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Art for Every Collector

PUBLISHED IN: Catalogs

Artwork

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.
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<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.

RICHARD ANUSZKIEWICZ

acrylic on wood

CHARLES ARNOLDI - Sticky Wicket - acrylic, modeling paste and sticks on plywood - 44 1/4 x 91 x 3 in.

CHARLES ARNOLDI

44 1/4 x 91 x 3 in.

acrylic, modeling paste and sticks on plywood

Karl Benjamin and his peers Lorser Feitelson, Frederick Hammersley, and John McLaughlin hold a distinctive place in the history of American abstract art. Known for their precise, geometric forms and clean edges emphasizing flatness, they are California's Hard-edge painters who emerged in the late 1950s. Unlike Ellsworth Kelly, for example, their work reflects a brightness, clarity, and palette that suggests California's natural and built environment rather than the more urban and industrial influences felt on the East Coast. Furthermore, compared to the competitive art scene on the East Coast, the California group was a relatively small and close-knit community of artists with a sense of collaboration and shared exploration that contributed to a cohesive movement with a distinct identity.

CHINESE - Sancai-Glazed Official - glazed pottery - Height: 34 in.

Sancai-Glazed Official

Tang Dyansty (618-907 AD)

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

archival pigment print

Chuck Close's suite of four glass holograms represents a fascinating intersection of his enduring exploration of self-portraiture and his interest in innovative artistic mediums. Self-portraiture has been a cornerstone in Close's oeuvre, allowing him to delve deeply into the intricacies of human identity and the process of artistic creation. Holograms change with the viewer's position and create a dynamic experience, echoing Close's pixelated works but with added physical presence. Holography demonstrates the artist's commitment to evolving his artistic language, adeptly combining traditional portraiture with modern technological advances to continually challenge and redefine the boundaries of visual representation.

14 x 11 in. ea.

suite of 4 glass holograms

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.
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<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.

acrylic and diamond dust on canvas

Richard Diebenkorn once explained, “All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression.” Known for his defining role in the Bay Area Figurative Art movement, a counter to the abstraction dominating post-war New York City, Diebenkorn often oscillated between figuration and abstraction. In 1952, he took a faculty position at the University of Illinois in Urbana for one academic year. There, he taught beginning drawing to architecture students and used one of the bedrooms in his house as a studio. This period from 1952-53, known as the Urbana series, was a productive and pivotal time in the development of Diebenkorn's style. His innovative exploration of figuration through abstraction began in these crucial early years and would come to full realization in his widely celebrated Ocean Park series of the late 1960s-80s.

RICHARD DIEBENKORN

Untitled (Urbana Series)

13 7/8 x 11 in.

MERION ESTES - Sky Blue Sky - fabric collage and acrylic paint on panel - 80 x 60 x 1 3/4 in.

80 x 60 x 1 3/4 in.

fabric collage and acrylic paint on panel

ARNE HIERSOUX - Mem Sahib - acrylic and paper on canvas - 70 1/2 x 120 1/2 in.

70 1/2 x 120 1/2 in.

acrylic and paper on canvas

This is a royal procession scene from a medieval, Indian temple. The central rider wears an embellished helmet, or crown, that is indicative of his royal status. He is accompanied on either side by two companions, both of whom turn to face him out of deference. On the frieze behind the riders, a throng of supporters watches the procession. The carver has conveyed a sense of depth both by placing the followers on a ledge behind the main figures and by making these secondary figures smaller in scale. While this technique lacks the sophistication of, for instance, classical Greco-Roman friezes, the artist still achieves a sense of depth and perspective while providing space in which to depict the horses and central figures in a voluminous manner. In addition, the carver reveals particular skill in the detail work on the horses’ saddles and harnesses and on the riders’ boots and armored leggings.

Procession with Horses

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

6 Panel Japanese Byobu

Meiji/Taisho period: early 20th century

67 1/2 x 146 in.

JAPANESE - Dog and Wagon Embroidery - silk and gold thread embroidery - 88 1/2 x 48 1/2 in.

Dog and Wagon Embroidery

88 1/2 x 48 1/2 in.

silk and gold thread embroidery

ROY LICHTENSTEIN - Composition I - screenprint in colors on Lanaquarelle watercolor paper - 39 3/4 x 30 in.

ROY LICHTENSTEIN

39 3/4 x 30 in.

screenprint in colors on Lanaquarelle watercolor paper

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

85 1/2 x 55 3/4 in.

chromogenic print

HENRY MOORE - Emperors' Heads - bronze with brown patina - 6 3/4 x 8 1/4 x 4 1/2 in.

Emperors' Heads

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

bronze with brown patina

<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>
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<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>

Nambo Panel I & II

acrylic on canvas

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

Equestrian Horseman

mixed media on paper

KENNETH NOLAND - Winds 82-23 - painted monotype on handmade paper - 86 1/2 x 31 3/8 in.

86 1/2 x 31 3/8 in.

painted monotype on handmade paper

Born in 1944, Thomas Nozkowski created small, richly hued paintings that reflect the dichotomous influences of the Abstract Expressionists and Bauhaus refugees with whom he studied at the Cooper Union. Using a small brush, his handling includes scraping and rubbing off paint in ways that register in the finished work. He developed a distinctive, wide-ranging vocabulary deploying biomorphic-like geometric forms in varied color schemes and a wide range of associations: tile flooring, to cell clusters, to architecture and outer space. Often, they are distilled from his own memories and experiences. Nozkowski commented on this specific painting (Untitled, 1994) saying that it reflects his fascination with the mythological scenes painted upon Renaissance cassone dowery chest panels. He pronounced it the best one of three or four 15” x 30” panels of this series. Nozkowski was handled for many years by Pace Gallery. He died in 2019.

THOMAS NOZKOWSKI

oil on linen on panel

From the late 1950s until the mid-1960s, Ray Parker's early contributions to Color Field painting stand out remarkably for their vibrant, fresh quality. Parker arranged two or more robust, rough-edged color blocks using a vigorous, brushy technique on large canvases prepped with gesso. These blocks, rendered in saturated yet subtly vibrant colors, exhibit a distinct energy. While Parker's compositions may remind one of Rothko's, how the color is delivered — solidly and forcefully — sets them apart. Maintaining the grand scale and dynamism of the New York School, Parker's work diverges by forgoing the emotional intensity often associated with Abstract Expressionism and embraces a vision of the movement devoid of its typical pathos.

30 1/8 x 23 1/4 in.

EDGAR ALWIN PAYNE - Venetian Boats at Sotto Marino - oil on panel - 23 3/8 x 26 1/4 in.

EDGAR ALWIN PAYNE

Venetian Boats at Sotto Marino

23 3/8 x 26 1/4 in.

JOANNA POUSETTE-DART - Untitled (Red Desert Study) - acrylic on wood panel - 33 1/2 x 42 x 3/4 in.

JOANNA POUSETTE-DART

Untitled (Red Desert Study)

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

acrylic on wood panel

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

Untitled (yellow, red + brown)

MEL RAMOS - Lola Cola; A.C. Annie; Della Monty; Tobacco Red - four offset color lithographs - 30 3/4 x 25 1/4 in. ea.

Lola Cola; A.C. Annie; Della Monty; Tobacco Red

30 3/4 x 25 1/4 in. ea.

four offset color lithographs

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

acrylic on canvas

JACK ROTH - Untitled - acrylic on canvas - 18 x 30 1/8 in.

18 x 30 1/8 in.

acrylic on canvas

LAWRENCE SCHILLER - Barbra Streisand (fur hat) - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

Barbra Streisand (fur hat)

vintage silver gelatin photograph

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

FRANCISCO TOLEDO

mixed media on paper

It is remarkable the speed with which the art world embraced Andy Warhol after July 1962 when his paintings of thirty-six paintings of Campbell's Soup Cans were displayed at The Ferus Gallery in Los Angeles. Among his last hand-painted works, Warhol soon discovered silkscreen, the medium with which he is most closely associated. Whereas the handcrafted soup-can paintings look mechanically produced, the silkscreen was a mechanical and commercial process that enabled Warhol to produce unlimited precise repetitions and variations of key subjects. As one of the 32 original varieties, Vegetable remains a pop culture phenomenon, turning up on everything from plates and mugs to neckties, t-shirts, and surfboards.

Campbell's Soup I: Vegetable Soup

screenprint on paper

ANDY WARHOL - Goethe - silkscreen in colors - 38 x 38 in.

silkscreen in colors

OLAF WIEGHORST - Apaches - oil on canvas - 20 x 24 in.

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