invites participation in the experience of changing shapes and sounds, a participatory work that asks us to be present in the moment, to connect across time with the object and its creator.</font></div>

ハリー・ベルトイア

無題(サウンディング・スカルプチャー)

48 x 15 3/4 x 8インチ。

真鍮ベースのベリリウムと銅の棒

リチャード・タトルはアメリカのポストミニマリストの芸術家です。タトルの作品は概念的で瞑想的で、彫刻、絵画、詩の境界を越え、しばしば視聴者に挑戦します。1973年の無題(布とペイントワーク#2)は、アーティストのキャリアの重要な時期に、材料ベースのコンセプチュアルアートに向かってプッシュしながら、彼のキャリアの初期のミニマリズムを呼び起こします。作品では、彼はマルセル・デュシャンの既製に敬意を払っています。テキスタイルは、この作品のように、彼のオーヴルで大きな役割を果たし、パフォーマンス、エンゲージメント、および意味に焦点を当てるサイトになります。

リチャード・タトル

無題（布と絵の具の作品No.2）

15 1/2 x 16 in.

キャンバスにロープと油彩

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.

アーヴィング・ノーマン

バッカナール

69 1/2 x 39 1/2 in.

キャンバスに油彩

WALEAD BESHTY - Los Caballos en la Conquista - Ceramica Suro スリップキャストの残骸、釉薬、焼成プレート - 9 1/2 x 32 1/4 x 21 1/2 in.

ワリード・ベシュティ

ロス・カバロス・エン・ラ・コンキスタ

9 1/2 x 32 1/4 x 21 1/2 in.

セラミカ・スーロのスリップキャストの残骸、釉薬、焼成プレート

<div><font face=Lato size=3 color=black><em>Alte Fischerhütten</em> (1949) by Max Pechstein is an oil on canvas in which the artist transforms a humble cluster of weathered fishing huts into a study of light, form, and atmosphere. Broad, rhythmic brushstrokes delineate the worn timbers and thatched roofs, while a sky streaked with lavender and rose imbues the scene with a quiet, almost meditative luminosity. Pechstein’s bold outlines and flattened perspective are tempered by a late-career restraint, allowing the simple geometry of dunes, huts, and sea to resonate with an almost timeless calm.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Though painted in 1949, this work reaches back to a motif Pechstein first explored between 1927 and 1930 during summers on the Baltic coast and in the village of Rowe with <em>Herbstabend </em>(1927) and <em>Getreideernte</em> (1930). In a letter from that earlier period he wrote of his inspiration:<br><br></font></div><br><br><div><font face=Lato size=3 color=black>“A small, empty fishing hut on the lagoon, which Martin Sakuth had set aside for me… it was there that I first felt the heady, eternal rhythm of the sea.” (translated)<br><br></font></div><br><br><div><font face=Lato size=3 color=black>By revisiting these modest structures in his final decade, Pechstein fuses the elemental power of wind, sand, and sea with a masterful control of color and form. <em>Alte Fischerhütten</em> thus stands as a poignant culmination of his lifelong dialogue with vernacular architecture and elemental landscapes, an enduring testament to his vision of nature’s quiet grandeur.</font></div>

マックス・ペヒシュタイン

アルテ・フィッシャーヒュッテン

28 x 31 5/8インチ。

キャンバスに油彩

<div>"House in the Countryside," a rare early oil on canvas by Piet Mondrian circa 1898, offers a window into the artist’s pre-abstraction period, likely executed "en plein air." This intimate painting, one of approximately 47 works from this phase across various media, showcases Mondrian’s early dedication to capturing the essence of place. The composition features a modest house set within the landscape, rendered with soft, earthy tones and a delicate interplay of light and shadow, reflecting his youthful passion for naturalistic depiction. Unlike his later abstract works, which began after he turned 40 following the 1911 Picasso exhibition that inspired his Cubist turn, these early pieces reveal a confident realism that laid the groundwork for his iconic style. </div><br><br><div> </div><br><br><div>The works from this period, prior to Mondrian’s shift toward coastal scenes, boats, and floral subjects, highlight his penchant for landscape, a theme that subtly persisted in his later abstractions, particularly those inspired by the grid-like layout of New York City, such as "Broadway Boogie Woogie" (1942-43) and “New York City I” (1942). With early landscapes offering a more accessible price point yet holding immense academic importance, they attract museums and savvy, thoughtful collectors. Comparable works reside in The Metropolitan Museum of Art, The Cleveland Museum of Art, and The Art Institute of Chicago.  This piece stands as a rare testament to Mondrian’s evolving genius and the foundational role of landscape in his oeuvre. The painting’s most recent owner is Nicholas Fox Weber, the distinguished art historian, scholar, and president of the Josef Albers Foundation. </div>

ピエ・モンドリアン（PIET MONDRIAN

8 1/4 x 11 3/4 in.

油彩、キャンバス、ボード

フランシス・セレンターノ - 起伏ユニット - キャンバスにアクリル - 36 x 90インチ。

フランシス・セレンタノ

起伏ユニット

キャンバスにアクリル

ジョセフ・ステラは、生まれ故郷のイタリアで形作られ、アメリカに養子縁組され、驚くほどの多様性と独創性を持つ作品の中で、並外れた範囲のスタイルと媒体を調査しました。1911年、ステラはフォーヴィスム、キュビスム、未来派の前衛的な波に乗ったが、イタリアのオールドマスターたちと日々を共にした唯一のアメリカのモダニストだった。「横たわる裸婦」のポーズと扱いは、ステラが1920年代に描いた「レダと白鳥」や、19世紀のロマンチックなドイツのおとぎ話に登場する美しい水の精オンディーヌなど、神話やファンタジーに登場する魅惑的な女性を描いた一連の作品に関連しています。1930年代に描かれた《横たわる裸婦》は、花や象徴のイメージを使わずに描かれており、その冷静な時代をより適切に反映しています。

リクライニングヌード

50 x 52 1/2 in.

キャンバスに油彩

ネイサン・オリヴェラは、カリフォルニアのベイエリアの具象画家たちとしばしば結びつけられているが、実際には、彼の作品にはウィレム・デ・クーニング、アルベルト・ジャコメッティ、フランシス・ベーコンへの関心が見て取れる。これらの影響は、《絨毯から足を踏み出す裸婦》の際立った特徴となっている。オリヴェイラが30代前半のときに描かれたこの作品は、まさに即興的なスタイルで描かれた孤立した人物の心を揺さぶる描写で、彼の初期の名声を確立した。オリヴェイラの晩年の作品は、視覚的記憶を描き、存在感の希薄な具象を創り出すという挑戦に関するデ・クーニングの影響力のあるコメントを反映している。

ネイサン・オリベイラ

カーペットから踏み出すヌード

52×48インチ

キャンバスに油彩

ナタン・オリヴェイラの孤独な人物は、ジャコメッティの作風を彷彿とさせる実存的な不安感を伝えているが、同時に幽玄な質感と超越的な存在感も持っている。これらの人物は、自己を超越する意識の時代を超えた普遍的な表現を体現しており、形而上学の無形な側面により沿っている。青い瞳の人物」には、呪術的な性質がある。顎から下の白の縦線が、18世紀のクラバットの絵画的比喩であると仮定すれば、オリヴェイラのゴヤの遺産に対する深い敬意と関わりとが共鳴する。青い目の人物》は直接的なオマージュかもしれない。オリヴェイラは、ゴヤの1818年の銅版画『ラ・タウロマキア21』を基に最初の連作を制作し、ゴヤの作品の影響と意義について議論する多くのイベントに参加した。

ネイサン・オリベイラ

青い目のフィギュア

キャンバスに油彩

<div>Franco-Del No. 1 & No. 3, a striking 2006 acrylic on canvas triptych by Ed Moses, measures 79 1/2 x 110 1/2 inches and exemplifies the artist's innovative approach to abstraction. This expansive work is composed of three distinct yet harmoniously integrated panels, each contributing to a dynamic visual narrative. The left panel features a bold expanse of deep pine green, and the solid black of the center panel adds further depth. These two panels rhythmically set up the rightmost panel, which bursts with vigorous, sweeping strokes of gray, black, and white. The textured, almost sculptural brushwork suggests movement and depth, its gestural energy punctuated by two vertical black lines and a subtle green accent, adding structural tension further enhanced by the rust orange border. </div><br><br><div> </div><br><br><div>Moses, known for his experimental techniques, employs acrylic to achieve a rich, tactile surface that invites close inspection. The work’s large scale amplifies its emotional impact, enveloping the viewer in a meditative yet forceful dialogue between order and chaos. Created in 2006, this piece reflects Moses’ late-career mastery, blending spontaneity with deliberate composition.  </div>

エド・モーゼス

フランコ・デル1号＆3号

79 1/2 x 110 1/2

キャンバスにアクリル

忠介(タダスキー) 桑山 - B-139 - キャンバスにアクリル - 47 x 47インチ。

忠介(タダスキー) 桑山

キャンバスにアクリル

リチャード・ディーベンコーンは、「すべての絵画は、ある気分、物や人との関係、完全な視覚的印象から始まる」と語っています。ディベンコーンは、戦後のニューヨークを席巻した抽象芸術に対抗するベイエリアの具象芸術運動で決定的な役割を果たしたことで知られており、具象と抽象の間でしばしば揺れ動いた。1952年には、イリノイ大学アーバナ校に1年間だけ教員として赴任しました。1952年、イリノイ大学アーバナ校に1年間教員として赴任し、建築学科の学生にデッサンの基礎を教えるとともに、自宅の寝室の1つをスタジオとして使用しました。アーバナシリーズ」と呼ばれる1952年から53年のこの時期は、ディーベンコーンのスタイルを発展させる上で、生産的で重要な時期でした。具象から抽象への革新的な探求は、この重要な初期の時期に始まり、1960年代後半から80年代にかけて広く知られるようになった「オーシャンパーク」シリーズで完全に実現されることになります。

リチャード・ディベンコーン

無題(アーバナシリーズ)

13 7/8 x 11 in.

紙にインク

IRVING NORMAN - Man and Time - キャンバスに油彩 - 58 x 30 in.

アーヴィング・ノーマン

人間と時間

58×30インチ。

キャンバスに油彩

WILLIAM WENDT - Laguna Hills - キャンバスに油彩 - 25 x 30 in.

ウィリアム・ウェント

ラグナヒルズ

キャンバスに油彩

<div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div>

三人姉妹のための習作

15×12インチ。

混合メディア

元永定正は、1954年から1972年まで活動した伝説的な「具体美術協会」のメンバーとして、ポストアトミックな超現実主義の実存主義が日本の芸術発展の最先端を走っていた時代に登場しました。しかし、彼は別の道を選んだ。彼は、戦争による破壊に背を向け、新鮮で陽気で遊び心のある作品を制作しました。"1969年の「無題」は、モリス・ルイスのいわゆる「ヴェール」と呼ばれる絵画と同時に発展した、彼の古典的なスタイルである。この作品は、日本の伝統的な「たらしこみ」（絵具が完全に乾く前に、キャンバスをさまざまな角度に傾けて、樹脂とエナメルの混合物を互いに流し込む技法）を元永が前衛的にアレンジしたもので、見事に成功しています。

14 1/2 x 20 in.

アクリル、ボード、綿布

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

メアリー・コルス

アクリル、ダイヤモンドダスト、キャンバス

ネイサンオリベイラ - 無題 - キャンバスに油 - 84 X 63で。

ネイサン・オリベイラ

キャンバスに油彩

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

ヴァレリー・ジュードン

キャンバスに油彩

遼王朝は、キタン帝国としても知られている中国北部の帝国で、満州、モンゴル、中国北部の一部を支配していました。それは最初の支配者、Yelü Abaojiが916年まで時代の名前を宣言しなかったにもかかわらず、唐王朝の最後の年にKhitanの人々のYelüの家族によって創設された。遼帝国は1125年に晋王朝のJurchenによって破壊されました。しかし、エリュ・ダシに率いられた人々の残党が西(西)遼王朝1125-1220年を設立し、カラ・キタン・ハナートとしても知られ、チンギス・ハーンのモンゴル騎馬隊の到着まで存続した。

行列のオーナメント

遼朝、西暦907-1125年

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

Signed and titled verso<br>JR-33-76

ジャック・ロス

80×69インチ。

キャンバスにアクリル

Op Art evolved as an alternative trend in painting to the abstract expressionist movement of the 1950s. The genesis of the movement was in the 1960s, when artists such as Victor Vasarely, Bridget Riley, and Richard Anuszkiewicz embraced a more structured and geometric approach to their painting, often using visual tricks to create a sense of movement. While the artistic and spiritual predecessors to OP Art, such as Josef Albers (!888-1976), utilized a softer and more subdued approach, the Op Artists were using bold, large-scale works with variable dimensions to create their visual statement. <br><br>A student of Albers, Richard Anuszkiewicz, used enamel and acrylic paint on wood in such a way to create his uncompromising and exact compositions. A great sense of action can be felt in the present work, "Translumina". The sister piece to "Translumina," "Translumina II" (1986), is in the permanent collection of the Albright-Knox Art Gallery, Buffalo.

リチャード・アヌスキエヴィッチ

トランスルミナ

木の上のアクリル

MARC QUINN - Lovebomb - フォトラミネート、アルミニウム - 108 1/4 x 71 3/4 x 37 3/4 in.

マルク・クイン

108 1/4 x 71 3/4 x 37 3/4 in.

フォトラミネート・オン・アルミ

<div><font face=Lato size=3>Andy Warhol’s <em>Campbell’s Soup I: Vegetable Soup</em> (1968) is part of his first screenprint portfolio dedicated to the iconic soup cans, produced in an edition of 250 with additional artist’s proofs. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The speed with which the art world embraced Warhol was remarkable: in July 1962, his thirty-two <em>Campbell’s Soup Cans</em> paintings debuted at the Ferus Gallery in Los Angeles, quickly cementing his reputation. Those early canvases, among his last hand-painted works, appeared almost mechanically produced, but Warhol soon abandoned the brush in favor of silkscreen, a commercial process that allowed for both endless repetition and striking variations of his chosen subjects. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3><em>Vegetable Soup</em> was one of the original thirty-two varieties and remains a pop culture phenomenon, continually reappearing on everything from plates and mugs to t-shirts, neckties, and even surfboards. Warhol’s transformation of an everyday supermarket staple into an enduring icon underscores his genius for elevating the ordinary into the realm of high art. With its crisp outlines and industrial precision, <em>Vegetable Soup</em> embodies the artist’s most radical contribution: the merging of consumer culture with fine art. </font></div>

アンディ・ウォーホル

ビーフストックベジタブル

スクリーンプリント

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Boston Cremes</em> (1970–71) forms part of the artist’s portfolio <em>Seven Still Lifes and a Silver Landscape</em>. Signed and dated by the artist in 1970, the print has not previously appeared at auction. Thiebaud, a central figure in Post-War American art, is celebrated for his luminous depictions of everyday objects, most notably desserts and consumer goods, that situate him at the intersection of Pop Art’s engagement with mass culture and a painterly sensibility indebted to Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Decadent rows of chocolate-topped pastries are presented in neat sequence, echoing the logic of bakery displays while transforming a familiar confection into a cultural icon. Within the apparent uniformity, subtle variations in contour, texture, and shading emerge, inviting close attention to the individuality of each form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Rendered in bright, pastel grounds offset by rich browns, yellows, and creams, the image exemplifies Thiebaud’s distinctive use of color, particularly his shadows infused with unexpected blues and purples. These chromatic choices lend vibrancy and a sense of light to ordinary subjects, elevating them into objects of contemplation.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>At once nostalgic and critical, <em>Boston Cremes</em> reflects the artist’s engagement with American consumer culture and his distinctive balance between realism and stylization. Transforming familiar confections into enduring symbols of American life, the work evokes memory while challenging the boundaries between fine art and popular imagery.</font></div>

ウェイン・ティーボー

ボストン・クレームス

13 1/4×29インチ。

カラーリトグラフ

<div><font face=Lato size=3>Andy Warhol’s <em>Mao</em> (1972) is one of the artist’s most iconic and provocative screenprints, reflecting his fascination with the intersection of political power and celebrity culture. This impression, numbered 244/250, comes from the regular edition of 250, in addition to 50 artist’s proofs. Warhol based the image on the widely circulated official portrait of Chairman Mao Zedong, a figure whose likeness was omnipresent in China during the Cultural Revolution. By reimagining the image through his vivid Pop palette, Warhol transformed a symbol of political authority into a mass-produced cultural icon. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>In this version, Mao’s face is rendered in a striking deep blue, offset by a green shirt and set against a turquoise background. The bold chromatic choices infuse the portrait with both drama and irony, destabilizing the original propagandistic authority of the image. Warhol further heightens this tension by juxtaposing flat, mechanical silkscreen layers with painterly flourishes, blurring the line between mass production and individual expression. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The <em>Mao </em>series marked a new chapter in Warhol’s career in the 1970s, shifting from Hollywood stars to figures of global influence. Today, these works are regarded as essential statements on the nature of power, fame, and the pervasive reach of the image in contemporary culture. </font></div>

アンディ・ウォーホル

カラースクリーン印刷

カール・アンドレは、ミニマリスト彫刻のパイオニアを助け、有名で有名なアーティストアナ・メンディータの夫であったアメリカのアーティストです。これは1960年代初頭の古典的なテキスト作品であり、ソーステキストから個々の単語を選択し、この場合はアルファベット順である単純で自明の基準に従ってページ上でそれらを注文することによって構成されている彼の詩の典型的なです。リスト。飛行士チャールズ・リンドバーグは、彼が彼の詩の源として戻ったカール・アンドレを深く魅了しました。彼の有名な彫刻のような構造化された繰り返しを持つこの作品は、1960年代と1970年代に出現したミニマリズムとポストミニマリズムを反映しています。

カール・アンドレ

チャールズ・A・リンドバーグのための500の用語

ボード上の紙のインク

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

ジャック・ロス

ニュー・シンセシス第15号

キャンバスにアクリル

<div>Untitled, a large-scale diptych by Ed Moses, created with acrylic on canvas, showcases his experimental flair and abstract mastery. Measuring 84 x 126 inches, the work comprises two panels that together form a vibrant, chaotic composition. Both panels feature deep green backgrounds adorned with dynamic swirls, circular motifs, and jagged patches of mottled white and black, creating a textured, almost graffiti-like effect. The interplay of overlapping shapes and spontaneous brushwork invites viewers into a layered visual journey. </div><br><br><div> </div><br><br><div>Moses, a pioneering artist among the first generation showcased at L.A.’s legendary Ferus Gallery in 1957, brings a rich legacy to this early 2000s piece. His innovative use of acrylic allows for a tactile surface that blends controlled chaos with expressive freedom, and the large scale of the diptych envelops the viewer with this carefully-balanced visual energy. This work exemplifies his boundary-pushing aesthetic, and stands as a powerful testament to Moses’ contribution to contemporary art. </div>

エド・モーゼス

南波パネルI&II

キャンバスにアクリル

JOANNA POUSETTE-DART - 無題（赤い砂漠の習作） - 木製パネルにアクリル - 33 1/2 x 42 x 3/4 in.

ジョアンナ・プーゼット・ダート

無題（赤い砂漠の習作）

33 1/2 x 42 x 3/4 in.

アクリル、木製パネル

チャック・クローズの4つのガラス・ホログラムの組作品は、彼のセルフ・ポートレイトの永続的な探求と、革新的な芸術媒体への関心の魅力的な交差を表している。自画像はクローズの作品の礎であり、人間のアイデンティティの複雑さや芸術的創造のプロセスを深く掘り下げることを可能にしてきた。ホログラムは鑑賞者の位置によって変化し、クローズのピクセル化された作品と呼応しながらも、物理的な存在感を加え、ダイナミックな体験を生み出す。ホログラフィーは、伝統的な肖像画と現代技術の進歩を巧みに組み合わせ、視覚表現の境界線に絶えず挑戦し、再定義することで、自身の芸術言語を進化させるという作家のコミットメントを示している。

チャッククローズ

セルフポートレート

14×11インチ、1枚

ガラスホログラム4枚組

ARNE HIERSOUX - メムサヒブ - キャンバスにアクリルと紙 - 70 1/2 x 120 1/2インチ。

アルネ・ヒールスー

メム・サヒブ

70 1/2 x 120 1/2 in

キャンバスにアクリルと紙

ハリー・ベルトイアのウィローの彫刻は、優美さと繊細さを表現しています。吊るされたウィローの稀少なバージョンは、その性質のコントラストを喜ぶ自意識的な存在感を持っているように思われる。しかし，それは，それを見ることの実存的な喜び以外の何物でもない．もし後者の巨匠がより有機的な、あるいは身体的な喚起を念頭に置いていたとしたら、ウィローはカルダーの大胆に表現されたバージョンだと考えてみてください。吊るされたウィローは、その領域を支配しながらも、周囲との空間的な関係を尊重しています。光、形、空間、これらは彫刻家のコンセプチュアルな道具である。しかし、柔軟性や緊張感のない反射材を使って、空間に吊るされたステンレス鋼の鎖の滝のような花束を作り、花のように優雅に美しい作品を作ろうとは、他に誰が思いつくだろうか。

ハリー・ベルトイア

無題(吊り柳)

123 x 39 x 39 in.

スチールワイヤーとスチールワイヤー

LEONID LAMM - ステートパワー - キャンバスに油 - 68 3/8 x 66 x 1 in.

レオニード・ラム

ステートパワー

68 3/8 x 66 x 1 in

キャンバスに油彩

SETH KAUFMAN - Lignum Spire - ブロンズ、グリーンパティナ - 103 1/2 x 22 x 17 in.

セス・カウフマン

リグナムスパイア

103 1/2 x 22 x 17 in.

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

三彩釉地霊

高さ：44インチ

CHINESE - Daoist Wooden Figure - 漆塗り、木地塗装 - 47 x 20 x 19 in.

道教の木像

47 x 20 x 19 in.

KHMER - 男性トルソ - 砂岩 - 24 x 9 x 5 in.

24×9×5インチ。

サンドストーン

ハーブアルパート - 津波 - キャンバスにアクリル - 72 x 120インチ。

ハーブ・アルパート

キャンバスにアクリル

EDGAR ALWIN PAYNE - Sotto Marinoのヴェネツィアのボート - キャンバスに油彩 - 23 3/8 x 26 1/4 in.

エドガー・アルウィン・ペイン

ソット・マリーノのベネチアン・ボート

23 3/8 x 26 1/4インチ。

キャンバスに油彩

カール・ベンジャミンとその同世代のローサー・フェイテルソン、フレデリック・ハマースリー、ジョン・マクラフリンは、アメリカ抽象美術史の中で独特の位置を占めている。精密で幾何学的なフォルムと、平面性を強調した端正なエッジで知られる彼らは、1950年代後半に登場したカリフォルニアのハードエッジ画家である。例えば、エルズワース・ケリーとは異なり、彼らの作品には、東海岸で感じられたより都会的で工業的な影響よりもむしろ、カリフォルニアの自然や建築環境を示唆する明るさ、明瞭さ、色彩が反映されている。さらに、東海岸の競争的なアートシーンに比べ、カリフォルニアのグループは比較的小規模で緊密なアーティスト・コミュニティであり、共同作業と探求の共有意識が、明確なアイデンティティを持つまとまりのあるムーブメントに貢献した。

カール・ベンジャミン

キャンバスに油彩

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

無題 (黄、赤、茶)

キャンバスに油彩

ARNE HIERSOUX - 無題 - キャンバスにアクリルと紙 - 71 x 94インチ。

アルネ・ヒールスー

キャンバスにアクリルと紙

JAE KON PARK - 無題 - キャンバスに油彩 - 51 1/4 x 64インチ。

ジェイコンパーク

キャンバスに油彩

TIM HAWKINSON - Tusk - 鉄板の上に132個のゼリー型 - 16 x 14 1/2 x 8 in.

ティム・ホーキンソン

16 x 14 1/2 x 8 in.

鉄板のゼリー型132個

ロバートナトキン - アポロXL - キャンバスにアクリル - 88 x 116 1/4 in。

ロバート・ナトキン

88 x 116 1/4 in

キャンバスにアクリル

Born in Onomichi in Hiroshima Prefecture, Teraoka studied at what is now Otis College of Art and Design in Los Angeles. His works are inspired by Japanese Ukiyo-e woodcut prints. However, Teraoaka infuses the style and techniques of the traditional art with American Pop Art. The mass-produced nature of Japanese woodcut prints alligns with the obsession with mass production and consumption of Pop Art. Additionally, Ukiyo, meaning “the floating world” in Edo period Japan reflected the transitory nature of Kabuki theater and pleasure houses. This transitory sense of consumerism and pleasure was also evoked in the works by Pop Artists. Teraoka’s works are a collision of two cultures and histories of art finding affinities through similar themes.<br><br>Teraoka’s pieces blend humor and social commentary. He has often touched upon subjects as diverse and urgent as the AIDs crises, consumerism, the attacks on September 11th, and more. Teraoka notes of his own work, “Integrating reality with fantasy, humor with commentary, and history with the present became my challenge.”<br><br>Works by Teraoka can be found in the Tate Modern, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Smithsonian, the Los Angeles County Museum of Art, the Walker Art Center, and more.

波シリーズ／サンセットビーチの刺青の女

14 7/8 x 10 in.

紙に水彩画

ARNE HIERSOUX - ヨンダーシスコ - キャンバス上のアクリルと紙 - 59 x 93 3/4インチ。

アルネ・ヒールスー

ヨンダー・シスコ

キャンバスにアクリルと紙

PAUL JENKINS - Phenomena with Black Anadem - インク、アクリル、オイル、キャンバス - 51 x 51 in.

ポール・ジェンキンス

ブラックアナデムを用いた現象

インク、アクリル、油彩、キャンバス

JAE KON PARK - 無題 - キャンバスに油彩 - 44 1/4 x 57 3/8インチ。

ジェイコンパーク

44 1/4 x 57 3/8 in

キャンバスに油彩

<div><font face="Times New Roman" size=3 color="#0E101A">Frank Tenney Johnson began his career as an illustrator for <em>Field and Stream</em> Magazine in 1904. Johnson lived in New York City from 1904 until 1920; however, he traveled to the great American West to gather source material for his studio work. </font></div><br><br><div> </div><br><br><div><font face="Times New Roman" size=3 color="#0E101A">Johnson's 1912 trip to the Montana Blackfoot Reservation with Charles Russell was a pivotal moment for the artist; after this trip, he settled in Colorado for many years. After a brief return to California, the artist spent many years in his new studio in Cody, Wyoming.  </font></div><br><br><div> </div><br><br><div><font face="Times New Roman" size=3 color="#0E101A">Works from this period gained Johnson the titles the "Master of American Moonlight Painting" and "Master Painter of the Old West." The painting "Scouting" shows an idyllic native scene; Johnson's firsthand studies and experiences with Native people were a recurrent theme in his work.  </font></div>

フランク・テニー・ジョンソン

スカウティング

13 1/2 x 17インチ。

キャンバスに油彩

Robert Rauschenberg, along with Jasper Johns, Andy Warhol, and Roy Lichtenstein, started the revolution of Pop Art in the 1960s. Rauschenberg's later career was a time for the artist to work on experimental and innovative projects, including the 1993 "Prime Pump from ROCI USA (Wax Fire Works Series)." This series comes from the artist's philanthropic project, "ROCI USA," demonstrating "Rauschenberg's belief in the power of art as a catalyst for positive social change." The reference to "wax fire" in the title is Rauschenberg's term for encaustic - hot wax with colored pigments - which he used in other works from the series. <br><br>Executed in a small edition of just 17 examples, this piece incorporates printmaking, a medium to which he often returned to explore new modes for layering imagery. Rauschenberg worked on editions since the early 1960s when he was a fixture at the ULAE and Gemini G.E.L. printshops. Rauschenberg's printmaking and editioned works were an extension of the creative act for the artist; he could achieve sculptural and 3D effects through his editions.

ロバート・ラウシェンバーグ

ROCI USA社製プライムポンプ（ワックスファイヤーワークスシリーズ

63 1/2 X 44 1/4 IN.

紙とレキサンにカラースクリーン印刷

LÉON AUGUSTIN LHERMITTE - Laveuses, le soir - Pastel on paper laid on canvas - 17 1/2 x 13 3/4 in.

レオン・オーギュスタン・レルミット

淑女たちよ、今宵

17 1/2 x 13 3/4インチ。

パステル、紙、キャンバス

ウィリアム・テオフィラス・ブラウン - ビーチでスイマーと馬 - キャンバスにアクリル - 36 x 48インチ。

ウィリアム・テオフィラス・ブラウン

ビーチでスイマーと馬

キャンバスにアクリル

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971). Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

ジェシー・アームズ・ボトケ

白いクジャク

25×21インチ

キャンバスに油彩

ハッセル・スミス - 眼球に目玉 - キャンバスに油彩 - 46 x 46インチ。

ハッセル・スミス

眼球から眼球へ

キャンバスに油彩

ハッセルスミス - 9000と9夜 - キャンバス上のアクリルとグラファイト - 68 x 68 1/8インチ。

ハッセル・スミス

9000 と 9 ナイツ

キャンバス上のアクリルとグラファイト

<div><font face=Lato size=3 color=black>Jasper Johns’ <em>Cicada</em> (1981) is a color lithograph published by Gemini G.E.L. in an edition of 58. The title evokes the insect’s cyclical emergence, echoing Johns’s interest in recurrence and transformation.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Created during his “crosshatch” period (1972–83), the work exemplifies his move from flags and targets toward abstract systems of mark-making. Through layered color and texture, Johns explores the possibilities of lithography as a medium of repetition and variation.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Impressions of <em>Cicada</em> are held in the collections of the Museum of Modern Art and the Whitney Museum of American Art, underscoring its importance within Johns’s printmaking practice.</font></div>

ジャスパー・ジョンズ

35×26インチ。

カラーリトグラフ

1950年代後半から1960年代半ばまで、レイ・パーカーがカラーフィールド・ペインティングに貢献した初期の作品は、その活気に満ちた新鮮な質で際立っている。パーカーは、ジェッソで下地処理した大きなキャンバスに、2つ以上の強固で荒削りな色ブロックを、勢いのある筆のような技法で並べた。飽和していながらも微妙に鮮やかな色彩で描かれたこれらのブロックは、独特のエネルギーを示している。パーカーのコンポジションはロスコを思い起こさせるかもしれないが、色彩の出し方（しっかりとした力強さ）はそれとは一線を画している。ニューヨーク派の壮大なスケールとダイナミズムを保ちながら、パーカーの作品は、抽象表現主義にありがちな感情的な激しさを排し、典型的なペーソスを排した運動のヴィジョンを取り入れることで、一線を画している。

レイ・パーカー

30 1/8 x 23 1/4 インチ

キャンバスに油彩

OLAF WIEGHORST - Apaches - キャンバスに油彩 - 20 x 24 in.

オラフ・ヴィーホルスト

アパッチ族

キャンバスに油彩

JAE KON PARK - 無題 - キャンバスに油彩 - 45 3/4 x 35 1/2インチ。

ジェイコンパーク

45 3/4 x 35 1/2 in.

キャンバスに油彩

NATHAN OLIVEIRA - Stelae No.5-油彩・キャンバス- 66 x 54 1/8 in.

ネイサン・オリベイラ

ステラエ No.5

66 x 54 1/8 in.

キャンバスに油彩

JAE KON PARK - 無題 - キャンバスに油彩 - 34 x 43 1/4インチ.

ジェイコンパーク

34 x 43 1/4 in.

キャンバスに油彩

JAE KON PARK - 無題 - キャンバスに油彩 - 36 x 45 1/2インチ。

ジェイコンパーク

36 x 45 1/2 in.

キャンバスに油彩

1944年生まれのトーマス・ノスコウスキーは、クーパー・ユニオンで学んだ抽象表現主義者やバウハウス出身者から受けた二項対立的な影響を反映して、小さくて豊かな色彩の絵画を制作しました。小さなブラシを使い、絵の具を削ったり、こすったりして作品に反映させています。タイルの床、細胞の集合体、建築物や宇宙空間など、さまざまなものを連想させるバイオモルフィックな幾何学的形態を、さまざまな配色で表現し、独特の幅広い語彙を身につけました。これらの作品は、彼自身の記憶や経験から抽出されたものであることが多いのです。ノズコフスキーは、この作品（Untitled, 1994）について、ルネッサンス期のカッソーネ様式の箪笥のパネルに描かれた神話的な場面に魅了されたことを反映しているとコメントしています。彼はこのシリーズの15インチ×30インチのパネル3、4枚の中で最も良い作品だと評しています。ノスコウスキーは長年、ペース・ギャラリーで扱われていた。2019年に亡くなりました。

トマス・ノズコウスキー

麻布に油絵、パネル

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.

リノ・タリアピエトラ

13 x 11 x 3 イン。

フランシスコ・トレド - 無題 - 紙上の混合メディア - 8 x 10 1/4インチ。

フランシスコ・トレド

紙に混文メディア

HENRY MOORE - Emperors' Heads - ブロンズ、ブラウンパティナ - 6 3/4 x 8 1/4 x 4 1/2 in.

ヘンリー・ムーア

エンペラーズ・ヘッド

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

茶色のパティナとブロンズ

Cylindrical offering posts, ai tos, are erected as offerings to distant ancestors. This post has two faces and represents the first ancestral pair. The people of Belu, also called Tetum, recognize three types of offering pole; ai tos, for distant progenitors, sometimes described as gods; foho, for intermediary beings; and lor, for the recently deported.<br><br>Many offerings are brought to the ai tos. When a carving is first finished, rice and a pig are sacrificed. Later, to inaugurate the post there are massive offerings from the village. At regular intervals the post is dressed in fine clothing, even an artificial beard, and food is brought to the ancestor, bei.

インドネシア語

提供ポスト- アイトス

43 1/2 x 11 x 12インチ。

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.

東南アジア

ドンソン文化（紀元前1000年～紀元後200年）

22 1/2 x 12 x 10 in.

MARILYN MINTER - After Hours - chromogenic print - 85 1/2 x 55 3/4 in.

マリリン・マインター（MARILYN MINTER

アフターアワー

85 1/2 x 55 3/4 in.

発色プリント

CHUCK CLOSE - Kate - archival pigment print - 32 x 24 in.

チャッククローズ

32×24インチ。

アーカイブ顔料プリント

ANDY WARHOL - The Shadow (神話より) - 紙にダイヤモンドダスト入りカラースクリーンプリント - 37 1/2 x 37 1/2 in.

アンディ・ウォーホル

37 1/2 x 37 1/2 in.

ダイヤモンドダスト

MEL RAMOS - Lola Cola; A.C. Annie; Della Monty; Tobacco Red - 4点のオフセット・カラーリトグラフ。

メル・ラモス

ローラ・コーラ；A.C.アニー；デラ・モンティ；タバコ・レッド

各30 3/4 x 25 1/4インチ。

オフセット・カラーリトグラフ4点

ケネス・ノーランド - 風82-23 - 手作りの紙にモノタイプを塗装 - 86 1/2 x 31 3/8インチ。

ケネス・ノーランド

ウィンズ 82-23

86 1/2 x 31 3/8

手作りの紙に塗られたモノタイプ

KHMER - 観音像 - 灰色砂岩 - 13 x 7 x 7 in.

クメール、12～13世紀

13×7×7インチ。

LEROY NEIMAN - Equestrian Horseman - mixed media on paper - 22 x 28 in.

リロイ・ニーマン

エクストリアンホースマン

紙に混文メディア

ハーブアルパート - 戦士 - ブロンズ - 35 x 12 x 12インチ。

ハーブ・アルパート

35 x 12 x 12 in.

DEWITT PARSHALL - Hermit Creek Canyon, Grand Canyon - oil on canvas - 40 3/4 x 50 in.

デュイットパーシャル

ハーミット・クリーク・キャニオン、グランド・キャニオン

40 3/4 x 50インチ

キャンバスに油彩

ZENG JIANYONG - しつけ飛翔鳥 - 手漉き紙にインクと水彩 - 56 1/2 x 28 1/4 in.

ゼン・ジアニョン

しつけ-飛翔する鳥

56 1/2 x 28 1/4 in.

手作りの紙にインクと水彩

AI WEIWEI - "Fairytale" Chairs - wood - 49 x 45 x 17 1/2 in.

「フェアリーテイル」チェア

49 x 45 x 17 1/2 in.

これは中世のインド寺院にあった王族の行列の場面である。中央の騎馬は、王族であることを示す装飾の施された兜（冠）をかぶっている。彼は左右に2人の仲間を従えており、2人とも敬意を表して彼の方を向いている。騎手たちの背後のフリーズには、大勢の支持者が行列を見守っている。彫師は、従者たちを主要人物の背後の棚に配置し、これらの副次的な人物を小さくすることで、奥行き感を表現している。この技法は、たとえば古典的なグレコローマン絵画のフリーズのような洗練されたものではないが、馬や中心人物をボリュームたっぷりに描くための空間を確保しつつ、奥行きと遠近感を実現している。加えて、馬の鞍や馬具、騎手のブーツや鎧のレギンスに施された細部の細工に、この彫刻家は特別な技巧を発揮している。

幅：23インチ

LAWRENCE SCHILLER - マリリン・モンロー - ヴィンテージシルバーゼラチン写真 - 11 x 14 in.

ローレンス・シラー

マリリンモンロー

ヴィンテージシルバーゼラチン写真

アーヴィング・ノーマン - ストリップショー - 紙の上の鉛筆と色鉛筆 - 30 x 20で。

アーヴィング・ノーマン

ストリップ

紙に鉛筆と色鉛筆

TONY DE LOS REYES - ボーダーコンプレッション#1 - リネン上の油と染料 - 78 x 108 1/4 in。

トニー・デ・ロス・レイエス

境界線圧縮#1

78 x 108 1/4 in

リネンの上の油と染料

DAVID ROW - しきい値の上で - キャンバスに油彩とアルキド - 60 x 75 in.

ダビッド・ロウ

しきい値の上で

キャンバスに油とアルキド

フェリペ・カスタネダ - ムジャー・コン・ギタラ - 大理石 - 16 1/2 x 10 1/2 x 10インチ

フェリペ・カスタネダ

ムジャー・コン・ギタラ

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

中国 - 三彩釉公式 - 釉陶器 - 高さ: 34 in.

三彩焼き公式

唐の時代（西暦618～907年）

高さ：34インチ

クリスチャンローザ - 無題 - キャンバスに油彩 - 71 x 82 1/2インチ。

クリスチャン・ローザ

キャンバスに油彩

SAM FRANCIS - 無題（黒と白の構図） - 紙にアクリル - 23 3/4 x 17 3/4 in.

サム・フランシス

無題（白黒構図

23 3/4 x 17 3/4 in.

紙にアクリル

フェルナンド・カノヴァス - ソドム&ゴモラ - キャンバスにアクリル - 63 5/8 x 51 1/4インチ。

フェルナンド・カノヴァス

ソドム&ゴモラ

63 5/8 x 51 1/4

キャンバスにアクリル

JASPER JOHNS - Voice 2 - Fred Stiegenthaler手漉き紙に7色リトグラフ - 17 x 23 in.

ジャスパー・ジョンズ

17×23インチ。

フレッド・スティーゲンタラー手漉き紙に7色リトグラフ

MERION ESTES - Solo Samba - キャンバスにアクリル - 70 1/4 x 71 1/2インチ

メリオンエステート

ソロサンバ

70 1/4 x 71 1/2インチ

キャンバスにアクリル

DENNIS OPPENHEIM - Launching Station #1 - 紙に色鉛筆と顔料 - 76 x 50 in.

デニス・オッペンハイム

第一発射場

紙に色鉛筆

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Breakfast</em>, from an edition of 50, demonstrates the artist’s signature blend of Pop-inflected realism and painterly intimacy. Executed in colored drypoint, the work captures the simple subject of a morning meal with a remarkable freshness: hatching lines soften and blur the composition, creating a pastel-like effect that distinguishes it from the crispness of commercial print design. Though slightly faded, the impression retains the playful chromatic sensibility and softly modeled shadowing that became hallmarks of Thiebaud’s style.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Since the early 1960s, Thiebaud has been celebrated for his depictions of food—cakes, pies, gumball machines, and diner counters—rendered not as literal meals but as cultural icons, at once nostalgic and idealized. In <em>Breakfast</em>, the modest meal is transformed into a subject of contemplation and delight, celebrating the pleasures of everyday American life while evoking memory and desire. The combination of precision and informality speaks to Thiebaud’s ability to merge the immediacy of drawing with the enduring resonance of painting.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Institutional recognition of the work’s importance is reflected in its inclusion within the National Gallery of Art, Washington, affirming its role within Thiebaud’s larger project of elevating common objects into images of enduring cultural significance.</font></div>

ウェイン・ティーボー

18 x 23 5/8インチ。

カラーエッチングとドライポイント

MARY DENEALE MORGAN - Twin Cypress - 紙にガッシュ - 20 x 24 インチ

マリー・デニール・モーガン

ツインサイプレス

紙の上のグアッシュ

CARL MORRIS - White Field - キャンバスにアクリル - 75 x 63 in.

カール・モリス

ホワイトフィールド

75 x 63 インチ。

キャンバスにアクリル

CHARLES FINE - Fieldmarks (0168) - 油彩、インク、アスファタム、マイラー、リネン、紙 - 各32 x 22 in.

チャールズ・ファイン

フィールドマーク (0168)

各32×22インチ

油彩、インク、アスファタム、マイラー、リネン、紙

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

フェリペ・カスタネダ

ペンサンド

11 1/2 x 7 x 7 in.

FELIPE CASTANEDA - Mujer Peinandose - ブロンズ - 16 1/4 x 11 3/4 x 11 in.

フェリペ・カスタネダ

ムジャー・ペイナンドース

16 1/4 x 11 3/4 x 11 in

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

フェリペ・カスタネダ

ムジャー・ヒンカダ

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

ブラックオニキス

JACK ROTH - 無題 - キャンバスにアクリル - 18 x 30 1/8 in.

ジャック・ロス

18 x 30 1/8インチ。

キャンバスにアクリル

アニー・ラピン - 知覚結婚三部生残し - パネル上のキャンバスにアクリルと油 - 96 x 69インチ。

アニー・ラピン

知覚結婚三部離脱

パネルの上にキャンバスにアクリルと油

JAPANESE - 6 Panel Japanese Byobu - paper and wood - 67 1/2 x 146 in.

6パネル屏風

明治・大正時代：20世紀初頭

67 1/2 x 146 in.

CHINESE - Camel - paintered earthenware pottery - 11 x 22 x 10 in.

唐（西暦618年～906年）

11×22×10インチ。

絹と金糸の刺繍 - 犬と馬車 - 88 1/2 x 48 1/2 in.

犬とワゴンの刺繍

88 1/2 x 48 1/2 インチ

絹と金糸の刺繍

ELLSWORTH KELLY - Untitled, (from portfolio Eight by Eight to celebrate the Temporary Contemporary) - リトグラフ、アーチ紙 - 28 3/4 x 40 3/4 in.

エルズワース・ケリー

無題」（テンポラリーコンテンポラリーを祝うポートフォリオ「Eight by Eight」より）

28 3/4 x 40 3/4インチ。

リトグラフ、アーチ紙

<div><font face=Lato size=3 color=black>Ed Ruscha’s <em>Metro, Petro, Neuro, Psycho</em>, from an edition of 25 with 10 artist proofs, exemplifies the artist’s ongoing investigation into the visual and conceptual potential of language. In this work, stacked words unfold like an architectural structure, their rhyming syllables generating a verbal beat that underscores Ruscha’s fascination with the rhythm and absurdity of text. Letters become forms, spacing becomes structure, and typography itself takes on the weight of image.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bridging Ruscha’s iconic word paintings of the 1960s with his more layered experiments of the 1980s and beyond, the print embodies his approach to isolating fragments of language—billboard slogans, overheard words, or invented phrases—so they can be reconsidered as both visual and semantic phenomena. Ruscha himself has described such arrangements as “visual noise,” simultaneously playful and disorienting. Institutional recognition of the work’s importance is affirmed by examples in the Museum of Modern Art, New York, and the National Gallery of Art, Washington.</font></div>

エド・ルシャ

メトロ・ペトロ・ニューロ・サイコ

22 x 24 1/2 インチ

カラーアクアティント

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.

アーヴィング・ノーマン

ナイトライフ2

紙の上の黒鉛

PAUL GRIMM - Rooted Silence - 油彩・ボード - 20 x 24 インチ

ボード上の油

GERTRUDE PARTINGTON ALBRIGHT - Below Twin Peaks - 油彩・キャンバス - 24 1/4 x 29 1/4 in.

ガートルード・パーティントン・オルブライト（GERTRUDE PARTINGTON ALBRIGHT

ツインピークスの下

24 1/4 x 29 1/4インチ

キャンバスに油彩

ABEL GEORGE WARSHAWSKY - 風のハープ - キャンバスに油彩 - 25 1/2 x 32 in.

エーベル・ジョージ・ウォーシャウスキー

風のハープ

25 1/2 x 32インチ

キャンバスに油彩

ROSS BLECKNER - 無題 - 油彩・印画紙 - 37 1/2 x 24 3/4 in.

ロス・ブレックナー

37 1/2 x 24 3/4 in.

油彩・印画紙

GEORGE BELLOWS - The Tournament (Tennis at Newport) - リトグラフ・紙 - 14 3/4 x 18 1/4 in.

ジョージ・ベローズ

トーナメント（テニス・アット・ニューポート）

14 3/4 x 18 1/4インチ。

紙のリトグラフ

GEORGE BELLOWS - Tennis (Tennis Tournament) - リトグラフ・紙 - 18 1/4 x 19 3/4 in.

ジョージ・ベローズ

テニス（テニストーナメント）

18 1/4 x 19 3/4インチ。

紙のリトグラフ

ALEX KATZ - Vivien - シルクスクリーン、ミュージアムボード - 39 x 41 in.

アレックス・カッツ

ヴィヴィアン

39×41インチ。

ミュージアムボードにシルクスクリーン

JOHN CHRISTOPHER SMITH - Thrashing Machine - 油彩、ボード - 20 x 24 インチ。

ジョン・クリストファー・スミス

スラッシングマシン

ボード上の油

ケネス・ノーランド - 斜めストライプVI-21 - 手作り紙 - 48 x 33 1/2 in。

ケネス・ノーランド

対角ストライプ VI-21

48 x 33 1/2で。

手作りの紙

LAWRENCE SCHILLER - Barbra Streisand (ファーハット) - ヴィンテージシルバーゼラチン写真 - 11 x 14 in.

ローレンス・シラー

バーブラ・ストライサンド

ヴィンテージシルバーゼラチン写真

MANUEL VALENCIA - Sunlight and Shadow on the Hills - oil on panel - 10 3/4 x 17 in.

マヌエルバレンシア

丘の上の陽光と影

10 3/4 x 17 in.

パネル上のオイル

ELLSWORTH KELLY - Red Curve - カラーリトグラフ - 10 x 7 1/2 in.

エルズワース・ケリー

レッドカーブ

カラーリトグラフ

The water buffalo symbolizes virility and suggests wealth and status for the Toraja. Water buffalo motifs appear commonly on houses and granaries suggesting the link between extensive landholding and the ability to build and lavishly decorate traditional Toraja village structures. <br><br>South Sulawesi is home to the Toraja people, who live in a picturesque, mountainous region called Tana Toraja, or Toraja Land. At the center of Toraja culture is a fascinating and complex belief system surrounding death and the afterlife. Death is an elaborate affair, and the prolonged funerals are a major interest to visitors, who can attend the ceremonies but should show the same respect that they would for their own. The funerals typically involve feasting, buffalo sacrifice, dancing and martial arts, culminating with a procession that carries the coffin to its final resting place in one of the many caves on the surrounding cliffs, which are guarded by rock statues. <br><br>The Torajas are equally famous for their houses, which are called Tongkonan, or Family Houses. The houses are built on stilts, and each end rises like the horns of a buffalo, with the points always facing north and south.

インドネシア語

グレナリードア

THOMAS MCGLYNN - カリフォルニアの風景 - キャンバスに油彩 - 25 x 30インチ

カリフォルニアの風景

キャンバスに油彩

グレゴリー隅田 - 木の幹 - 紙の水彩画 - 29 1/2 x 39 3/4インチ。

グレゴリー・スマイダ

ツリートランク

29 1/2 x 39 3/4 in.

紙に水彩画

グレゴリー隅田 - ツリースタディ、ホイッティアー、カリフォルニア州 - 水彩ボード上の水彩画 - 30 x 22インチ。

グレゴリー・スマイダ

ツリースタディ、ウィッティア、カリフォルニア州

水彩ボード上の水彩画

グレゴリー隅田 - 木の幹と納屋 - プレスボード上の水彩画 - 24 x 30インチ。

グレゴリー・スマイダ

木の幹と納屋

押された板の水彩画

グレゴリー隅田 - 近づいて嵐、新しい枝 - 水彩ボード上の水彩画 - 30 x 21 3/4インチ。

グレゴリー・スマイダ

嵐に近づく, 新しい支店

水彩ボード上の水彩画

グレゴリー隅田 - 遠い日陰、ナイツフェリー、カリフォルニア州 - 水彩画 - 21 1/2 x 29 3/4インチ。

グレゴリー・スマイダ

遠い日陰, ナイツフェリー, カリフォルニア州

21 1/2 x 29 3/4 in.

グレゴリー隅田 - フェンスサポート - 水彩画 - 22 x 30インチ。

グレゴリー・スマイダ

フェンスサポート

グレゴリー隅田 - ガチョウ - 水彩画 - 22 x 30インチ。

グレゴリー・スマイダ

GREGORY SUMIDA - 中空の木、中空の幹 - プレスされたボードに水彩画 - 30 x 22 in.

グレゴリー・スマイダ

中空の木, 中空のトランク

押された板の水彩画

グレゴリー隅田 - サポート - 水彩ボード上の水彩画 - 22 x 30インチ。

グレゴリー・スマイダ

水彩ボード上の水彩画

グレゴリー隅田 - 裸の枝を持つ木 - 水彩 - 22 x 30インチ。

グレゴリー・スマイダ

裸の枝を持つツリー

グレゴリー隅田 - 空席 - 水彩ボード上の水彩画 - 22 x 30インチ。

グレゴリー・スマイダ

水彩ボード上の水彩画

グレゴリー隅田 - 不変胴体 - 水彩ボード上の水彩画 - 22 x 30インチ。

グレゴリー・スマイダ

水彩ボード上の水彩画

グレゴリー隅田 - 枝 - 紙の水彩画 - 22 x 30インチ。

グレゴリー・スマイダ

紙に水彩画

MARY MITSUDA - 無題 - アクリル、ウッドパネル - 70 x 44 in.

70×44インチ。

アクリル、木製パネル

DEBORAH OROPALLO - 無題 - キャンバスに油彩 - 76 x 67インチ。

デボラ・オロパロ

キャンバスに油彩

この文字は長寿を表す文字で、中国語では「寿」、日本語では「寿」と読む。特に草書体で描かれたときの優雅さは、織物、陶磁器、漆器など、さまざまな媒体の装飾モチーフとして人気を博している。ここでは、金糸を巻いて作られた文字が、菊の花に囲まれている。菊の花は、健康に良いことから長寿の象徴でもある。このような袱紗は、おそらく誕生祝いのカバーとして作られたのだろう。

長寿の漢字

27×25インチ。

MATTY BYLOOS - Abatement - ボードにアクリル - 60 x 48 in.

ボード上のアクリル

グレゴリー隅田 - 露出、根絶 - 水彩 - 21 1/2 x 27 1/2インチ。

グレゴリー・スマイダ

露出、アップルート

21 1/2 x 27 1/2 in.

GREGORY SUMIDA - Peak of Barn Roof - 水彩・プレスボード - 21 x 26 3/4 in.

グレゴリー・スマイダ

納屋の屋根の頂上

21 x 26 3/4 in.

押された板の水彩画

シャーマンがフドグ・マスクを着用するのは、彷徨っている魂を回復させて患者を癒すため、あるいは悪霊を撃退するためである。仮面はまた、土地と女性の豊穣を祈る農耕儀礼の際にも着用される。

インドネシア語

フドッグマスク

高さ：20インチ

木と顔料、希少な雲豹の皮を上部に使用。

インドネシア・フドグマスク木製 25 x 22 x 9 in.

インドネシア語

フドグ・マスク

25×22×9インチ。

レイ・パーカー - 無題 - 水彩 - 18 7/8 x 29 7/8 in.

レイ・パーカー

18 7/8 x 29 7/8 インチ

GREGORY SUMIDA - Padlocked - 水彩画 - 16 1/2 x 25 1/2 in.

グレゴリー・スマイダ

16 1/2 x 25 1/2 in.

GREGORY SUMIDA - Out to Dry (またはPaulette's Mop) - プレスされた板に水彩画 - 15 x 21 1/2 in.

グレゴリー・スマイダ

ドライ(またはポーレットのモップ)

15 x 21 1/2 in.

押された板の水彩画

グレゴリー隅田 - 新鮮な供給 - 水彩画 - 15 x 22インチ。

グレゴリー・スマイダ

新鮮な供給

ELLSWORTH KELLY - Red Curve (Black State) - カラーリトグラフ - 10 x 7 1/2 in.

エルズワース・ケリー

レッドカーブ（ブラックステート）

カラーリトグラフ

グレゴリー隅田 - プラスチックフィーダー、ロックフォード、カリフォルニア州 - 水彩画 - 12 x 22インチ。

グレゴリー・スマイダ

プラスチックフィーダー、ロックフォード、カリフォルニア州

RALPH WATERHOUSE - Spring Sunset - oil on canvas laid on board - 16 x 20 in.

ラルフ・ウォーターハウス

春の夕暮れ

油彩・キャンバス・ボード

グレゴリー隅田 - ホワイトシャック - 紙の水彩画 - 14 1/2 x 19 1/2インチ。

グレゴリー・スマイダ

ホワイトシャック

14 1/2 x 19 1/2 in

紙に水彩画

ノーマン・ロックウェル - 美術評論家 - 紙のコロタイプ - 30 1/2 x 27 1/2

ノーマン・ロックウェル

美術評論家

紙の上のコロタイプ

WILLIAM WEGMAN - Armed Chair - カラーフォトリトグラフ - 49 3/4 x 37 1/2 in.

ウィリアム・ウェグマン

49 3/4 x 37 1/2 in.

カラーフォトリトグラフ

TIMOTHY TOMPKINS - Tall Trees - アクリル・エナメル、リネン - 37 x 48 in.

ティモシー・トンプキンス

37×48インチ。

リネンにアクリルエナメル

エリック・ジョン・ホルスウェイド - 無題 - フラッシュ上のオイル - 18 1/2 x 32インチ。

エリック・ジョン・ホルスウェイド

18 1/2 x 32 in.

点滅する油

JOSEF ALBERS - 製剤: アーティキュレーション - スクリーンプリント - 11 5/8 x 12 3/4 in.

ヨーゼフ・アルバース

製剤:アーティキュレーション

11 5/8 x 12 3/4 3/4

スクリーンプリント

JOSEF ALBERS - 製剤: アーティキュレーション - スクリーンプリント - 9 1/8 x 13 7/8 in.

ヨーゼフ・アルバース

製剤:アーティキュレーション

9 1/8 x 13 7/8 in. ea.

スクリーンプリント

JOSEF ALBERS - 製剤: アーティキュレーション - スクリーンプリント - 12 x 11 3/4 in.

ヨーゼフ・アルバース

製剤:アーティキュレーション

12 x 11 3/4 in. ea.

スクリーンプリント

JOSEF ALBERS - 製剤: アーティキュレーション - スクリーンプリント - 左: 10 x 17 1/2 in. 右: 6 x 10 1/2 in.

ヨーゼフ・アルバース

製剤:アーティキュレーション

左: 10 x 17 1/2.右: 6 x 10 1/2 in.

スクリーンプリント

CHINESE - "Stick" Figure - painted pottery - Height: 23 1/2 in.

「棒」フィギュア

漢王朝（紀元前206年～紀元220年）

高さ：23 1/2インチ

絵付け陶器

クランゴの彫像は珍しく、しばしばロビの芸術から派生し、強い影響を受けたものとして紹介される。死者に関連するこの像は、精霊と人間の中間のような存在で、死者、幽霊、藪の精霊を表しているのかもしれない。この人物は、新しい家の守護を得るために不可欠な基礎儀式を司る。また、予言者や家族崇拝の指導者たちにも用いられた。

女性フィギュア

17×2.5×3インチ。

CHINESE - "Stick" Figure - painted pottery - Height: 24 1/2 in.

「棒」フィギュア

漢王朝（紀元前206年～紀元220年）

高さ：24 1/2インチ

絵付け陶器

AFRICAN - フェイスマスク（髪付き） - 木、髪、顔料

髪付きフェイスマスク

木、髪、顔料

グレゴリー隅田 - ブルックのベンド - 水彩画 - 10 1/2 x 14 1/2 インチ

グレゴリー・スマイダ

ブルックズベンド

10 1/2 x 14 1/2 で

グレゴリー隅田 - サンガブリエル、カリフォルニア州 - 水彩ボード上の水彩画 - 11 x 15インチ。

グレゴリー・スマイダ

サンガブリエル、カリフォルニア州

水彩ボード上の水彩画

REID CHRISTIE - 冬空 - キャンバスに油彩 - 16 x 20インチ

リード・クリスティ

キャンバスに油彩

LAWRENCE SCHILLER - End of the Day, Marilyn Monroe, "Something's Got to Give" - シルバー・ゼラチン・プリント - 20 x 24 in.

ローレンス・シラー

エンド・オブ・ザ・デイ、マリリン・モンロー、"Something's Got to Give"

銀ゼラチンプリント

桑山忠明 - 無題 - シルクスクリーン - 18 x 37インチ。

シルクスクリーン

1995年、ダンカン・マーティンは絵画制作に専念するため、プリンシピア・カレッジのスタジオ・アート施設での専任講師を辞め、ニューメキシコ、アリゾナ、コロラドに住んだ。その後、美術学部教授および美術・美術史学科長として復職したが、現在は引退し、空中の風景画に専念している。マーティンは通常、パレットナイフやブラシを使った長く大胆なストロークから描き始め、ストロークを小さく、コントロールし、より細部まで描き込んでいく。彼は観察を続け、ブラシの両端を使って視覚的な評価と段階的な仕上げを行う。マーティンは画家として、安易な具象絵画を描くこと以外に興味を持っている。その代わりに、彼は必ずしも物理的な細部には現れない本質的な真実を理解したいと願っている。

ダンカン・マーティン

イブニング・メサとリム

パネル上のオイル

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HJアート・アドバイザリーは、個人売買、オークションハウス、アーティストからの依頼など、美術品購入の可能性のある作品の調達に重点を置いています。 HJアート・アドバイザリーは、クライアントのコレクションをより充実させるために、クライアントの関心に関連する重要な美術品について、民間および公的市場を継続的に監視しています。HJアート・アドバイザリーは、クライアントのために最良の取引を実現するために、コレクターに代わって売買価格の交渉を行います。

ファイナンス

HJアート・アドバイザリーは、資産担保融資、信託のための美術品購入、遺産相続計画などでお客様をサポートします。美術品市場に関する専門知識を駆使し、お客様のコレクションに関する決断をサポートいたします。遺産、法律チーム、ファイナンシャル・アドバイザーと協力し、クライアントとその目標を最大限にサポートします。
ヘザー・ジェームス・ファイン・アートは登録投資、法律、税務アドバイザーではありません。ヘザー・ジェームス・ファイン・アートが表明する投資および財務に関する意見はすべて、個人的な調査に基づく意見です。過去の実績は将来のリターンを保証するものではなく、また必ずしも将来の実績を示唆するものでもありません。

価値と保険

HJアート・アドバイザリー・グループは、保険評価、買収、売却のための美術品コレクションの評価と鑑定を行っています。これには、価値を決定するための私的および公的な美術品市場分析の綿密な調査が含まれます。

認証

HJアートアドバイザリーは、明確な所有権が得られるかどうかを判断するため、取得前に対象物の調査、研究、出所調査を行い、最高水準のデューディリジェンスを維持します。このような調査には以下のものが含まれますが、これらに限定されるものではありません：

対象物の所有履歴
対象物の所在国と所在時期。
展示品の歴史
対象物の出版履歴
所有権に対する異議申し立てがなされている場合
対象物に関連する盗難品のデータベース
対象物が提供される状況
以下を含む関連調査情報源：ArtLoss Register またはその他のデータベース。
売主が有効な所有権を有し、対象物に先取特権、請求権、抵当権がないことを保証する、売主からの保証および補償表明。
1933年から1945年の間にドイツ占領下のヨーロッパにあった可能性の高い品物の取得に関するガイドラインに従った、ナチス／第二次世界大戦時代の調査と文書化

目利き

HJアート・アドバイザリーは、新しいコレクションを開発中のお客様や、すでに確立されたコレクションをお持ちのお客様に代わって、アドバイスや詳細なサービスを提供しています。長年アートビジネスに携わってきた豊富な知識と経験により、熟練した経験豊かなスタッフが、様々なレベルでのガイダンスとディレクションを提供いたします。

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