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BARNETT NEWMAN - Galaxy - oil on canvas - 24 x 20 in.

BARNETT NEWMAN

AD REINHARDT - Abstract Painting, 1959 - oil on canvas - 108 x 40 in.

AD REINHARDT

CLAUDE MONET - L’Ancienne rue de la Chaussée, Argenteuil - oil on canvas - 18 1/4 x 25 7/8 in.

CLAUDE MONET

GEORGIA O'KEEFFE - Cottonwood Tree (Near Abiquiu), New Mexico - oil on canvas - 36 x 30 in.

GEORGIA O'KEEFFE

DIEGO RIVERA - Portrait of Enriqueta G. Dávila - oil on canvas - 79 1/8 x 48 3/8 in.

DIEGO RIVERA

CAMILLE PISSARRO - Le Jardin des Tuileries, apres-midi, soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

ALEXANDER CALDER - Jerusalem Stabile (Intermediate Maquette) - painted steel - 45 x 112 3/4 x 45 in.

ALEXANDER CALDER

Alongside Monet and Renoir, Sisley was a founding member of Impressionism and remained true to the principles of pure color, rendering fleeting moments and capturing the essence of atmosphere throughout his career. Unlike many of his contemporaries who traversed varied subjects of industrial urbanism, rural locals and figures, Sisley was enamored with the French countryside and focused almost entirely on this subject. <br> <br>Painting en plein air, directly onto a primed canvas outdoors, Sisley rarely reworked his paintings back in his studio. This mode of painting brings an immediacy to his work, particularly in “Printemps a Veneux.” He painted this piece in April of 1880 in Veneux-Nadon, a small village along the west bank of the Seine river. Sisley had settled in this area three months prior, focusing on painting the snow-covered landscape. As Spring began to bloom, Sisley was charmed by the environment in which he found himself and his paintings took on a renewed sense of exuberance. <br> <br>Cerulean skies with plush white clouds prevail in many of Sisley’s paintings. The crisp Spring air rustling the leaves of the orchard in which Sisley placed his easel shifts the light across the grove, creating delightful patterns of shadow. The atmosphere of “Printemps a Veneux” is palpable. The large scale of the canvas is rare in Sisley oeuvre and enhances the immersive feeling. <br> <br>Two years after Sisley painted this work, Impressionist champion and patron Paul Durand-Ruel acquired the painting from the artist and was so delighted with it that he kept it in his private collection for decades. Three years after Sisley’s death, Durand-Ruel finally exhibited “Printemps a Veneux” in an important 1899 Impressionist exhibition in his Parisian gallery. <br> <br>There are only 884 oil paintings by Sisley in existence, and many are in permanent museum collections, leaving few excellent large-scale examples that could become available for private sale.

ALFRED SISLEY

WILLEM DE KOONING - Woman in a Rowboat - oil on paper laid on masonite - 47 1/2 x 36 1/4 in.

WILLEM DE KOONING

WINSLOW HOMER - The Shepherdess - oil on canvas - 22 3/4 x 15 3/4 in.

WINSLOW HOMER

FRIDA KAHLO - Hammer and Sickle (and unborn baby) - dry plaster and mixed media - 16 1/4 x 13 x 6 in.

FRIDA KAHLO

FRANCIS PICABIA - Lunis - oil on canvas - 25 1/2 x 20 1/2 in.

FRANCIS PICABIA

JOAN MIRO - Oiseau, insecte, constellation - oil on canvas - 50 3/4 x 38 1/8 in.

JOAN MIRO

JOAN MIRO - Tête de femme (déesse) - bronze with black patina - 66 x 36 1/2 x 30 in.

JOAN MIRO

TOM WESSELMANN - Bedroom Brunette with Irises - oil on cut-out aluminum - 108 x 120 in.

TOM WESSELMANN

"...if a work of Sculpture has its own life and form, it will be alive and expansive, seeming larger than the stone or wood from which it is carved. It should always give the impression, whether carved or modeled, of having grown organically, created by pressure from within." <br>-Henry Moore <br> <br>"Reclining Figure: Circle" (1983) shows Moore's fascination with biomorphic abstraction, an approach he would have been drawn to in the work of his contemporaries, including Joan Miro and Jean Arp. Another example from this edition of nine is in the permanent collection of the Los Angeles County Museum of Art.

HENRY MOORE

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

JAMES ROSENQUIST

Initially used as a frontispiece illustration for the 1914 novel, “The Witch,” by Mary Johnston, Wyeth’s painting presents a poignant scene of friendship and understanding between a grieving, independent woman and a generous, misunderstood doctor. Although the two hardly know each other, they have a shared understanding of and reverence for what is good. While the rest of the town searches for the devil in all things, these two choose kindness and light. Here, they take a moment to appreciate the lives they have led and the good they have done. Wyeth’s illustration depicts hope and expectation of good despite the perils and sorrows of human life. <br> <br>In addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, Wyeth was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States. Wyeth’s style, honed by early work at the Saturday Evening Post and Scribner’s, demonstrates his keen awareness of the revealing gesture, allowing readers to instantly grasp the essence of a scene.

N.C. WYETH

ROBERT RAUSCHENBERG - Shuttle Buttle/ROCI USA (Wax Fire Works) - acrylic, fire wax, enamel, object on mirrored aluminum - 72 x 144 x 19 in.

ROBERT RAUSCHENBERG

SALOMON VAN RUYSDAEL - A Dune Landscape with Figures Resting and a Couple on Horseback, a View of Nijmegen Cathedral Beyond - oil on canvas - 26 1/2 x 41 1/2 in.

SALOMON VAN RUYSDAEL

JAN JOSEPHSZOON VAN GOYEN - River Landscape with a Windmill and Chapel - oil on panel - 22 1/2 x 31 3/4 in.

JAN JOSEPHSZOON VAN GOYEN

By the late 1950's, Henry Moore began experimenting with the theme of seated figures set against a wall backdrop. "Girl Seated Against Square Wall" (1957-1958) is one of eleven sculptures in the "Wall" series; each sculpture varies according to the position and number of figures depicted. These works show a diorama-like depiction of the subject and are widely recognized as an important part of the artist's oeuvre. <br> <br>Moore's constant innovation and experimentation with his subject is why he is considered one of the great masters of the 20th Century. Another "Girl Seated Against Square Wall" (1957-1958)" can be found in the permanent collection of the Norton Simon Museum, Pasadena, California.

HENRY MOORE

ADOLPH GOTTLIEB - Azimuth - oil on canvas - 95 3/4 x 144 1/4 in.

ADOLPH GOTTLIEB