Palm Desert Gallery Walkthrough 2022

PUBLISHED IN: Gallery Tours
Andrew Wyeth & N. C. Wyeth - Puritan Cod Fishers - oil on canvas - 108 1/2 x 157 1/2 in.

Andrew Wyeth & N. C. Wyeth

N.C. WYETH - The Departure of the Mayflower for England in 1621 - oil on canvas - 103 x 160 x 2 1/4 in.

N.C. WYETH

N.C. WYETH - The Coming of the Mayflower in 1620 - oil on canvas - 104 1/2 x 158 3/4 in.

N.C. WYETH

TOM WESSELMANN - Bedroom Brunette with Irises - oil on cut-out aluminum - 105 3/4 x 164 5/8 in.

TOM WESSELMANN

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

FREDERICK FRIESEKE

JAMES ROSENQUIST - Television or the Cat's Cradle Supports Electronic Picture - acrylic on canvas over panel - 66 x 240 in.

JAMES ROSENQUIST

JAMES ROSENQUIST - Vanity Unfair for Gordon Matta Clark - oil on canvas - 62 3/4 x 43 x 2 3/4 in.

JAMES ROSENQUIST

Irving Norman's masterpiece, "The Human Condition," from 1980, draws upon the artist's lifetime of acquired experiences and knowledge. Surviving as a volunteer fighter during the Spanish Civil War, the artist returned to the United States after the loyalist defeat. Upon his return, fervent studio practice in Half Moon Bay, California, would become his life's devotion.  
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<br>The present work, a nearly 16-foot-wide triptych, is reminiscent of Hieronymus Bosch's triptych, "The Garden of Earthly Delights," c. 1510.  The dystopian vision portrayed in 'The Human Condition" is a warning - a lesson from the European dictatorships Norman experienced firsthand during the 1930s.   Disturbing tableaus show the darkness of humanity and the evil that can rise to prominence when humanity is at its worst.  There is hope, however, in the experience of the viewer: Norman thought of his audience as the greatest hope for humankind.

IRVING NORMAN

FRANK STELLA - The Musket - mixed media on aluminum - 74 1/2 x 77 1/2 x 33 in.

FRANK STELLA

FRANK STELLA - Untitled - three dimensional mixed media on board, mounted on wood - 43 x 128 x 12 in.

FRANK STELLA

ROBERT IRWIN - Untitled - acrylic - 118 1/4 x 24 1/4 x 24 1/4 in.

ROBERT IRWIN

Larry Rivers is considered by many to be the father of the Pop Art movement.  In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself.  
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<br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C.

LARRY RIVERS

Jim Dine was an American Pop artist whose work meditated on objects with childlike appeal to find a universal and nostalgic language. Dine’s robes are among the most recognizable images to have emerged from his long and illustrious career. They were first shown at Sidney Janis gallery in the fall of 1964 – this is one such example. Double Silver Point Robes is a large-scale mixed media assemblage. The work is executed in silverpoint – a technique that utilizes a piece of silver as a drawing instrument over a specially prepared ground by which it oxidizes over a period of months to create a warm brown tone. The two joined canvases feature blocks of wood in place of where the heads should be and a hanging wood element that moves in response to air currents.

JIM DINE

Born on July 29, 1950, in Gallipolis, OH, Holzer received her BFA from Ohio University in 1972 and her MFA from the Rhode Island School of Design in 1975. The artist fully embraces sculpture and mixed media works, seamlessly shifting from her monumental "word displays" to more intimate works such as "Survival: Hide under water…" (1989).  
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<br>Holzer's use of the red granite medium reframes the conversation about works of art in stone, a medium traditionally associated with antiquity and classical sculpture. The inclusion of typography and wordplay in this medium recalls a theme in Holzer's oeuvre, such as her renowned "Truisms" series, and expands the potential of language in art. Holzer is included in countless museum collections worldwide, including the Museum of Modern Art,  New York, where her "Granite Bench" (1986) is featured prominently in their sculpture garden.

JENNY HOLZER

HERB ALPERT - Arrowhead - bronze - 201 x 48 x 48 in.

HERB ALPERT

HERB ALPERT - Freedom - bronze - 201 x 48 x 48 in.

HERB ALPERT

Paul Jenkins is renowned for his technique of controlled paint pouring and use of translucent colors. His paintings drew upon a wide range of philosophies from Gurdjieff to Goethe, Jung to Zen Buddhism, astrology to alchemy. Jenkins remarked of his painting process, “I try to paint like a crapshooter throwing dice, utilizing past experience and my knowledge of the odds. It’s a big gamble, and that’s why I love it.” A combination of chance and control (Jenkins used a dull ivory knife to guide the paint) reveals paintings of dazzling depth and beauty with their sinuous seams and arcs of phenomenal colors.
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<br>Jenkins primed his canvas so that unlike those of other Color Field artists, the paint did not soak in and instead, flowed and pooled – perhaps best exemplified in this large-scale painting with gem-like colors. Whether oil, acrylic, or watercolor, Jenkins displayed a mastery over these media so that both the process and the product are united.

PAUL JENKINS

FERNANDO BOTERO - Dibujo a la manera de Velasquez - charcoal and pastel on cardboard - 60 1/2 x 47 1/2 in.

FERNANDO BOTERO

MARC QUINN - Lovebomb - photo laminate on aluminum - 108 1/4 x 71 3/4 x 37 3/4 in.

MARC QUINN

HERB ALPERT - Radiance - bronze - 161 x 40 x 40 in.

HERB ALPERT

ALEXANDER CALDER - Woman with Square Umbrella - wood - 19 x 6 x 6 in.

ALEXANDER CALDER

Marc Newson is widely recognized as one of the most influential designers of our time.  His subjects range from seemingly ordinary objects such as bicycles to groundbreaking designs in furniture and airplanes.  The Philadelphia Museum of Art's 2013-2014 exhibition "Marc Newson: At Home" exposed a new American audience to Newson's futuristic aesthetic in a traditional museum setting.  
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<br>"Micarta Table" (2007) uses contemporary materials, including plastic composites, to create the illusion of a traditional wood veneer surface.  This blending of old and new is a hallmark of Newson's work.  Examples of Newson's work can be found in museum collections worldwide, including the Museum of Modern Art, New York, The San Francisco Museum of Modern Art, and the Cooper Hewitt Smithsonian Design Museum, New York City.

MARC NEWSON

NATHAN OLIVEIRA - Mask - acrylic, earth & oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

Deborah Butterfield is an American sculptor, best known for her sculptures of horses made of objects ranging from wood, metal, and other found objects. The 1981 piece, Untitled (Horse), is comprised of sticks and paper on wire armature. The impressive scale of this piece creates a remarkable effect in person, presenting a striking example of Butterfield's celebrated subject matter. Butterfield originally created the horses from wood and other materials found on her property in Bozeman, Montana and saw the horses as a metaphorical self-portrait, mining the emotional resonance of these forms.

DEBORAH BUTTERFIELD

IRVING NORMAN - War Wounded - oil on canvas - 70 x 60 in.

IRVING NORMAN

IRVING NORMAN - Prison - oil on canvas - 56 x 46 in.

IRVING NORMAN

IRVING NORMAN - Prisoners - oil on canvas - 52 x 68 1/8 in.

IRVING NORMAN

IRVING NORMAN - Flight - oil on canvas - 60 x 74 in.

IRVING NORMAN

Contemporary American artist George Condo coined the term “artificial realism” to characterize the figures that appear in his work – often described as a combination of European Old Master painting and American Pop art. Condo has defined the term as the “realistic representation of that which is artificial.” Known for figures that are often grotesque or fractured, Condo creates art that is both Contemporary and rooted in art historical tradition, drawing inspiration from Cubism or, in this case, reaching back to ancient Greece. In an uncommon work of sculpture, Condo imparts his distinctive style to the face of a Mycenaean archetype, the goddess figure.

GEORGE CONDO

IRVING NORMAN - Cityscape - oil on canvas - 74 1/8 x 37 1/2 in.

IRVING NORMAN

ANDY WARHOL - Jean-Michel Basquiat Six Polaroids - Polaroid, Polacolor - 4 1/4 x 3 1/2 in. ea.

ANDY WARHOL

IRVING NORMAN - Totem of a Holy Family - oil on canvas - 90 x 19 3/4 in.

IRVING NORMAN

North Wall was exhibited at the Getty Museum in the Pacific Standard Time exhibition tracing the history of art in L.A. from 1945 to 1980, which reignited interest in Light and Space and brought fresh eyes to the work of Norman Zammitt. For this piece, the artist measured the width of each band and created parabolic graphs to calculate the exacting color progression — not only for aesthetic precision, but also for emotional and spiritual effect. The colors seem to radiate as they shift from dark bands of black and blue to fiery yellows, oranges and reds. The hard edges of these bands bring to mind the school of L.A. artists who worked in geometric abstraction during the same period, predominantly the 1960s and ’70s, particularly Karl Benjamin's classic stripe paintings. But Zammitt’s ethereal pictures defy any such classification. His edges appear seamless — a moment in space frozen in time. The expanse evokes a sky in its full coastal California drama, although that was not necessarily the artist’s intention. Rather, he might have used these as an approach to the sublime — portal to a mystical realm. His late, longtime dealer, Joni Gordon of Newspace, suggested the exacting bands of brilliant color relate to Native Indian sand paintings.

NORMAN ZAMMITT

FRANCIS CELENTANO - Nineteen Hexagons - acrylic on canvas - 48 x 41 1/2 in.

FRANCIS CELENTANO

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.  
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<br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

IRVING NORMAN

Contemporary artist Daniel Sprick works in the realist tradition. His photo-like oil paintings depict still lifes and portraiture reminiscent of the old master tradition. Intense observation and drawing are the foundation of Sprick's life-like compositions; there are no shortcuts taken or corners cut in these immaculate ephemeral studies.  
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<br>Museum shows of his work include the Museum of Outdoor Art in Englewood, Colorado; the Hunter Museum of Art, Chattanooga, Tennessee; the Evansville Museum of Art and Science, Indiana; and the Denver Art Museum.

DANIEL SPRICK

Chicago native Robert Natkin was a leading abstract painter in the 20th century. Influenced by the colors and forms of Willem de Kooning, Pierre Bonnard, and Paul Klee, Natkin developed his own style of rich color and texture. This large-scale, jewel-toned canvas is a wonderful and rare early painting from a crucial period in American art, the 1950s. 
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<br>Associated with Abstract expressionism, Color field painting, and Lyrical Abstraction, Natkin's work threads throughout many major American art movements and cities. He received a retrospective exhibition in 1969 at the San Francisco Museum of Art (now SFMOMA), and completed a mural in New York at 1211 Avenue of the Americas, a corner of the Rockefeller Center, in 1992. Natkin is represented in over 24 museum collections worldwide, including the Art Institute of Chicago, the Smithsonian American Art Museum, the Solomon R. Guggenheim Museum in New York, and the Centre Pompidou in Paris.

ROBERT NATKIN

IRVING NORMAN - Rural Family - oil on canvas - 36 x 72 in.

IRVING NORMAN

Robert Natkin was a Chicago native that rose to prominence as a leading American painter in the 20th Century. Aklthough influenced by Abstract Expressionist artists such as Willem de Kooning, Natkin developed his own distinct style characterized by luscious color and texture. “Amethyst” (1960) is a strong representation of the artist’s work and was originally purchased directly from the artist’s studio in the 1960s.
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<br>Natkin's 1969 retrospective exhibition at the San Francisco Museum of Art was an early acknowledgment of the artist’s importance. He is represented in over 24 museum collections worldwide, including the Art Institute of Chicago and the Smithsonian American Art Museum.

ROBERT NATKIN

CINDY SHERMAN - Untitled No. 110 - c-print - 45 x 30 in.

CINDY SHERMAN

"Interior" is one of Maurice Askenazy’s more modern compositions, calling to mind the work of Bonnard or Vuillard. The intimate scene shows a nude female model, dramatically seen in profile, posing for a painter in a sun-drenched studio. The door to the room is open, giving the impression that the viewer is stealing a glimpse of a private interaction between artist and model. A cleverly placed mirror on the back of the open door reveals the reflection of the painter, who we are meant to take as Askenazy himself, at work. Askenazy takes great care to depict the details of the room, from the patterned ottoman to the framed paintings on the walls, each a mosaic of Impressionistic color.

MAURICE ASKENAZY

"Loading Supplies" is a scene of harbor workers stocking small boats with supplies, perhaps en route to load a larger steamer. In the foreground, a singular female figure stands before the cluster of men with her back to the viewer, while a group of anchored boats float on the motionless water in the background. The brightly painted boats and the fisherman dressed in their blue or orange slickers make for a colorful scene. The simple composition parallels the simplicity of the subject: a glimpse of everyday life and work in a coastal community.

GEORGE BRANDRIFF

IRVING NORMAN - Homeless 2 - oil on canvas - 72 x 36 in.

IRVING NORMAN

ROBERT RAUSCHENBERG - Sling Shots Lit #1 - lithograph and assemblage - 84 1/2 x 39 1/4 x 12 3/8 in.

ROBERT RAUSCHENBERG

ANDY WARHOL - Shoes - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

PAUL MANES - Minotaur - oil on canvas - 79 x 96 in.

PAUL MANES

ANDY WARHOL - Any Warhol Self-Portrait - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

JOE ANDOE - Untitled (Oak Leaves) - oil on canvas - 70 x 84 in.

JOE ANDOE

ANDY WARHOL - Julian Schnabel 4 Polaroids - Polaroid, Polacolor - 4 1/2 x 3 1/2 in. ea.

ANDY WARHOL

ANDY WARHOL - Self Portrait with Mask - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol - gelatin silver print - 10 x 8 in.

ANDY WARHOL

ZENG JIANYONG - Discipline-Reading Boy - Ink and Watercolor on Handmade Paper - 56 1/2 x 28 1/4 in.

ZENG JIANYONG

ANDY WARHOL - Sao Schlumberger - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Paola Dominguin - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Absolute Vodka - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Jack Nicholson - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

KELTIE FERRIS - Untitled - oil, acrylic, oil pastel and spray paint on canvas - 30 1/4 x 30 1/4 in.

KELTIE FERRIS

RAY SWANSON - Waiting for Mutton Stew - oil on canvas - 40 1/4 x 60 in.

RAY SWANSON

RUEHL FREDERICK HECKMAN - Santa Barbara Mission - oil on canvas - 36 x 30 in.

RUEHL FREDERICK HECKMAN

ANDY WARHOL - Jean-Michel Basquiat in Soto Sculpture - silver gelatin print - 10 x 8 in.

ANDY WARHOL

ANDY WARHOL - Maurice the Dog Two Polaroids - Polaroid, Polacolor - 4 1/2 x 3 1/2 in. ea.

ANDY WARHOL

PETER D. GERAKARIS - Daphne I - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne III (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

PETER D. GERAKARIS - Daphne II (Slap That Bass) - oil on canvas - 72 x 36 in.

PETER D. GERAKARIS

CONSTANCE MALLINSON - Couple - oil on paper - 95 x 52 1/2 in.

CONSTANCE MALLINSON

ANDY WARHOL - Bruno Acampora - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Donald Baechler - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Mother Goose - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

ANDY WARHOL - Carolina Herrera - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy Warhol - gelatin silver print - 10 x 8 in. ea.

ANDY WARHOL

ANDY WARHOL - Paloma Picasso - Polaroid, Polacolor - 4 1/4 x 3 3/8 in. ea.

ANDY WARHOL

IRVING NORMAN - Women Welders, The Ship - graphite on paper - 14 1/4 x 28 3/8 in.

IRVING NORMAN

ANDY WARHOL - George - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

RAY STANFORD STRONG - Spring, Black Mountain, Marin County - oil on canvas - 24 x 44 in.

RAY STANFORD STRONG

MICAELA AMATO - Cameroon Girl - cast glass - 16 x 12  x 10 1/2 in.

MICAELA AMATO

ANDY WARHOL - Andy Warhol and Janice Dickenson - silver gelatin print - 10 x 8 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Andy and Barbi Benton - unique silver gelatin print - 8 x 10 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - unique Polacolor Type 108 print - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Ivan Karp - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

ANDY WARHOL - Candy Box - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

ANDY WARHOL

KRISJANIS KAKTINS-GORSLINE - Dustr - oil on canvas - 60 x 64 in.

KRISJANIS KAKTINS-GORSLINE

ANDREW TAYLOR - Outside: Prince - monotype 1 of 1, mixed media on acrylic - 81 x 47 in.

ANDREW TAYLOR

JOSEF ALBERS - Untitled - screenprint - 46 3/4 x 24 1/2 in.

JOSEF ALBERS

IRVING NORMAN - The Circus, The Balancing Act 2a (a Study) - pencil on paper - 11 x 9 in.

IRVING NORMAN

IRVING NORMAN - The Circus, Balancing Act 2 (a Study) - pencil on paper - 11 x 9 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony") - pencil on paper - 14 x 11  in.

IRVING NORMAN

IRVING NORMAN - Untitled (Bodies in Crypt) - pencil on paper - 7 1/2 x 3 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (War Study) - graphite on paper - 6 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Bodies) - pencil on paper - 6 3/4 x 2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Smoking Man) - pen on paper - 8 7/8 x 6 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Man with Fire Bird) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "Celebration") - graphite on paper - 4 7/8 x 3 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Head with Fire) - graphite and crayon on paper - 12 x 8 7/8 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - pencil on paper - 11 x 14 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Abstract Heads) - pen on paper - 8 7/8 x 6 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "The Immortality of Beethoven's 9th Symphony" 2) - graphite on paper - 14 x 11 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Four Heads) - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN

IRVING NORMAN - Untitled (Possible Study for "From Work") - graphite on paper - 5 x 3 1/2 in.

IRVING NORMAN