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BARNETT NEWMAN - Galaxy - oil on canvas - 24 x 20 x 1 1/4 in.

24 x 20 x 1 1/4 in.

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

Abstract Painting, 1959

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

L’Ancienne rue de la Chaussée, Argenteuil

18 1/4 x 25 7/8 in.

CAMILLE PISSARRO - Le Jardin des Tuileries, Apres-Midi, Soleil - oil on canvas - 26 x 36 1/2 in.

CAMILLE PISSARRO

Le Jardin des Tuileries, Apres-Midi, Soleil

26 x 36 1/2 in.

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

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.
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<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.
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<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.
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<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.

Printemps a Veneux

28 3/4 x 35 3/4 in.

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

WILLEM DE KOONING

Woman in a Rowboat

47 1/2 x 36 1/4 in.

oil on paper laid on masonite

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

The Shepherdess

22 3/4 x 15 3/4 in.

AGNES MARTIN - Untitled #11 - acrylic and graphite on canvas - 60 x 60 in.

acrylic and graphite on canvas

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

Hammer and Sickle (and unborn baby)

16 1/4 x 13 x 6 in.

dry plaster and mixed media

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

FRANCIS PICABIA

25 1/2 x 20 1/2 in. .

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

Oiseau, Insecte, Constellation

50 3/4 x 38 1/8 in.

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

Afternoon at the Beach

1905 / 1906 in Fra

VINCENT VAN GOGH - Uitzicht over Den Haag met de Nieuwe Kerk - watercolor, gouache, and pen and brown ink on
paper - 9 7/8 x 14 1/16 in.

VINCENT VAN GOGH

Uitzicht over Den Haag met de Nieuwe Kerk

9 7/8 x 14 1/16 in.

watercolor, gouache, and pen and brown ink on paper

FERNAND LEGER - Etude Pour La Grande Parade - gouache, watercolor, pencil and ink on paper - 29 1/4 x 35 in.

Etude Pour La Grande Parade

29 1/4 x 35 in.

gouache, watercolor, pencil and ink on paper

An exemplary work from Picasso’s Neo-Classical period, La communiante avec missel belongs to a rare series. Picasso revisited the theme of children receiving communion a few times and in a few styles, from this solemn classic version to the dynamic fragmentation of Cubism. A Neo-Classical example comparable to this piece is in the collection of the Musée Picasso in Paris.
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<br>While this time period after World War I saw many artists looking to tradition, a return to order as a reaction against the destruction of war, Picasso’s Neo-classicism was not so much a refuge, but a vehicle by which he could explore new themes and ideas. In La communiante avec missel, we see certain hallmarks of Picasso: the visual weight that the girl carries and the statuesque features of her face. These elements are softened by the curved lines the artist has used for her body and dress. In Picasso’s hands, the painting is a meditation of youth and religion marking the rites of passage.

La Communiante Avec Missel

25 5/8 x 21 1/2 in.

RICHARD PRINCE - Untitled (Cowboy) - c-print - 61 x 91 in.

Untitled (Cowboy)

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

Shuttle Buttle/ROCI USA (Wax Fire Works)

72 x 144 x 19 in.

acrylic, fire wax, enamel, object on mirrored aluminum

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.
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<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.

"Good-bye, Mistress Friendly-Soul!"

44 1/8 x 32 1/8 in.

KENNETH NOLAND - Passage - acrylic on canvas - 69 1/2 x 140 1/2 in.

69 1/2 x 140 1/2 in.

acrylic on canvas

The Japanese Nio, or “benevolent kings,” are figures that were placed outside Buddhist temples, on each side of the entrance, to ward off evil spirits, demons, and thieves from the late Muromachi to early Edo periods — or roughly 1467 to 1652.
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<br>The Nio are Indian in origin — manifestations of Vajrapani Bodhisattvas. By some accounts, they protected the Buddha when he traveled throughout India.
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<br>These figures are approximately 500 years old, according to carbon-14 dating conducted on the objects. They were once installed in a famous home that was photographed for the cover of a Frank Lloyd Wright book.
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<br>Each figure is named after a cosmic sound. The closed-mouth figure is Ungyo, who utters “un” or “om,” meaning death. He is also called Nareen Kongo and is said to be a form of the Indian god Vishnu. With his tightly closed mouth and tensed both arms, he represents latent might. The open-mouthed partner is Misshaku Kongo (Agyo), who sounds “ah,” meaning birth. He is equated to the Indian deity Vajrapani, whose name means “thunderbolt holder.” He bares his teeth, raises his fist, and holds a Kongosho, which is a symbol of the power he represents.
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<br>The Nio are constructed in the traditional multi-block design. Old works were conventionally repaired bit by bit, over time, as individual blocks shrank at different rates or were damaged by insects. Damaged blocks were removed, like pieces of a jigsaw puzzle, and replaced with exact copies of the piece. It is common to find figures with repairs spanning many years, as is the case with these particular pieces. This pair was originally lacquered. Though none of the lacquer survives, there is evidence of the gesso-like layer on the surface of each figure.
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<br>It is interesting to note that this pair — each figure standing 71 inches tall — is a close copy of the Nio guarding the south gate of the Todaiji in Japan. However, the Todaiji pair, completed in 1203, stands 26 feet tall.
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<br>In both examples, the classic, fierce and threatening expressions punctuate their purpose as protectors of the Buddhist temple.

Pair of Wooden Temple Figures, Nio

Combining sculptural elements on a canvas work, "Vanity Unfair for Gordon Matta Clark" evokes the experimental nature of the Pop Art movement. Created as a tribute to his close friend, Gordon Matta Clark, the present work is a layered creation, each element having significance and a deeper symbolic meaning.
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<br>Starting as a commercial sign painter, Rosenquist learned the power of large-scale bold images. These large images, vibrant colors, and recognizable imagery would be the mainstay of Rosenquist's artistic output. "Much of the aesthetic of my work comes from doing commercial art," the artist once said. "I painted pieces of bread, Arrow shirts, movie stars. It was very interesting. Before I came to New York I wanted to paint the Sistine Chapel. I thought this is where the school of mural painting exists."
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<br>Rosenquist's works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among many others.

JAMES ROSENQUIST

Vanity Unfair for Gordon Matta Clark

62 3/4 x 43 x 2 3/4 in.

JAMES ROSENQUIST - Samba School - oil on canvas over panel - 78 x 132 in.

JAMES ROSENQUIST

oil on canvas over panel

MAX PECHSTEIN - Damenbildnis (Charlotte Pechstein) - oil on canvas - 29 1/2 x 23 1/2 in.

Damenbildnis (Charlotte Pechstein)

29 1/2 x 23 1/2 in.

*This sculpture has been Radiocarbon (C14) tested by Rafter Radiocarbon Laboratory, Lower Hutt, New Zealand and has been found to be 395 +/ - 43 years old.
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<br>This is Maitreya, the “happy Buddha” of the future, whose sculpture once stood in a Buddhist temple. The Buddha-to-be represents the harbinger of a new age and will be reborn in a period of decline to renew the doctrine of Buddhism.
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<br>This 74-inch-tall painted wood figure from China’s Ming dynasty sits in vajrasana, the left hand in varadamudra and the right hand in vitarkamudra, with his feet crossed at the ankles. The position represents reasoning, argumentation, or explanation of a teaching. Dressed in the clothes of either Bhiksu or Indian royalty and adorned with jewelry and high tiara, Maitreya exudes majesty and limitless tolerance and generosity. His images appear in Gandhara, possibly predating those of the Buddha. The prophesy, which appears in the literature of all the major schools of Buddhism, holds that Maitreya’s purpose as the successor to the current Buddha is to achieve complete enlightenment. Physical events will mark his coming of Maitreya, including the shrinking of the oceans so that he can traverse them. It will also bring the unveiling of the true dharma, allowing the birth of a loving new society built on tolerance and health rather than warfare and famine. Not surprisingly, the name Maitreya comes from the Sanskrit word maitri, which means “loving kindness.”

Figure of Maitreya

Ming Dynasty (1368

74 x 56 x 42 in.

"Tongue" (2008) is a contemporary take on biomorphic abstraction, which was first popularized in the first quarter of the 20th century by artists including Jean Arp and Joan Miro. The work measures an astounding 26 feet tall and utilizes Not Vital's signature highly finished and highly polished aesthetic sense to great effect. The sculpture seems to absorb its surroundings with its mirror-like surface, an apparent contradiction because it is a modern material.
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<br>The cow tongue is a particular subject of interest for the artist, as he was licked by one once, an experience he describes as alien and shocking. Tongues are tools for tasting, a sensory experience, much like the experience of seeing a sculpture.
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<br>"Tongue" has remained in the same private collection since the creation of the work. Another example of "Tongue" (which was created in an edition of 3) was shown to great acclaim at the Yorkshire Sculpture Park in the United Kingdom, 21 May 2016 - 1 January 2017. Non Vital is represented in numerous museum collections including, the Bibliothèque Nationale, Paris, France, The Museum of Modern Art (MoMA), New York, The Solomon R. Guggenheim Museum, New York, USA.

307 x 67 x 59 in.

stainless steel

Contemporary artist Marc Quinn is associated with the Young British Artists movement, alongside Damien Hirst, Tracey Emin, Gary Hume, and Sarah Lucas. Quinn’s early work dealt with decay and preservation, often incorporating degradable materials such as bread, flowers, or his own blood. The orchid is a recurring image in Quinn’s work and features frequently in his sculptures. The 2008 sculpture “Archaeology of Desire” represents the period when Quinn began to use bronze – casting an image of his most notable floral theme. Here, Quinn captures a symbol of beauty, frailty, and impermanence, preserving it in bronze.

Archaeology of Desire

92 1/2 x 116 x 39 1/2 in.

DAVID BREUER-WEIL - Alien - bronze with brown patina - 236 1/8 in.

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

BARBARA HEPWORTH - Five Forms with Three Circles - white marble - 9 1/2 x 4 1/4 x 5 1/2 in.

BARBARA HEPWORTH

Five Forms with Three Circles

9 1/2 x 4 1/4 x 5 1/2 in.

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

43 x 128 x 12 in.

three dimensional mixed media on board, mounted on wood

98 3/4 x 79 1/4 in.

acrylic on canvas

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.

Double Silver Point Robes

53 1/2 x 96 in.

silverpoint and acrylic on 2 joined canvases, wood, knife, and string in artist's frame

A leading figure in the Young British Artists movement in the late 1980s and 1990s, Damien Hirst garnered international attention with his striking displays with death as a central theme. The most recognizable examples include “The Physical Impossibility of Death in the Mind of Someone Living” (1991), a 14-foot-long glass tank with a shark preserved in formaldehyde, “Mother and Child Divided” (1993), an installation that featured a bisected cow and her calf displayed in four vitrines at that year’s Venice Biennale, and “For the Love of God” (2007), a diamond-encrusted human skull made of platinum.
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<br>Some of Hirst’s most iconic images include Spot paintings, consisting of organized rows of colored circles, and Butterfly paintings, such as “Overwhelming Love” (2008). Hirst’s Butterfly paintings speak to his characteristic themes, offering the contradiction of death with the bright vitality of a butterfly's wings. Hirst explains: “I think rather than be personal you have to find universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”
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<br>Damien Hirst Butterfly works feature prominently in his oeuvre, he started to incorporate them after flies, and other insects were accidentally affixed to some of his paintings. Hirst's record for paintings at auction is held by the butterfly painting "Eternity" which sold for $9.6 million in 2007.

Overwhelming Love

household gloss, butterflies

Russian-born painter Leon Gaspard lived in Taos, New Mexico, for most of his life and traveled extensively to paint. His compositions were typically populated with crowds of people, depicting folk traditions and the bustling landscapes of small towns in Russia, Asia, and the Taos Valley, where he maintained a permanent residence from 1918 until his death in 1964. Unlike many artists who relocated to the American Southwest and incorporated its imagery and scenery into their paintings, Gaspard continued to create paintings of far off places.
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<br>"Siberian Sleighriders" from 1921 relates to a two-year excursion to Mongolia, Manchuria, and Siberia. This location was of personal importance to Gaspard. After his marriage to a wealthy American ballerina whom he met in Paris, their honeymoon was a two-year horseback trip through Siberia.
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<br>In 1965, the New Mexico Museum of Art held a retrospective exhibition of Gaspard in his memory.

Siberian Sleighriders

46 1/2 x 39 1/2 in. in.

oil on canvas on board

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.

Survival: Hide under water…

17 1/8 x 42 1/4 x 18 in.

MARC CHAGALL - En Été - tempera on board - 15 1/4 x 18 1/4 in.

15 1/4 x 18 1/4 in.

tempera on board

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. This painting has remained in the same private collection since its creation.
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<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.
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<br>A recent 2018 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

oil, resin, gesso, fabric and leather on seamed dropcloth

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.
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<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.

ELAINE DE KOONING

Untitled (Totem Pole)

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

oil on canvas stretched over cardboard cylinders

Brightly colored geometric paintings by Peter Halley address the rigid organization of social space through visual representations of cells and conduits. Eulogy (Commission), a 2004 piece at a grand scale, presents the neon-colored forms that characterize his work. The piece incorporates Roll-a-Tex, a material most often used as cheap surfacing for suburban homes or motels, a comment on the commoditization of domestic life.

Eulogy (Commission)

159 x 72 x 4 in.

acrylic on canvas

The only known extant Diebenkorn sculpture, this welded iron form is a brilliant example of his artistic development and the creative energy of his early work.
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<br>This rare sculpture comes from a period of experimentation and a burst of lyrical creativity that the artist experienced while in graduate school at the University of New Mexico. It was likely included in his 1951 Master's Degree Exhibition at that institution. Like many American artists before him, Diebenkorn was enthralled with the atmosphere and landscape of the Southwest. He produced energetic and unpredictable canvases with bold, warm colors, barely contained within their underlying geometric structure. This iron sculpture demonstrates the far reaches of the artist’s exploration, establishing the essential linear framework that would come to characterize his later work.
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<br>This piece was the only sculpture included in the 2008 exhibition "Diebenkorn in New Mexico" at the UNM Harwood Museum of Art in Taos. Since his first retrospective in 1976 at the Albright-Knox Art Gallery in Buffalo, New York, Diebenkorn has found a place in over 50 museum collections worldwide and is recognized as a major creative force of the 20th Century.

RICHARD DIEBENKORN

20 1/4 x 42 1/4 x 29 1/2 in.

welded scrap iron

Gottlieb was a first-generation member of the Abstract Expressionists. “Blue on Black” is from his trademark “Burst” series. Like fellow Ab Ex artists including Pollock who settled into their signature style late in their careers, it was not until 1956 that Gottlieb focused on these burst paintings.
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<br>This painting showcases the lyricism that he found within the “Burst” paintings by simplifying color and form. In this painting, the shapes and color coalesce to produce harmony and depth within the visual landscape of the canvas.
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<br>Gottlieb had an amazing 56 solo exhibitions during his long career and his works are included in over 140 museums throughout the world.

ADOLPH GOTTLIEB

24 x 18 7/8 in.

acrylic on paper laid on canvas

FRANCISCO ZUNIGA - Desnudo Reclinado de Dolores - bronze with green patina - 21 x 43 1/4 x 21 1/2 in.

FRANCISCO ZUNIGA

Desnudo Reclinado de Dolores

21 x 43 1/4 x 21 1/2 in.

bronze with green patina

Henry Farny was an accomplished painter and illustrator of the American West, and his depictions of Native Americans in serene landscapes were widely circulated during the late 19th century and the early 20th century. A native of France, Farny emigrated to the United States with his family in 1853. In the 1870s and 1880s, Farny traveled extensively in the western U.S. Many of his paintings show the various Native American tribes that populated the vast western wilderness.
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<br>Winter Twilight (1913) shows the skill of Farny in the medium of gouache, a notoriously difficult medium to master. This piece has been in the same private collection for decades and was featured in the 1982 exhibition, "100 Years of Western Art from a Pittsburgh Collection" at the Carnegie Institute.

Winter Twilight

18 1/8 x 13 7/8 in.

gouache on paper

MATTHEW MONAHAN - Nation Builder - cast bronze - 107 x 62 x 27 in.

MATTHEW MONAHAN

107 x 62 x 27 in.

This "Untitled" enamel painting by David Hammons is a precursor to the artist’s famous body prints of the late 1960s and ‘70s, as well as compelling recent works. The painting was completed just before Hammons enrolled at the Chouinard Institute in Los Angeles (now CalArts). By this time, Hammons had studied with the realist activist Charles White and was influenced by the found-object assemblages of Dada, the humble materials of Arte Povera, and the politically charged imagery of the Black Arts Movement. For his body prints, Hammons created life-sized representations of his own body by slicking himself with margarine, baby oil, and other greasy substances, and pressing himself against surfaces, creating imagery in which viewers can discern the face and clothes of the artist.
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<br>After moving to New York City in 1974, Hammons partook in assemblage, installation, and performance work but, in recent years, he has returned to the two-dimensional support. In his "Kool-Aid" series, the sumptuously colored and fluid style seen in this early enamel painting reappears, and in his "Basketball" series, dark smudges are the product of a basketball dribbled on the paper support. Poured enamel and cheap powdered drink, dribbled balls covered in “Harlem dirt”, and the press of a body against support all are inflected by chance. Fugitive materiality recurs in Hammons practice, nuancing his political commentary on the African American experience.

23 5/8 x 47 5/8 in.

enamel on masonite

DOUG AITKEN - Movie - high-density foam, mirror, and painted glass - 27 1/4 x 79 1/2 x 8 in.

27 1/4 x 79 1/2 x 8 in.

high-density foam, mirror, and painted glass

MILTON AVERY - (Untitled) Woman in Blue - oil on canvas - 36 1/4 x 28 in.

(Untitled) Woman in Blue

36 1/4 x 28 in.

Aaron Curry's sculptural work adapts planar forms into a 3-dimensional surface, reminiscent of the large civic sculpture of Alexander Calder. Curry views his work as representing some aspect of life, even if it is abstract -- the human body and the guitar are cited as two of his favorite sources of inspiration.
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<br>"Yellow Bird Boy" (2010) measures nearly 10 feet tall and is among the largest of Curry's sculptures. Curry sees the viewer and sculpture's interaction as critical, exploring the relationship of scale between the human body and his large sculptures.
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<br>The 2018 solo exhibition of Curry's work at the Bass Museum of Art, Miami, and the 2019 exhibition at the McNay Art Museum, San Antonio, were well received by visitors and critics alike. Curry is represented in several important museum collections worldwide including, High Museum of Art, Atlanta, Los Angeles County Museum of Art, the Montreal Museum of Fine Arts, the Museum of Contemporary Art, Chicago, the San Francisco Museum of Modern Art, and the Hammer Museum, Los Angeles.

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

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

DEBORAH BUTTERFIELD

Untitled (Horse)

100 x 157 x 36 in.

sticks and paper on wire armature

"The Ash Blonde" (1918) has remained in the same private collection for nearly 30 years. A superb portraitist, Childe Hassam expertly captures the emotion and character of his subject in the present work. The sitter's facial expression is depicted with an accuracy and nuanced attention to detail that is reminiscent of the Dutch Old Masters, specifically Rembrandt. Painted just one year after his seminal masterpiece in the White House collection, "The Avenue in the Rain" (1917), this portrait is a brilliant counterpoint to the artist's cityscapes.
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<br>Hassam is represented in numerous museum collections, including the Metropolitan Museum of Art in New York, The National Gallery in Washington, D.C., The Museum of Fine Arts, Boston, and The Brooklyn Museum.

25 1/2 x 20 1/2 in.

Henry Moore, a father of Modern British sculpture, is known for his large-scale, semi-abstract figurative sculptures in bronze, wood, and marble. This 1960 bronze sculpture of two seated figures demonstrates Moore’s gestural treatment of material. The focus on a family group is reflective of the artist’s move toward a sense of optimism after World War II. Small sculptures like this one are rare, and in subject mater and composition are reminiscent of his earlier seated figures based upon ancient Egyptian royal sculpture.

Two Seated Figures Against Wall

19 5/8 x 19 3/8 x 9 3/4 in.

bronze with brown patina

"Big Grid / Solo Tear" (2008) is a sculptural work by the multidisciplinary artist Sterling Ruby. Ruby makes urethane and bronze sculptures, hallucinatory color-field canvases, and handmade ceramics. The artist's work addresses inner conflict inherent to the human condition and the artist's role in society.
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<br>"And in that moment, you, the artist, disappear, and the works exist independently. The object becomes more than a sum of the parts that you have formally constructed."
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<br>-Sterling Ruby

Big Grid / Solo Tear

84 x 84 x 36 in.

As a member of the legendary Gutai Art Association that flourished between 1954 and 1972, Sadamasa Motonaga emerged when post-atomic surrealist existentialism was at the forefront of artistic development in Japan. Yet he chose a different path. He turned his back on the destruction wrought by the war and created work that was fresh, jubilant, and playful. “Untitled” of 1966 is in his classic style, which developed concurrently with Morris Louis’ so-called ‘Veil’ paintings. It might suggest the brightly lit comb, eye and mottled plumage of a gallinaceous bird, but any such associations are probably arbitrary and unintended. Instead, it is a brilliantly successful display of Motonaga’s avant-garde take on traditional Japanese Tarashikomi — the technique that involves tilting the canvas at different angles to allow mixtures of resin and enamel to flow upon one another before the paint is fully dry.

SADAMASA MOTONAGA

16 x 12 1/2 in.

Gabriel Orozco’s body of work is multidimensional, reaching across the media of painting, sculpture, printmaking, photography, and installation. Born in Mexico in 1962, he attended the Escuela Nacional de Artes Plásticas at the Universidad Nacional Autónoma de México, Mexico City, and then studied at the Círculo de Bellas Artes in Madrid. A blend of inspirations is evident in his work, from Conceptualism and the readymades of Marcel Duchamp to the artistic traditions of Mexico. Often pairing found objects with unusual arrangements and geometric patterns, Orozco studies the relationship of everyday objects to human beings.
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<br>Orozco’s series centering on athletics, games, and gambling explore entertainment and leisure activities through images clipped from newspapers, overlayed with neatly arranged circles and semicircles. The art historical lineage of these geometric interventions can be traced to the groundbreaking abstraction of Kazimir Malevich or the playful appropriation of John Baldessari. Orozco’s brightly colored patterns, often dictated by mathematical formula, interrupt a familiar format and challenge the viewer’s expectations – a theme paralleled in many of his interactive installation pieces.
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<br>Orozco’s work has been included in the Venice Biennale, the Whitney Biennial, and in solo exhibitions at the most prestigious institutions worldwide, including the Solomon R. Guggenheim Museum in New York, The Museum of Modern Art New York, the Musée d’art moderne de la Ville de Paris, Museo Nacional Centre de Arte Reina Sofía, Madrid, Hirshhorn Museum and Sculpture Garden, Washington, D.C. and many others. The Museum of Contemporary Art, Los Angeles, presented a solo exhibition of Orozco’s work in 2000. Three of the six variations of Orozco’s “UK. Athletics II” were featured in that exhibition.

UK. Athletics II

24 x 12 5/8 in.

tempera and gold leaf on digital print on canvas

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.

71 1/2 x 128 1/2 in.

acrylic on canvas

Civa is one of the principal deities of Hinduism. In this work, Chiparus represents the exoticism of the East, as the elegant figure meditates in the lotus position. The work recalls the dances of the Ballets Russes, one of the artist’s primary inspirations, and embodies the essence of the age — particularly the rediscovery of ancient Egyptian art, as Tutankhamun’s tomb was excavated in 1922.
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<br>Chiparus depicted most of his figures in a sensual, curvilinear fashion. His subjects always look beautiful and at ease. Civa is an excellent example of the artist’s impeccable casting, particularly the detail work in the bronze body and the expressively carved ivory face.
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<br>The decorative base is also noteworthy, because Chiparus made them integral to his compositions. The artist used an assortment of materials to decorate the bases of his sculptures, including onyxes, marbles, and colored stones.

DEMETRE CHIPARUS

21 1/2 x 15 x 9 7/8 in.

cold-painted, patinated and enameled bronze and chryselephantine

Bay Area artist Roland Petersen’s Luncheon is an oil on canvas from 1961, a critical year for his best-known Picnic series. His work from this period is characterized by thick impasto and rich color. Profoundly influenced by studies with Hans Hoffman, Petersen experimented with abstraction, here blending abstract and figurative styles. Painted when Petersen was 35 years old, Luncheon lies within a timeframe that includes his sold-out one-man show in 1962 at Staempfli Gallery, New York, his solo show at Esther-Robles in Los Angeles, and the Guggenheim Fellowship that afforded the opportunity for study in Paris.

ROLAND PETERSEN

Many curators, knowledgable collectors, and dealers consider William Kentridge to be one of the most innovative artists working today. In "North Polar Chart" (2013) Kentridge expounds upon his multidisciplinary approach to creation. In the present work, the tapestry medium enables the artist to work out his vision on an immense scale. Large tapestries such as this have been used historically as both decorative and functional objects, and Kentridge's work is rich with historical references.
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<br>Kentridge's tapestries are created in collaboration with Stephens Tapestry Studio in Johannesburg. This piece is one of two tapestries made from the same painting. The other is in Kentridge's personal collection.
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<br>In the past five years, Kentridge has had solo exhibitions at the Museum of Modern Art in New York, the Museum of Contemporary Art in Barcelona, the Art Institute of Chicago, and the Tate Modern in London. In 2007, the Philadelphia Museum of Art presented an exhibition of the artist's tapestries.

WILLIAM KENTRIDGE

North Polar Chart

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.

28 1/2 x 70 7/8 x 35 3/8 in.

micarta machined from linen phenolic composite

Born in Mexico City in 1918, Ricardo Martinez de Hoyos was the thirteenth of sixteen children. Among his siblings were other artists: Oliverio, a sculptor; Enrico and Homero, architects; and Jorge, who became a well-known actor. The first prestigious recognition of Martinez’s work as a painter came with the Raúl Beillers Prize in 1967, followed by the Moinho Santista Prize at the Sao Paulo Biennial in 1971. He went on to exhibit at important Mexican institutions such as the Museo de Arte Moderno and the Palacio de Bellas Artes, which held a major retrospective of Martinez’s work in 1994. After his death, the Museo de la Ciudad de México presented a Ricardo Martinez retrospective in 2012.
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<br>“Mujer con Vasija” from 1976 exemplifies the artist’s distinctive style of figurative painting. The monumental figure fills the canvas, contoured by the dramatic contrast of light and color. Many of his paintings from this period center on volumetric figures in scenes of daily life, such as this woman with a vessel. This pieces shows vestiges of his earlier influences in the 1940s and ‘50s, stylized lines inspired by pre-Hispanic art combined with the unreal environments of surrealism.

RICARDO MARTINEZ

Mujer con Vasija

39 1/2 x 59 1/2 in

Figurative painting in Post-War American art was a counterpoint to the prevalent trend of Abstract Expressionism. Artists like George Tooker added elements of Freudian psychology and psychological suspense in their visions of contemporary life. "Woman and Child" (2000) depicts one of the artist's favored subjects, the theatre loggia. The visual motif of a mother and child is analogous to the Madonna and Child, a prominent theme among Renaissance painters, and Tooker's egg-tempera medium evokes the formal aspects of Renaissance painting.
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<br>Early studies at the Art Students League in New York served as the foundation for Tooker's mastery of the painting medium. His work is included in important museum collections, including the Smithsonian American Art Museum and the Metropolitan Museum of Art, New York.

Woman and Child

17 1/2 x 23 1/2 in.

egg tempera on panel

RICHARD LONG - Georgia Granite Line - white granite - 22 x 34 x 234 in.

Georgia Granite Line

22 x 34 x 234 in.

MATT JOHNSON - Pieta - cast bronze - 65 x 58 x 40 in.

65 x 58 x 40 in.

Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.

EDGAR ALWIN PAYNE

Peaks of St. Gervais

Mercedes Matter was an original member of the American Abstract Artists and an influential figure in the Abstract Expressionist movement. Alongside many of her fellow AbEx colleagues like Helen Frankenthaler and Lee Krasner, Matter studied under Hans Hoffman. The market for works by the historically undervalued AbEx women is increasing tremendously as their contributions to the movement gain overdue recognition.
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<br>Matter held "Still Life" (c. 1962-63) in her private collection for nearly 40 years, a testament to its personal value, and the current owner acquired it directly from her estate. It is a wonderful example of Matter's expressive brushwork and distinctive blend of abstract and figurative styles. She used visual sources for her paintings, such as the traditional still life, but deconstructed the objects into complete abstraction, maintaining a focus on capturing the energy and relationship between objects and spaces.

MERCEDES MATTER

ANSELM KIEFER - Jericho - emulsion, acrylic, sand, clay and photographic paper on cardboard - 25 x 17 1/2 x 2.25 in.

25 x 17 1/2 x 2.25 in.

emulsion, acrylic, sand, clay and photographic paper on cardboard

DIANA AL-HADID - Blind Bust III - bronze, painted stainless steel - 77 x 46 x 46 in.

77 x 46 x 46 in.

bronze, painted stainless steel

Mimmo Paladino began making sculptures in the early 1980s and became a central figure in the Transavanguardia movement. Artists such as Francesco Clemente, Sandro Chia, Enzo Cucchi and Nicola de Maria sought to bring emotion, figuration, and mysticism back into avant-garde art.
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<br>In this untitled large-scale piece from 1990, Paladino conveys the principle aims of Transavanguardia, which was a reaction against Minimalism by re-introducing the figure, creating a new narrative with a Humanist’s point of view. Here, the mounted figure emerges dramatically from the basic and essential form of a tall box column as if the intent were to realize in form these diametrically opposed aesthetics. The severe diagonal attitude of the figure relative to the column suggests its emergent corporeal nature – that it is born of elements of that essential nature and simple geometry inherent in that box column. It is a figure that is falling from the column as much as it is emerging from it. Perhaps it is 'born' of it.
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<br>Paladino’s work has been exhibited at prestigious institutions worldwide, including the Museum of Modern Art in New York, the Royal Academy of Art in London, the Paris Biennale, the Sydney Biennial, “Documenta 7” in Kassel, the Hirshhorn Museum and Sculpture Garden, and many others.

149 x 23 x 30 1/2 in.

copper and bronze

NATHAN OLIVEIRA - Couple with Red - oil on canvas - 50 1/8 x 42 in.

NATHAN OLIVEIRA

Couple with Red

50 1/8 x 42 in.

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Ramos’s Peek-A-Boo portfolio is a well-known series by the artist, positioning the viewer to observe the pin-up girl figures through a keyhole shape surrounded by black. The series is noted for the confident and direct gazes of its subjects as well as the commentary it provides on the sexualization of a traditional art historical motif: the nude female figure. Alongside fellow Pop artists like Andy Warhol, James Rosenquist, and friend Roy Lichtenstein, Ramos provided a visual language for audiences to understand and experience the proliferation of commercial images that exploded in post-war America.

Peek-a-boo Chris: The Lost Painting of 1965 #56

Ross Bleckner is a celebrated American painter whose works reference loss, memory, and change such as explorations of the cell during the AIDS epidemic or in response to his father’s cancer diagnosis. The 1965 MoMA exhibition that brought Op Art to the fore, The Responsive Eye and included artists Richard Anuszkiewicz, Tadasky, and Francis Celentano, had a profound influence on him as an artist. This painting, like his other immersive, large-scale works, elicit a powerful, hypnotic, dizzying effect. Aesthetically pleasing, Bleckner’s canvases explore perception – visual, emotional, physical, time. Bleckner is part of the same generation of and friends with Julian Schnabel, David Salle, Eric Fischl, and Peter Halley, all of whom returned painterly technique to the canvas.

oil on linen canvas

Richard Tuttle is a seminal American postminimalist artist. Tuttle’s work is conceptual and meditative, crossing the boundary of sculpture, painting, and poetry, and often challenging the viewer. Untitled (Cloth and Paint Work #2) from 1973, a pivotal period in the artist’s career, evokes the earlier minimalism of his career while pushing towards material-based conceptual art. In the work he pays homage to Marcel Duchamp’s readymades. Textiles, as in this piece, play a large role in his oeuvre and become sites on which to focus performance, engagement, and meaning.

Untitled (Cloth and Paint Work #2)

15 1/2 x 16 in.

rope and oil on canvas

DONALD ROLLER WILSON - Looking For the Virgin in the Woods (What Is a Mother to Do With the Children Acting Bad) - oil on canvas - 30 x 86 1/2 in.

DONALD ROLLER WILSON

Looking For the Virgin in the Woods (What Is a Mother to Do With the Children Acting Bad)

30 x 86 1/2 in.

Manuel Neri was a central figure in the Bay Area Figurative Movement in the 1960s. Instead of abstract forms, the group emphasized emotion through the power of the human form. The present work, "Untitled" (1982), explores the female form on a life-sized scale. Neri preferred to work with just one model throughout his 60-year career, Maria Julia Klimenko. The absence of a face in many of the sculptures adds an element of mystery and ambiguity. The focus of the composition in "Untitled" is the structure and form of the figure. Manuel Neri is represented in numerous museum collections worldwide, including the Addison Gallery/Phillips Academy; Anderson Collection at Stanford University; Art Institute of Chicago; Cantor Arts Center, Stanford University; Cincinnati Art Museum; Crocker Art Museum, Sacramento, CA; Denver Art Museum, the El Paso Museum of Art, Texas; Fine Arts Museums of San Francisco; Harvard University Art Museums; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Honolulu Museum of Art, The Metropolitan Museum of Art, New York and the National Gallery of Art, Washington, DC.

67 x 24 x 26 in.

Magic Wands is a 2004-2005 creation by India’s most renowned contemporary artist, Subodh Gupta. The work seamlessly blends a sculptural approach with an installation art aesthetic to create a statement on his heritage and universal themes. Since Gupta’s first installation in 1996, “Twenty-nine Mornings,” the artist has been driven to incorporate daily, utilitarian objects into his work. Bicycles, wands, pans all play heavily in the work of Gupta.
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<br>Gupta’s work often reflects the economic transformations in India- and provides a view into the lives of those whose lives are changed by the rise of the country as a global economic power. Gupta is widely collected as the pre-eminent Indian Contemporary artist. His work is included in the permanent collections of the MFA Houston and Victoria and Albert Museum, London, among many others.

62 x 1 7/8 x 1 7/8 in. ea.

chrome-plated aluminum

Irving Norman was an American painter whose works examined modern civilization and the human condition. Norman conceived his paintings as public works that bore witness to history and systems of power. He was influenced by his experiences as a Polish immigrant, as a defender of the Spanish Republic during the Spanish Civil War, and as an observer of the conflicts in the 20th century. The Palace has been exhibited at the Crocker Art Museum in Sacramento, the Pasadena Museum of California Art, the Nora Eccles Harrison Museum of Art at Utah State University, and Katzen Arts Center at American University in Washington D.C. Heather James is proud to represent the estate of Irving Norman.

Romanian-born twins Gert and Uwe Tobias (b. 1973) collaborate on projects including woodcuts, sculptures, collages, and drawings. They studied in Germany and live and today work in Cologne. Murals influenced by Socialist-era style mingle with Romanian folklore, myths, and legends to inspire their work.
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<br>Folk art, using decorative motifs such as flowers, plants, patterns, embroidery, and domestic objects, are a recurring theme in the work. Print-making processes create unique works, most often using woodcuts to stamp pigment onto canvases. They are also known for using unconventional objects to create their works (most notably, they have used a typewriter to create drawings).

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

One of the most prominent modernist artists, Roberto Matta created artworks brimming with color and surrealist forms. Born in Chile, Matta worked for two years in modern architect Le Corbusier’s studio in Paris. He also formed strong friendships with Salvador Dalí and Andre Breton, officially joining the surrealists in 1937.
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<br>This painting incorporates psychological responses to political and social concerns, hallmarks of Matta’s paintings influenced by the impact of World War II. The painting also contains his classic style of numerous, overlapping architectural planes. Matta deftly merges his surrealist background with the visual language of the Abstract Expressionists.

39 1/8 x 40 3/8 in.

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.
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<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.

DAVID NOVROS - BARRANCA I - acrylic on canvas - 99 1/4 x 117 1/2 in.

99 1/4 x 117 1/2 in.

acrylic on canvas

ROBERT BATEMAN - By the River - Elephants - acrylic on canvas - 48 x 72 in.

By the River - Elephants

acrylic on canvas

SE OK SUH - Untitled - ink wash on paper - 40 x 44 in.

ink wash on paper

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

Mycenaean Goddess

61 x 22 x 15 1/2 in.

IRVING NORMAN - Man of Sorrow - oil on canvas - 84 x 60 in.

JOSEPH KLEITSCH - Mission Cloisters, San Juan Capistrano - oil on canvas - 22 1/8 x 27 in.

JOSEPH KLEITSCH

Mission Cloisters, San Juan Capistrano

22 1/8 x 27 in.

Forrest "Frosty" Myers's deep connection to Jazz music is evident in the spontaneous and improvisational nature of his sculptural work. His sculptures are an interesting juxtaposition of structure and whimsical tangents. In a recent interview, Myers explains how his sculpture "tries to make the future visible…to make metal into something more ephemeral, turn matter into spirit."
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<br>In his 2006 sculpture, "Pompeii," Myers uses his masterful metalwork skill to depict what appears to be a reclining figure, whose outline is frozen in time. The sculpture is not a dark interpretation of a tragic historical event but a slightly ambiguous and thought-provoking creation for the contemporary viewer.
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<br>Myers's works are included in the permanent collections of the Museum of Modern Art and The Whitney Museum of Art in New York, and the Museum of Fine Arts, Houston, among many others. Myers lives and works in Brooklyn, New York and Damascus, Pennsylvania.

37 x 33 x 64 in.

stainless steel

"Bouquets de Fleurs" (1901) is a glowing Post-Impressionist still life. As the revolutionary wave of Impressionism receded from its apex, artists such as Henri Manguin, Henri Matisse, Kees van Dongen, Louis Valtat, and others emerged as part of the new avant-garde in Europe. These “Fauves,” or roughly translated “wild beasts,” would attack their canvases with a bold and vibrant new palette. This completely new way of painting was not initially celebrated by critics, or the artistic elite, but is today recognized among the most innovative and original artistic movements of the 20th Century.
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<br>The present work, painted just before the revolution of Fauvism took hold, demonstrates a critical transitionary period in Modern Art. The subject is depicted with a masterful compositional sense and attention to spatial relationships. Manguin’s competency in composition would allow him to experiment freely with color during the first decade of the 20th Century. The slightly later but comparable Manguin still life “Flowers” (1915) is in the permanent collection of the Hermitage Museum, St. Petersburg, Russia.

Bouquets de Fleurs

25 7/8 x 21 5/8 in.

"View of the Mountains from the Nihon Alps Salada Road" from 2007 is a stylized video work reminiscent of 19th-century Japanese woodblock prints. Roadways, highways, and country roads have long been a favored subject for Opie; here, this interest is brought to life with a fresh and crisp 21st-century aesthetic.
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<br>Opie is a master at setting up environments in his art; the idea of place and setting are crucial to his message. Opie discusses his work as an evolution, a circle of sorts. Each piece leaves an impact on all future works, even if it is in a small way. A 2020 solo exhibition of Opie's work at the Berardo Museum in Lisbon, Portugal, featured several video pieces comparable to the present work.

View of the Mountains from the Nihon Alps Salada Road

44 1/2 x 26 1/8 x 3 1/2 in. each/installed 44 1/2 x 52 1/4 x 3 1/2 in.

computer film, two LCD screen, and PC

Jennifer Steinkamp is at the forefront of the video art and conceptual art movements. "Judy Crook" (2013) is a monumental video installation work that depicts a tree's various seasons and forms. The enhanced images are larger than life, yet they do not dominate the space completely; you as the viewer are a welcome part of the installation. Steinkamp was recently included in the California Video exhibition at the Getty Museum in Los Angeles, and is poised to continue her groundbreaking studio work for decades to come.

JENNIFER STEINKAMP

Projector: 21 x 19 x 6 1/2 in.; Memory component: 1 x 8 x 7 in.

digital animation and projector

LEANDRO ERLICH - Rain - steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati - 96 3/4 x 73 3/8 x 26 1/4 in.

96 3/4 x 73 3/8 x 26 1/4 in.

steel frame, wood wall board, sliding glass window and casting, faux brick interior, water circulati

"Beauty of Eve" (1989) is a return for Jules Olitski to the thick, dramatic impasto style surfaces he was painting in the 1950s. The work is an homage to Abstract Expressionism and the golden age of Post- War American Art, centered in New York City.
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<br>During the 1950s, Olitski met Clement Greenberg who gave the artist early exhibitions in New York. Eventually, he would show at Andre Emmerich gallery among many other prominent venues. Olitski would remain a fixture in the Contemporary Art world until his death in 2007.
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<br>His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Chicago Art Institute, Chicago IL; The Hirshhorn Museum and Sculpture Garden, Washington D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art, The Museum of Modern Art, The Solomon R. Guggenheim Museum and The Whitney Museum of American Art, New York.

42 1/2 x 55 3/4 in.

water and oil based acrylic on canvas

Elliot Hundley earned his MFA at the University of California, Los Angeles in 2005. His intricate collages are often meant to represent imaginary "operas" and invented narratives. Hundley will use his close friends and family as models; this makes the work more immediate for the artist.
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<br>"Untitled" is a large-scale collage that invokes a sense of whimsical fantasy. These collage works are not cluttered, but instead are filled with dense symbology and narrative that has deep personal meaning for the artist.
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<br>Hundley is included in many museum collections worldwide including the Museum of Modern Art in New York, the Guggenheim Museum in New York, and the Los Angeles County Museum of Art in Los Angeles.

ELLIOTT HUNDLEY

75 x 65 x 8 1/4 in.

mixed media on canvas

TADASUKE (Tadasky) KUWAYAMA - B-139 - acrylic on canvas - 47 x 47 in.

TADASUKE (Tadasky) KUWAYAMA

acrylic on canvas

Harry Bertoia’s Willow sculpture resonates as an expression of grace and delicacy; qualities that bely the usual associations we have with the intrinsic properties of the alloy of which it is made. This suspended version – the rare version of Willow - seems to have a self-aware presence; one that delights in that contrast of properties. Yet it invites nothing more than existential pleasure in the viewing of it. Think of Willow as a boldly articulated version of Calder if the latter master had a more organic or corporeal evocation in mind. Suspended, it commands its area yet respects its spatial relationship to its surround. Light, form, space – these are conceptual tools of the sculptor. But who else would think to use reflective material more readily associated with inflexibility and tensor strength to create a bouquet of cascading strands of stainless steel, suspended in space, flora-like and so gracefully beautiful?

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

RICO LEBRUN - Mexican Street in the Rain - collage - 110 x 65 in.

Mexican Street in the Rain

Dutch painter and sculptor Karel Appel was an influential founding member of the international avant-garde movement CoBrA active from 1948-1951. The collective, named for the initials of the members’ home cities Copenhagen, Brussels, and Amsterdam, rejected both traditional naturalism and abstraction devoid of expression. Drawing inspiration from the freedom of color, line, and form found in children’s art, Appel and his contemporaries sought to embrace spontaneity and experimentation. “Personage” from 1975 exemplifies the artist’s expressionist paint handling, thick impasto, and brilliant color.

50 1/4 x 50 1/8 in.

DIEGO GIACOMETTI - Couple Dequilibristes - bronze - 13 1/4 x 9 1/8 x 3 1/2 in.

DIEGO GIACOMETTI

Couple Dequilibristes

13 1/4 x 9 1/8 x 3 1/2 in.

TAL R - Grim Kalding Fra Finland - acrylic, ink and paper collage on canvas - 67 3/4 x 55 in.

Grim Kalding Fra Finland

67 3/4 x 55 in.

acrylic, ink and paper collage on canvas

Ed Moses was a prominent figure in the Los Angeles art scene for nearly 70 years. He first exhibited in 1949 and was part of the original group of artists from the Ferus Gallery in 1957 – fellow Cool School artist Ed Ruscha also had his first solo exhibition there in 1963. The large scale and tryptic formation of “Franco-Del #1 & #3” from 2006 is rare for Moses. The piece is executed in earth tones of browns, grey, black, rust and pine green. Always working with process and experimenting with materials as a painter, Moses has been critically lauded for his bold composition and innovation.

Franco-Del #1 & #3

79 1/2 x 110 1/2 in.

acrylic on canvas

Rodney McMillian is a distinct figure among the new conceptual artists working today. His use of textiles, fabrics, encaustic, and even sound-based installations has gained him recognition from the highest echelons of the art world. McMillian's work is collected by prestigious institutions worldwide, including the Hammer Museum, the Museum of Modern Art in New York, the Royal Academy in London, and the Museum of Contemporary Art in Los Angeles, among many others. He holds a Master of Fine Arts degree from the California Institute of the Arts.
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<br>"Flag" (2002) incorporates elements of clothing, as well as references to landscape painting and objects of significance for the artist. This piece can be viewed as partly autobiographical -- McMillian's work is intensely personal and describes his experiences and observations of contemporary and historical American culture.

RODNEY MCMILLIAN

97 1/2 x 102 in.

RON ARAD - Before Summer - stainless steel welded chaise - 42 x 79 x 15 in.

42 x 79 x 15 in.

stainless steel welded chaise

THEODOROS STAMOS - Olympia Sun-Box - acrylic on canvas - 60 1/4 x 48 in.

THEODOROS STAMOS

Olympia Sun-Box

60 1/4 x 48 in.

acrylic on canvas

ROY LICHTENSTEIN - Untitled - Rowlux collage on board - 22 1/2 x 22 in.

ROY LICHTENSTEIN

22 1/2 x 22 in.

Rowlux collage on board

CHUCK CLOSE - Self Portrait - suite of 4 glass holograms - 14 x 11 in. ea.

14 x 11 in. ea.

suite of 4 glass holograms

Carl Andre is an American artist who helped pioneer minimalist sculpture and was the husband of famed and celebrated artist Ana Mendieta. This is a classic text piece from the early 1960s and is typical of his poems which are composed by selecting individual words from source texts, and then ordering them on the page according to simple and self-evident criteria, which, in this case, is by alphabetical listing. Aviator Charles Lindbergh deep fascinated Carl Andre whom he returned to as a source for his poetry. This work with its structured repetition like his famed sculptures reflect the minimalism and post-minimalism emerging in the 1960s and the 1970s including fellow concrete poet Christopher Knowles.

Five Hundred Terms for Charles A. Lindbergh

ink on paper on board

HELMUT NEWTON - Rue Aubriot, Paris 1975 - vintage gelatin silver print - 13 1/4 x 8 7/8 in.

Rue Aubriot, Paris 1975

13 1/4 x 8 7/8 in.

vintage gelatin silver print

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

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.

acrylic on canvas

“One Up One Down Oblique” (1974) was created during a fruitful period for the artist. In 1974, Rickey was elected to the National Institute of Arts and Letters (now the American Academy of Arts and Letters). Rickey was exhibited widely in the 1970s, which led to extensive travel to cities including Rotterdam, Bellingham (WA), San Francisco, Albuquerque, Los Angeles, Mexico City, Amsterdam, London, and Glasgow. Many critics, scholars, dealers, and collectors have considered Rickey to be one of the most innovative sculptors of his time; his art was fresh and creative when many artists rejected classicism and tradition.
<br>
<br>A collector of “Constructivist” artwork himself, Rickey was continually drawn to the structure and balance of forms in space. In the present sculpture, one can see how even when working on a limited scale, the artist creates a sense of immense presence for his sculpture -- far more significant than its “tabletop” size.
<br>
<br>Rickey is included in countless museum collections worldwide, including the Crystal Bridges Museum of American Art, The Museum of Modern Art, The Snite Museum of Art, The Vero Beach Art Museum, the Tate Modern, and the Smithsonian American Art Museum, among many others.

One Up One Down Oblique

20 x 19 x 2 1/2 in.

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.

acrylic and diamond dust on canvas

LUIS CRUZ AZACETA - The Journey - acrylic on canvas - 123 x 132 in.

LUIS CRUZ AZACETA

acrylic on canvas

FRANCIS CELENTANO - Elliptical Kinetic Painting - acrylic on masonite - 48 x 48 x 6 1/2 in.

FRANCIS CELENTANO

Elliptical Kinetic Painting

48 x 48 x 6 1/2 in.

acrylic on masonite

Provenance:
<br>Purchased in 1985 from The Gallery Wall
<br>Private Collection, CA

Tewa Plaza at First Mesa

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.
<br>
<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.

Interior Still Life

oil on masonite

LOUISE BOURGEOIS - Plate 5 of 9 from He Disappeared Into Complete Silence - engraving - 8 x 6 in.

LOUISE BOURGEOIS

Plate 5 of 9 from He Disappeared Into Complete Silence

PATRICK WILSON - Meadowlark - acrylic on canvas - 86 x 70 x 2 in

acrylic on canvas

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

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

New Synthesis #15

acrylic on canvas

ANDREA CASCELLA - Italian Time Stand Still - marble granite - 25 x 31 x 17 in.

ANDREA CASCELLA

Italian Time Stand Still

25 x 31 x 17 in.

WILLIAM WENDT - Laguna Hills - oil on canvas - 25 x 30 in.

Contemporary Chinese artist Zhang Huan is best known for his provocative and challenging performance art. The detailed insects in this painting recall the artist's striking performance piece, 12 Square Meters (1994), in which he sat covered in honey and fish oil in an unkept public toilet, attracting flies and other insects. Here, canvas replaces flesh, allowing bugs to explore this human terrain. Earth Life No. 19 (2007) is meant to be a meditation on the ability of mind and spirit to overcome physical discomfort.

Earth Life No. 19

39 1/4 x 59 in.

LEONID LAMM - State Power - oil on canvas - 68 3/8 x 66 x 1 in.

68 3/8 x 66 x 1 in.

WILLIAM MORRIS - Suspended Artifact - blown glass - 30 x 26 x 10 in.

Suspended Artifact

30 x 26 x 10 in.

Zhu Yi Yong - Woman with a Fan - oil on canvas - 43 x 37 1/2 in.

Woman with a Fan

43 x 37 1/2 in.

ROBERT MAPPLETHORPE - Orchids - dye-transfer print - 22 1/2 x 21 1/2 in.

ROBERT MAPPLETHORPE

22 1/2 x 21 1/2 in.

dye-transfer print

HASSEL SMITH - 9000 and 9 Nights - acrylic and graphite on canvas - 68 x 68 1/8 in.

9000 and 9 Nights

68 x 68 1/8 in.

acrylic and graphite on canvas

PETER SHELTON - onelongsleeve - metal - 29 1/2 x 47 3/4 x 10 1/2 in.

29 1/2 x 47 3/4 x 10 1/2 in.

LEROY NEIMAN - The Bull Fighter - oil on panel - 40 x 48 in.

The Bull Fighter

Karl Benjamin was a fixture of the American West Coast School. His work was featured in the "Four Abstract Classicists" exhibition in 1959-60 at the San Francisco Museum of Art (now the San Francisco Museum of Modern Art) and the Los Angeles County Museum at Exposition Park (now the Los Angeles County Museum of Art) alongside Lorser Feitelson, John McLaughlin, and Frederick Hammersley. That exhibition was viewed as Los Angeles' answer to Abstract Expressionism as the West Coast artists' hard edge paintings offered an alternative style to the New York School's energetic brushwork and action painting.
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<br>Benjamin also had a prominent place in "Birth of the Cool: California Art, Design and Culture at Mid-Century," a 2007-09 national traveling show organized by the Orange County Museum of Art.

ARNE HIERSOUX - Untitled - acrylic and paper on canvas - 71 x 94 in.

acrylic and paper on canvas

PHILIP GUSTON - Untitled - ink on paper - 11 7/8 x 16 1/8 in.

11 7/8 x 16 1/8 in.

MARTIN CREED - Work No. 2147 - acrylic on canvas - 16 x 20 in.

acrylic on canvas

LORSER FEITELSON - Dancers - Magical Forms - oil on canvas - 36 x 40 in.

LORSER FEITELSON

Dancers - Magical Forms

BILL HENSON - Untitled #95 - CB/JPC SH143 N23A, type C photograph - 49 1/2 x 68 1/2 in.

49 1/2 x 68 1/2 in.

CB/JPC SH143 N23A, type C photograph

“Painting is a need, not a choice.” – Leonora Carrington
<br>
<br>Leonora Carrington was a key figure of Surrealism, the art movement that used the human subconscious to create dreamlike and fantastical scenes. Carrington was born in the England in 1917. Rebellious and artistic as a child, she eventually met Max Ernst, one of the leaders of Surrealism, with whom she would move to Paris. The outbreak of WWII interrupted their relationship as Ernst fled to the U.S. while Carrington escaped the Nazis to Madrid where she was institutionalized. She fled again with her new husband, a Mexican diplomat, to New York where they divorced, and she moved a final time to Mexico City. It was in Mexico City that she flourished with her Surrealist paintings, making friends with fellow artists including Remedios Varo, and where she would find fame, exhibiting in prestigious shows at the Museum of Modern Art and Peggy Guggenheim’s Art of This Century Gallery.
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<br>Carrington’s paintings are populated by strange humans and fantastical animals pulling from myths, mysticism, and her own imagination. Running through her works are ideas of transformation and a divine feminine quality. This work features a figure setting down an unusual prayer rug. The title is reference to an Arabic and Persian word meaning “statement” or “exposition” and could also be a reference to the work of Báb, a central figure of the Baha’I faith. The word points to a clarity of eloquence, much as Carrington strived for that same eloquence and clarity of expression.

LEONORA CARRINGTON

pencil on paper

THEASTER GATES - Untitled (flooring) - white cement, debris, flooring - 35 x 35 x 3 in.

Untitled (flooring)

35 x 35 x 3 in.

white cement, debris, flooring

MAURICE ASKENAZY

Nude with a Japanese Folding Screen

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

GEORGE BRANDRIFF

Fishermen on the Dock Loading Supplies

Alson Clark painted "From the Ramparts" from atop Quebec City's Citadel, looking down upon the famous toboggan slide and boardwalk- the St. Lawrence River is in view as is the famous Chateau Frontenac Hotel. The snow-capped buildings line the river below, a perspectival choice perhaps influenced by his service as an aerial photographer in the US army during World War I. Clark masterfully uses the dynamic sweep of the slide from the lower right hand corner to draw the viewer into the center of the composition. In the immediate foreground, a pair of female walkers head towards the viewer on the path adjacent to the slide, the details of their faces and winter coats just barely suggested.

Toboggan Slide and Dufferin Terrace

ROBERT RAUSCHENBERG - Prime Pump from ROCI USA (Wax Fire Works Series) - color screenprint on paper and Lexan - 63 1/2 X 44 1/4 IN.

ROBERT RAUSCHENBERG

Prime Pump from ROCI USA (Wax Fire Works Series)

63 1/2 X 44 1/4 IN.

color screenprint on paper and Lexan

DONALD SULTAN - Yellow Tulip #18 - oil and tar on paper - 20 x 20 in.

Yellow Tulip #18

oil and tar on paper

MASSIMO VITALI - Viareggio - c-print mounted on plexiglass - 59 1/8 x 73 1/2 in.

59 1/8 x 73 1/2 in.

c-print mounted on plexiglass

MAURICE GOLUBOV - Untitled - oil on canvas - 44 x 26 in.

MAURICE GOLUBOV

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

Untitled No. 110

OTTO PIENE - Up - oil and soot on printed paperboard - 44 x 27 3/4 in.

44 x 27 3/4 in.

oil and soot on printed paperboard

JESSIE ARMS BOTKE - The White Peacock - oil on canvas - 25 x 21 in.

JESSIE ARMS BOTKE

The White Peacock

REYNOLDS BEAL - Kingstown, St. Vincent - oil on canvas - 26 x 36 in.

Kingstown, St. Vincent

ANDY WARHOL - Vote McGovern - screenprint - 42 x 42 in.

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.

LINO TAGLIAPIETRA

13 x 11 x 3 in.

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

FRANCISCO TOLEDO

mixed media on paper

HERB ALPERT - Nuclear Winter - acrylic and coffee on canvas - 57 x 96 in.

acrylic and coffee on canvas

Jiang Guofang - Portrait of the Artist's Wife - oil on canvas - 20 7/8 x 25 5/8 in

Portrait of the Artist's Wife

20 7/8 x 25 5/8 in

MABEL MAY WOODWARD - Beach Scene - watercolor on paper - 14 1/2 x 19 1/2 in.

MABEL MAY WOODWARD

14 1/2 x 19 1/2 in.

watercolor on paper

LARI PITTMAN - Untitled - oil and acrylic on canvas - 95 x 65 in.

oil and acrylic on canvas

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

ALLAN D'ARCANGELO - Landscape - acrylic on canvas - 76 x 68 1/8 in.

ALLAN D'ARCANGELO

76 x 68 1/8 in.

acrylic on canvas

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

Untitled (yellow, red + brown)

DONNA HUANCA - Gatorade - plaster and 3D paint on canvas - 63 x 47 1/4 in.

63 x 47 1/4 in.

plaster and 3D paint on canvas

GASPARD DUGHET (AFTER) - A View of Tivoli - oil on canvas - 29 1/4 x 38 7/8 in.

GASPARD DUGHET (AFTER)

A View of Tivoli

29 1/4 x 38 7/8 in.

ZAHA HADID - Untitled - metal and plexiglass - 35 3/4 x 16 1/4 x 16 1/4 in.

35 3/4 x 16 1/4 x 16 1/4 in.

metal and plexiglass

GEORGE DEMONT OTIS - Rose Valley, Marin County - oil on canvas - 28 x 36 in.

GEORGE DEMONT OTIS

Rose Valley, Marin County

Hofmann painted "Yellow Vase" just two years before his first solo exhibition at Art of This Century gallery in New York in 1944. This vibrant work is an impromptu study that examines the breakdown of form, which in 1942 was an evolving principle of Abstract Expressionism. Hofmann was a prominent teacher at this time, and his students included Helen Frankenthaler, Allan Kaprow, Michael Goldberg, and dozens of others.
<br>
<br>"Yellow Vase" captures the dynamism of Hofmann's unique approach to representation and abstraction. His works' energy and movement would prove to be among his most significant contributions to 20th Century American Art.

JOSE MARIA SICILIA - Yellow Flower IV - acrylic on linen - 77 x 53 in.

JOSE MARIA SICILIA

Yellow Flower IV

acrylic on linen

SAM FRANCIS - Ducat - acrylic on canvas - 5 1/2 x 8 3/4 in.

5 1/2 x 8 3/4 in.

acrylic on canvas

RICHARD ANUSZKIEWICZ - Arcade of Verdue - oil on canvas - 33 x 24 in.

RICHARD ANUSZKIEWICZ

Arcade of Verdue

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

Untitled (Oak Leaves)

LOUISE NEVELSON - Untitled - painted wood, violin key and clothespin - 4 3/8 x 7 3/8 x 4 1/4 in.

LOUISE NEVELSON

4 3/8 x 7 3/8 x 4 1/4 in.

painted wood, violin key and clothespin

GRANVILLE REDMOND - A Coastal Sunset - oil on canvas - 16 1/4 x 20 in.

GRANVILLE REDMOND

A Coastal Sunset

16 1/4 x 20 in.

CHARLES SMITH - The Rockbound Coast of Carmel - oil on canvas - 39 1/4 x 46 in.

The Rockbound Coast of Carmel

39 1/4 x 46 in.

ANTON HENNING - Untitled Drawing - mixed media on paper - 41 1/4 x 30 3/4 in.

Untitled Drawing

41 1/4 x 30 3/4 in.

mixed media on paper

KUMI SUGAI - 3 Heures D'Après Midi - acrylic on canvas - 24 x 19 3/4 in.

3 Heures D'Après Midi

24 x 19 3/4 in.

acrylic on canvas

KEITH HARING - Untitled - ink on illustration board - 4 5/8 x 5 1/2 in.

4 5/8 x 5 1/2 in.

ink on illustration board

WILLIAM TUCKER - Tuche, Greek Goddess of Fortune - bronze - 12 x 9 x 14 in.

Tuche, Greek Goddess of Fortune

12 x 9 x 14 in.

VIK MUNIZ - Trajetoria Adultera - silver gelatin print, in three parts, and foam cords - element A: 8 x 20 in.; element B: 12 1/2 x 20 in.; element C: 16 1/8 x 8 1/2 in.

Trajetoria Adultera

element A: 8 x 20 in.; element B: 12 1/2 x 20 in.; element C: 16 1/8 x 8 1/2 in.

silver gelatin print, in three parts, and foam cords

WILLIAM THEOPHILUS BROWN - Landscape with Rocks - acrylic on canvas - 48 x 48 in.

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

EDGAR DEGAS - Étude de cheval - black chalk on laid paper - 12 1/4 x 9 3/8 in.

Étude de cheval

12 1/4 x 9 3/8 in.

black chalk on laid paper

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

DEWITT PARSHALL

Hermit Creek Canyon, Grand Canyon

40 3/4 x 50 in.

Like much of Dale Chihuly’s artwork, this six piece glass set is a play on the form and sensory effects created by sea life. A lovely pink hue is broken by amber tones emanating from the delicate spine of a clamshell and the sea life nestled within it. The gentle grooves of the shell breath life into the glass, as if suspended within water and ebbing and flowing with the current.
<br>
<br>These sea forms are the result of chance. Chihuly was experimenting with ribbed molds while working on his Basket series. In creating the ribbed molds, the forms looked similar to sea shells. At this point, according to Chihuly, "I changed the name of the series to Seaforms, which suited me just fine in that I love to walk along the beach and go to the ocean. And glass itself, of course, is so much like water. If you let it go on its own, it almost ends up looking like something that came from the sea.”

11 x 22 x 15 in.

Provenance
<br>Estate of the artist
<br>Forum Gallery, New York
<br>Barry Friedman Ltd., New York
<br>
<br>Exhibited
<br>London, Alon Zakaim Fine Art, Robert Marc: Reflections and Rediscovery, 11 March - 8 April 2011
<br>
<br>Literature
<br>Exhibition catalogue, Robert Marc: Reflections and Rediscovery, London, Alon Zakaim Fine Art/ E and R Cyzer Gallery, 2011, no. 21 (illustrated in colour)

29 1/2 x 41 1/4 in.

CHARLES HERBERT WOODBURY - Beach Scene with Umbrella - oil on board - 12 x 17 in.

CHARLES HERBERT WOODBURY

Beach Scene with Umbrella

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

30 1/4 x 30 1/4 in.

oil, acrylic, oil pastel and spray paint on canvas

KEITH TYSON - Imagine That (from Studio Wall Drawing) - mixed media on paper - 61 3/4 x 49 5/8 in.

Imagine That (from Studio Wall Drawing)

61 3/4 x 49 5/8 in.

mixed media on paper

PETER DOIG - Surfer - colored etching - 55 7/8 x 35 1/4 in.

55 7/8 x 35 1/4 in.

colored etching

DAVID ROW - On the Threshold - oil and alkyd on canvas - 60 x 75 in.

On the Threshold

oil and alkyd on canvas

JOHN HENRY - Chief II - machined aluminum, gilded 23.5k rose gold - 39 x 35 x 16 in.

39 x 35 x 16 in.

machined aluminum, gilded 23.5k rose gold

Sandra Mendelsohn Rubin - Valley View: Late Summer - oil on polyester - 4 x 7 1/8 in.

Sandra Mendelsohn Rubin

Valley View: Late Summer

oil on polyester

RICARDO MAFFEI - Untitled - pastel on paper - 41 1/2 x 28 in.

41 1/2 x 28 in.

pastel on paper

CHARLES REIFFEL - Mountain Camp - oil on board - 20 x 21 3/4 in.

CHARLES REIFFEL

20 x 21 3/4 in.

FERNANDO CANOVAS - Sodom - acrylic on canvas - 63 5/8 x 51 1/4 in.

FERNANDO CANOVAS

63 5/8 x 51 1/4 in.

acrylic on canvas

YANG MAOYUAN - Mexican Silver Grizzly - painting on paper - 26 1/4 x 37 1/2 in.

Mexican Silver Grizzly

26 1/4 x 37 1/2 in.

painting on paper

CHRISTIAN ROSA - Untitled - oil on canvas - 71 x 82 1/2 in.

71 x 82 1/2 in.

BRIAN ALFRED - McD's - acrylic on canvas - 80 x 110 in.

acrylic on canvas

TOMAS VU - Devil's Tower - mixed media on panel - 72 x 96 1/4 in.

72 x 96 1/4 in.

mixed media on panel

KATHERINE PORTER - Ronde - oil on canvas - 94 x 72 in.

KATHERINE PORTER

TIM HAWKINSON - Shoes - plaster and shoes - 14 x 7 x 6 in.

plaster and shoes

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

Waiting for Mutton Stew

40 1/4 x 60 in.

MERION ESTES - Feast - acrylic, glitter on canvas - 72 x 72 in.

acrylic, glitter on canvas

JOSEPH CORNELL - Untitled - printed paper on cardboard box and metal fragments - 3/4 x 1 1/2 x 1 1/2in.

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

printed paper on cardboard box and metal fragments

MARY DENEALE MORGAN - Twin Cypress - gouache on paper - 20 x 24 in.

MARY DENEALE MORGAN

gouache on paper

CARL MORRIS - Tilted Plates - acrylic on canvas - 68 x 72 in.

acrylic on canvas

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

RUEHL FREDERICK HECKMAN

Santa Barbara Mission

The painting, inspired by Antonio Canova’s sculpture Psyche Revived by Cupid’s Kiss, and Christ Carrying the Cross by Hieronymous Bosch, depicts a laureate male and a female enmeshed in a boa of roses. Canova’s sculpture represents Cupid and Psyche during an emotionally charged moment, in which Cupid awakens Psyche from death. His tender embrace is mimicked in this painting, however Psyche, appearing more realistic than sculpture-like, looks on. Hieronymous Bosch’s grotesque painting of Christ while he carries the cross looms over Cupid’s head. The grotesque work of Bosch is at odds with the Neoclassical inspiration from Canova, perhaps to convey the dark emotions that simmer beneath the façade of love.

Rimembranze: dal bacio del Canova alla Salita al Calvario di Bosch….

29 1/4 x 32 in.

MARC CHAGALL - Le Cirque M.505 - lithograph - 16 3/4 x 12 3/4 in.

Le Cirque M.505

16 3/4 x 12 3/4 in.

NAOTO NAKAGAWA - Comb's Smile - oil on canvas - 90 x 72 1/2 x 1 3/4 in.

90 x 72 1/2 x 1 3/4 in.

ENOC PEREZ - Don Q - oil on paper - 24 x 18 in.

PAUL GRIMM - Stately Eucalypti - oil on board - 20 x 24 in.

Stately Eucalypti

AMY SILLMAN - Untitled #7 - gouache, chalk, and pencil on etching on paper - 31 x 28 in.

gouache, chalk, and pencil on etching on paper

GILBERT & GEORGE - Italian - mixed media - 46 1/4 x 32 1/4 in.

GILBERT & GEORGE

46 1/4 x 32 1/4 in.

GENIA CHEF - The Beauty and the Beast - oil on canvas - 39 1/4 x 55 in.

The Beauty and the Beast

39 1/4 x 55 in.

ZENG JIANYONG - Spare Time 15 - ink and watercolor on handmade paper - 35 1/2 x 28 3/4 in.

35 1/2 x 28 3/4 in.

ink and watercolor on handmade paper

ANNIE LAPIN - Perceived Marriage Tripartite Leave - acrylic and oil on canvas over panel - 96 x 69 in.

Perceived Marriage Tripartite Leave

acrylic and oil on canvas over panel

ROBERT NATKIN - Bern Series (#421) - acrylic on canvas - 34 x 46 in.

Bern Series (#421)

acrylic on canvas

RICHARD ARTSCHWAGER - Chair - oak, cow hide, formica, steel - 39 x 40 x 52 in.

RICHARD ARTSCHWAGER

39 x 40 x 52 in.

oak, cow hide, formica, steel

PETER ANTON - Vibrant Selection - mixed media - 28 3/4 x 32 x 4 3/4 in.

Vibrant Selection

28 3/4 x 32 x 4 3/4 in.

GREGORY SUMIDA - Distant Shade, Knights Ferry, CA - watercolor - 21 1/2 x 29 3/4 in.

Distant Shade, Knights Ferry, CA

21 1/2 x 29 3/4 in.

FELIPE CASTANEDA - Mujer Peinandose - bronze - 16 1/4 x 11 3/4 x 11 in.

FELIPE CASTANEDA

Mujer Peinandose

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

SANTIAGO CARBONELL - Untitled - oil on canvas - 48 x 48 in.

SANTIAGO CARBONELL

NORMAN BLUHM - Untitled - oil on paper mounted on board - 20 1/8 x 22 in.

20 1/8 x 22 in.

oil on paper mounted on board

MARK TOBEY - Untitled - sumi ink - 10 3/4 x 15 3/4

10 3/4 x 15 3/4

JENE HIGHSTEIN - Untitled Drawing - pigment on graphite on paper - 63 x 59 3/4 in.

Untitled Drawing

63 x 59 3/4 in.

pigment on graphite on paper

SAUL KAMINER - La Peluquera - oil on canvas - 63 1/4 x 51 1/4 in.

63 1/4 x 51 1/4 in.

JESUS RAFAEL SOTO - Structure cinétique - silkscreen on Plexiglass with metal rods - 13 1/2 x 13 1/2 x 7 1/2 in.

JESUS RAFAEL SOTO

Structure cinétique

13 1/2 x 13 1/2 x 7 1/2 in.

silkscreen on Plexiglass with metal rods

ABEL GEORGE WARSHAWSKY - Trees in Brittany - oil on canvas - 25 1/2 x 32 in.

ABEL GEORGE WARSHAWSKY

Trees in Brittany

25 1/2 x 32 in.

GERTRUDE PARTINGTON ALBRIGHT - Below Twin Peaks - oil on canvas - 24 1/4 x 29 1/4 in.

GERTRUDE PARTINGTON ALBRIGHT

Below Twin Peaks

24 1/4 x 29 1/4 in.

CLARENCE HINKLE - Rincon Vista - oil on board - 24 x 30 in.

CLARENCE HINKLE

WILLIAM LESTER STEVENS - A River in Winter - oil on canvas - 25 x 30 1/8 in.

WILLIAM LESTER STEVENS

A River in Winter

25 x 30 1/8 in.

JOHN CHRISTOPHER SMITH - Thrashing Machine - oil on board - 20 x 24 in.

JOHN CHRISTOPHER SMITH

Thrashing Machine

ELLSWORTH KELLY - Pears III, (A.47) - lithograph - 35 3/4 x 24 1/2 in.

ELLSWORTH KELLY

Pears III, (A.47)

35 3/4 x 24 1/2 in.

JOHN WESLEY COTTON - Gateway to the Mountains - oil on canvas - 26 1/4 x 42 in.

JOHN WESLEY COTTON

Gateway to the Mountains

26 1/4 x 42 in.

BENJAMIN BROWN - Poppy Fields, San Gabriel Valley - oil on canvas - 10 x 14 in.

Poppy Fields, San Gabriel Valley

DAVIS BIRKS - Home for Dinner & a Night of TV - acrylic on canvas - 68 x 50 1/4 in.

Home for Dinner & a Night of TV

68 x 50 1/4 in.

acrylic on canvas

BRUNO CECCOBELLI - Aiuola - mixed media on panel - 95 x 64 in.

BRUNO CECCOBELLI

mixed media on panel

CONSTANCE MALLINSON - Severed Limbs - oil on paper - 52 1/2 x 60 1/2 in.

CONSTANCE MALLINSON

52 1/2 x 60 1/2 in.

RACHEL WHITEREAD - Untitled (Nets) - etched germansilver metal grating - 25 1/4 x 20 1/4 in.

RACHEL WHITEREAD

Untitled (Nets)

25 1/4 x 20 1/4 in.

etched germansilver metal grating

DAVID MORRIS - Through the Looking Glass - nickel on polymer - 24 3/4 x 20 3/4 x 12 in.

Through the Looking Glass

24 3/4 x 20 3/4 x 12 in.

nickel on polymer

MORRIS LOUIS - Untitled - oil on canvas - 12 x 10 in.

SALVADOR DALI - Le Cosmonaute - etching - 15 3/4 x 12 1/2 in.

15 3/4 x 12 1/2 in.

CARL SAMMONS - Humboldt County Hills, California - oil on canvas - 24 x 30 1/4 in.

Humboldt County Hills, California

24 x 30 1/4 in.

NELL WALKER WARNER - Pelargoniums - oil on canvas - 26 x 30 in.

NELL WALKER WARNER

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

RAY STANFORD STRONG

Spring, Black Mountain, Marin County

ERIC JON HOLSWADE - Bird's Eye View - oil, flashe & gouache on cardboard - 65 x 78 in.

ERIC JON HOLSWADE

Bird's Eye View

oil, flashe & gouache on cardboard

LUC LEESTEMAKER - 2010.8 - acrylic and mixed media on canvas - 54 x 52 in.

LUC LEESTEMAKER

acrylic and mixed media on canvas

RON REIHEL - Elutheria - cast resin, plaster, wood, canvas - 31 x 26 3/4 x 10 in.

31 x 26 3/4 x 10 in.

cast resin, plaster, wood, canvas

HARRY LEITH-ROSS - Middle Cove - oil on canvas on board - 8 1/4 x 10 3/8 in.

HARRY LEITH-ROSS

8 1/4 x 10 3/8 in.

oil on canvas on board

JOHN JOSEPH ENNEKING - Milton Blue Hills - oil on canvas - 12 x 18 in.

JOHN JOSEPH ENNEKING

Milton Blue Hills

XIAOZE XIE - June 2001, J.T. - oil on canvas - 24 x 36 in.

June 2001, J.T.

DEBORAH OROPALLO - Untitled - oil on canvas - 76 x 67 in.

DEBORAH OROPALLO

JOHN STEZAKER - Untitled - film portrait collage - 10 1/4 x 7 7/8 in.

10 1/4 x 7 7/8 in.

film portrait collage

Provenance:
<br>Imago Galleries, CA
<br>Private collection, CA (acquired from above)

STEVEN MCCALLUM

Unlikely Resonance

acrylic on canvas

CHARLES FINE - Huitlacoche - encaustic on wood bee's wax - 19 x 11 x 3 in.

19 x 11 x 3 in.

encaustic on wood bee's wax

MICAELA AMATO - Aljama - cast leaded glass - 22 x 24 x 15 in.

22 x 24 x 15 in.

cast leaded glass

RICHARD DEACON - La Plata No 1 - collage ink on paper on R type print - 31 x 45 in.

collage ink on paper on R type print

ZALIKO BACHANASHVILL - Untitled - oil on canvas - 48 x 40 x 1 1/4 in.

ZALIKO BACHANASHVILL

48 x 40 x 1 1/4 in.

KYOKO IBE - Hanging Sail - reinforced Kozo washi - 94 x 47 x 16 in.

94 x 47 x 16 in.

reinforced Kozo washi

ED RUSCHA - Black Ants - silkscreen printed in colors on wood-veneered paper - 20 1/4 x 27 1/4 in.

20 1/4 x 27 1/4 in.

silkscreen printed in colors on wood-veneered paper

ROBERT MOTHERWELL - Frontispiece from" A la Pintura" - aquatint - 25 3/4 x 37 3/4 in.

ROBERT MOTHERWELL

Frontispiece from" A la Pintura"

25 3/4 x 37 3/4 in.

Conflating, collapsing, augmenting historical and bodily narratives through a satirical point of view.

Scatological Scene

acrylic and watercolor on linen

DAN OSTERMILLER - Ice Bear - bronze - 9 x 16 in.

DAN OSTERMILLER

RUFINO TAMAYO - Luna y Sol - mixografia - 35 x 37 in.

PETER BEARD - "Buy an elephant a drink" / "Water for wild animals" / "STARYO" natl. park, Kenya / ELEPHANTS' MEMOR - platinum print - 25 x 20 in.

"Buy an elephant a drink" / "Water for wild animals" / "STARYO" natl. park, Kenya / ELEPHANTS' MEMOR

CHET LA MORE - Yellow Submarine - acrylic on canvas - 36 x 24 in.

Yellow Submarine

acrylic on canvas

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

MANUEL VALENCIA

Sunlight and Shadow on the Hills

10 3/4 x 17 in.

JEAN MANNHEIM - Before the Storm - oil on panel - 12 x 15 1/2 in.

Before the Storm

12 x 15 1/2 in.

THOMAS MCGLYNN - California Landscape - oil on canvas - 25 x 30 in.

California Landscape

LUC BERNARD - Open no. 2 - oil and sumi ink on canvas - 50 x 71 in.

oil and sumi ink on canvas

TIMOTHY TOMPKINS - 9.7.06 after David - commercial enamel on aluminum - 61 x 60 in.

TIMOTHY TOMPKINS

9.7.06 after David

commercial enamel on aluminum

CHRISTIAN VINCENT - Post Opus 19 #2 - oil on canvas - 46 x 35 1/8 in.

CHRISTIAN VINCENT

Post Opus 19 #2

46 x 35 1/8 in.

PETER D. GERAKARIS - Carnivale Mask Remix - acrylic, iridescent pigments, & mixed-media on canvas - 32 x 32 in.

PETER D. GERAKARIS

Carnivale Mask Remix

acrylic, iridescent pigments, & mixed-media on canvas

LILLIE MAY NICHOLSON - Fishermen Mending Nets, Monterey - oil on board - 12 x 15 7/8 in.

LILLIE MAY NICHOLSON

Fishermen Mending Nets, Monterey

12 x 15 7/8 in.

MARUYAMA OSHIN - Silk Scroll of Rooster & Chicken - ink on color on silk - 82 x 26 in.

Silk Scroll of Rooster & Chicken

Edo Period, 19th C

ink on color on silk

RON REIHEL - Conversation - plaster, wood, canvas - 15 1/2 x 18 x 16 1/2 in.

15 1/2 x 18 x 16 1/2 in.

plaster, wood, canvas

RUSSELL YOUNG - Audrey Hepburn - screenprint on linen with diamond dust - 38 x 30 in.

screenprint on linen with diamond dust

ALEXANDER CALDER - Black Pyramids - color lithograph on wove paper - 21 x 33 in.

ALEXANDER CALDER

color lithograph on wove paper

JEFF KOONS - Cracked Egg - anodized aluminum - 4 3/4 x 3 1/4 x 3 1/4 in.

4 3/4 x 3 1/4 x 3 1/4 in.

anodized aluminum

Provenance:
<br>ACE Gallery, Los Angeles.
<br>Private collection acquired from the above.

Tony de los Reyes’ 2006-2011 series Chasing Moby Dick analyzes the intersection of politics and culture through the lens of Herman Melville’s masterpiece (1851). Much like Captain Ahab’s hunt for Moby Dick, de los Reyes invasions America as “highly contentious and monomaniacal,” especially in light of former President George Bush’s singular hunt for Osama bin Laden. According to de los Reyes, "Melville knew that America, being ever-hungry, would not/could not stop at the ocean's edge. Part of the American spirit is to continue expanding, even to our detriment."
<br>
<br>This painting is named after the fictitious whaling ship, imagined by Melville, that Captain Ahab commands and leads on a three-year expedition while chasing Moby Dick. de los Reyes’ method creates a delicate balance between abstraction and realism that makes the ship appear almost ghostly. This quality may be a physical manifestation of the monomaniacal intention of Captain Ahab, and thus America, that cannot end, even after its own destruction.

TONY DE LOS REYES

43 1/2 x 73 in. each

red bister on paper

CARLOS LUNA - Sin titulo - mixed media on paper - 22 1/2 x 30 1/2 in.

22 1/2 x 30 1/2 in.

mixed media on paper

KAORU MANSOUR - Bottle Brush #116 - mixed media on canvas - 54 x 44 in.

Bottle Brush #116

mixed media on canvas

KENNETH NOLAND - Stripes - monotype on Japanese handmade paper mounted on board - 8 1/2 x 12 1/2 in.

8 1/2 x 12 1/2 in.

monotype on Japanese handmade paper mounted on board

LAWRENCE CARROLL - Untitled - mixed media on paper - 22 1/4 x 17 1/2 in.

LAWRENCE CARROLL

22 1/4 x 17 1/2 in.

mixed media on paper

PENELOPE GOTTLIEB - Castilleja cruenta standl - ink, acrylic and oil on canvas panel - 50 x 40 in.

PENELOPE GOTTLIEB

Castilleja cruenta standl

ink, acrylic and oil on canvas panel

EDWARD HOPPER - To Mother from Ed - watercolor and ink on paper - 3 x 2 1/8 in.

To Mother from Ed

watercolor and ink on paper

ANDREW MOORE - Red Chairs, Selwyn Theatre, New York - chromogenic print - 50 x 40 in.

Red Chairs, Selwyn Theatre, New York

chromogenic print

ALISON MOFFETT - Forever More - graphite on paper - 74 3/4 x 58 in.

74 3/4 x 58 in.

graphite on paper

JOHN MILLEI - Untitled - oil on mylar - 24 x 28 in.

LAUREN BENRIMON - Untitled - acrylic on canvas - 60 x 40 x 1 1/2 in.

LAUREN BENRIMON

60 x 40 x 1 1/2 in.

acrylic on canvas

SHINGO FRANCIS - Open Space - gouache and acrylic on panel - 18 x 82 in.

gouache and acrylic on panel

Singas are the most important decorative element seen in Batak Toba houses.
<br>The word singa comes from Sanskrit and means “lion”. There are innumerable
<br>representations, but mostly, they just depict the head, which is significant for two
<br>reasons. Firstly, the Toba believe that it keeps misfortune, diseases and evil
<br>influences from the house and its inhabitants, and also that it can release positive
<br>beneficial powers for the good of the inhabitants. To the Batak the singa is a
<br>mythological primeval beast of no defined zoological species. The horn is often
<br>regarded as another memory of the world-tree. It rises above the head of the
<br>mythological underworld beast, which is imagined as the naga, the serpent or
<br>serpent-dragon.
<br>
<br>The Batak Toba people live in in the remote mountainous highlands in the western
<br>and eastern coastal region north of the equator, with many deep valleys carved by
<br>rivers and streams. Their homes are large rectangular buildings on massive
<br>wooden pillars with three levels, corresponding to the three spheres of the
<br>cosmos. The space for the animals below the living level symbolizes the underworld. The high roof above the living level is the abode of the gods and also sometimes the ancestors. The side beams of the house with the singa heads at their front ends support the room where people live and are thus comparable with the underworld dragon.

Pair of Architectural Singas

Height: 26 1/2 in. ea.

JANE HAMMOND - Snapshot Odyssey - color lithograph, digital, chine collé, collage - 30 x 39 1/2 in.

Snapshot Odyssey

30 x 39 1/2 in.

color lithograph, digital, chine collé, collage

ANDREW TAYLOR - Outside: Evening 12 - oil on canvas - 48 x 48 in.

Outside: Evening 12

LUIS JIMENEZ - Mustang - color lithograph - 47 1/2 x 31 1/2 in.

47 1/2 x 31 1/2 in.

color lithograph

PAUL WONNER - Untitled - casein, pencil and crayola on paper - 17 3/4 x 23 3/4 in.

17 3/4 x 23 3/4 in.

casein, pencil and crayola on paper

DONNA SCHUSTER - Fishing Boats from Monterey - watercolor on paper - 17 x 16 1/4 in.

Fishing Boats from Monterey

17 x 16 1/4 in.

watercolor on paper

TSENG KWONG CHI - Monument Valley, Arizona - silver gelatin print - 16 x 20 in.

TSENG KWONG CHI

Monument Valley, Arizona

silver gelatin print

NORMAN ROCKWELL - Extra Good Boys and Girls - collotype on paper - 27 1/2 x 21 1/2 in.

NORMAN ROCKWELL

Extra Good Boys and Girls

27 1/2 x 21 1/2 in.

collotype on paper

SEAN SCULLY - Mallorca Grey Wall - c-print mounted on plexi - 36 5/8 x 48 in.

Mallorca Grey Wall

36 5/8 x 48 in.

c-print mounted on plexi

ANTONIO CIRINO - Boats in a Harbor - oil on board - 10 1/8 x 12 1/8 in.

Boats in a Harbor

10 1/8 x 12 1/8 in.

TERUKO YOKOI - Schlucht am Abend (Evening Gorge) - tempera and collage on paper - 24 1/2 x 18 1/4 in.

Schlucht am Abend (Evening Gorge)

24 1/2 x 18 1/4 in.

tempera and collage on paper

CHINA ADAMS - Glass Box - artist's burdensome possessions - 21 1/2 x 21 1/2 x 25 in.

21 1/2 x 21 1/2 x 25 in.

artist's burdensome possessions

JAMIE WYETH - Nureyev - color lithograph - 34 x 24 in.

color lithograph

F. MORTIMER LAMB - A Summer's Day - oil on board - 18 x 22 in.

F. MORTIMER LAMB

SAM GILLIAM - Coffee Thyme (Black) - color lithograph, rubber stamp, and embossing on John Koller special HMP paper - 31 3/4 x 44 in.

Coffee Thyme (Black)

31 3/4 x 44 in.

color lithograph, rubber stamp, and embossing on John Koller special HMP paper

WILLIAM WEGMAN - Armed Chair - color photo lithograph - 49 3/4 x 37 1/2 in.

49 3/4 x 37 1/2 in.

color photo lithograph

GEORGE SEIDENECK - Venice at Rest - oil on canvas - 20 x 24 in.

GEORGE SEIDENECK

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

RALPH WATERHOUSE

oil on canvas laid on board

TATIANA BOTTON - Water and Ice Details - metal backing with metal clips with acrylic front - 40 x 60 in.

Water and Ice Details

metal backing with metal clips with acrylic front

ANDREA MODICA - Fountain, CO - platinum palladium print - sheet: 8 3/4 x 11 3/4 in. image: 7 1/2 x 9 3/8 in.

sheet: 8 3/4 x 11 3/4 in. image: 7 1/2 x 9 3/8 in.

platinum palladium print

BESSIE LIDDLE - Seven Sisters Dreaming and Kuniya Dreaming - oil on canvas - 58 5/8 x 20 in.

Seven Sisters Dreaming and Kuniya Dreaming

58 5/8 x 20 in.

PAULETTE TAVORMINA - Roses and Figs - archival digital pigment print - 24 x 24 in.

PAULETTE TAVORMINA

archival digital pigment print

ARISTIDES DEMETRIOS - Kandinsky Horse - metal - 5 1/2 x 9 x 2 in.

ARISTIDES DEMETRIOS

Kandinsky Horse

5 1/2 x 9 x 2 in.

ALEX KATZ - Sunset: Lake Wesserunsett 4 - screenprint in five colors on American etching paper - 30 x 36 in.

Sunset: Lake Wesserunsett 4

screenprint in five colors on American etching paper

JOSEF ALBERS - Formulation: Articulation - screenprint - 10 x 12 1/4 in. ea.

Formulation: Articulation

10 x 12 1/4 in. ea.

Mary Jane Schmidt - Adobe Run 2 - acrylic on canvas - 40 x 60 in.

Mary Jane Schmidt

acrylic on canvas

JAE KON PARK - About Patterns - batik on fabric - 12 1/4 x 10 1/4 in.

12 1/4 x 10 1/4 in.

batik on fabric

VOLKER HUELLER - Tangier - Etching, Watercolor - 21 x 15.5 in.

Etching, Watercolor

MELVIN MARTINEZ - Bubble - mixed media on paper - 14 x 18 in.

MELVIN MARTINEZ

mixed media on paper

WILLIAM T. WILEY - It's Only a Pay Per Moon - lithograph and woodcut additions on chamois - 47 3/4 x 38 in.

WILLIAM T. WILEY

It's Only a Pay Per Moon

47 3/4 x 38 in.

lithograph and woodcut additions on chamois

JACQUES LIPCHITZ - Couple ed Enfant - etching, engraving and aquatint - 12 3/4 x 9 1/4 in.

JACQUES LIPCHITZ

Couple ed Enfant

12 3/4 x 9 1/4 in.

etching, engraving and aquatint

JOHN PFAHL - Australian Pines, Fort DeSoto, Florida (February 1977) - photograph - 8 x 10 in.

Australian Pines, Fort DeSoto, Florida (February 1977)

CLINTON HILL - Untitled - gouache on paper - 18 1/2 x 24 in.

18 1/2 x 24 in.

gouache on paper

ED DEAN - Ninja - rusted steel on black absolute granite - 16 x 16 1/2 x 9 in.

16 x 16 1/2 x 9 in.

rusted steel on black absolute granite

SAKAI HOITSU - 100 Otafuku - Fine painting in ink, colors and gold on silk - 40 1/2 x 11 x 12 in.

Meiji Period c.190

40 1/2 x 11 x 12 in.

Fine painting in ink, colors and gold on silk

MARINO MARINI - Untitled (From Shakespeare I) - lithograph - 29 1/2 x 22 in.

Untitled (From Shakespeare I)

29 1/2 x 22 in.

ELIOT PORTER - Coyote Gulch, Escalante River, Glen Canyon, Utah - dye-transfer print - 15 3/4 x 12 1/4 in.

Coyote Gulch, Escalante River, Glen Canyon, Utah

1971, printed 1980

15 3/4 x 12 1/4 in.

dye-transfer print

Provenance:
<br>Private Collection, CA

Child with Fence Posts

EARL STALEY - Powwow 19: Intertribal - acrylic on canvas board - 19 x 16 3/4 in.

Powwow 19: Intertribal

19 x 16 3/4 in.

acrylic on canvas board

TAKASHI MURAKAMI - Here Comes Media - offset lithograph in colors - 19 3/4 x 19 3/4 in.

TAKASHI MURAKAMI

Here Comes Media

19 3/4 x 19 3/4 in.

offset lithograph in colors

MARINE HUGONNIER - Mountain With No Name 3 (still from Ariana) - lambda print - 50 x 46 3/4 in.

MARINE HUGONNIER

Mountain With No Name 3 (still from Ariana)

50 x 46 3/4 in.

ALEX MACLEAN - Surfers, Sunset Beach Hawaii - cibachrome print - 30 5/16 x 43 1/2 in.

Surfers, Sunset Beach Hawaii

30 5/16 x 43 1/2 in.

cibachrome print

SHEPARD FAIREY - Aung San Suu Kyi - offset print on paper - 36 x 24 in.

Aung San Suu Kyi

offset print on paper

ROBERT INDIANA - Ten Works X Ten Painters - screenprint - 24 x 20 in.

Ten Works X Ten Painters

DANA SCHUTZ - Relic - lithograph - 24 x 18 in.

EDWARD STEICHEN - Walden Pond - silver gelatin print - 9 x 13 in.

EDWARD STEICHEN

silver gelatin print

JOAN NELSON - Untitled - acrylic ink and oil on paper - 2 x 1 1/2 in.

acrylic ink and oil on paper

RENE MAGRITTE - Pierreries (Precious Stones) - color lithograph on Rives BFK - 17 1/2 x 23 5/8 in.

Pierreries (Precious Stones)

17 1/2 x 23 5/8 in.

color lithograph on Rives BFK

DAVID MACH - (small white and lavender) - matchstick - 5 1/2 x 2 1/2 x 2 3/4 in.

(small white and lavender)

5 1/2 x 2 1/2 x 2 3/4 in.

KRISJANIS KAKTINS-GORSLINE - Autolysis Blush - oil on canvas - 28 x 22 in.

KRISJANIS KAKTINS-GORSLINE

Autolysis Blush

LAWRENCE SCHILLER - Barbra Streisand, Pg 23 - Silver Gelatin Print - 16 x 20 in.

LAWRENCE SCHILLER

Barbra Streisand, Pg 23

Silver Gelatin Print

DAVID WHARTON - Matchbox: The Tobacco Safety Match - watercolor on paper - 29 1/4 x 20 1/2 in.

Matchbox: The Tobacco Safety Match

29 1/4 x 20 1/2 in.

watercolor on paper

LINDA CONNER - Spanish Rider (Arizona) - toned gelatin silver photograph - 7 7/8 x 9 7/8 in.

Spanish Rider (Arizona)

7 7/8 x 9 7/8 in.

toned gelatin silver photograph

DAVID DAWSON - Hockney in Freud's Studio - color print - 12 x 16 in.

Hockney in Freud's Studio

CLARE RICHARDSON - Untitled I (from Sylvan) - c-print - 42 1/4 x 50 in.

CLARE RICHARDSON

Untitled I (from Sylvan)

42 1/4 x 50 in.

SARA GENN - Velva - acrylic on canvas - 20 x 16 in.

acrylic on canvas

TADAAKI KUWAYAMA - Untitled - silkscreen - 18 x 37 in.

TADAAKI KUWAYAMA

DANNY LYON - Mission, South Dakota - vintage gelatin silver print - 7 3/4 x 9 1/4 in.

Mission, South Dakota

7 3/4 x 9 1/4 in.

vintage gelatin silver print

OSVALDO BUDET - My First Time with Obama - graphite, diamond dust, glass, acrylic and glitter on a photograph - 27 1/2 x 43 1/4 in.

My First Time with Obama

27 1/2 x 43 1/4 in.

graphite, diamond dust, glass, acrylic and glitter on a photograph

ANTONY GORMLEY - Snowfall - monochrome - 27 3/8 x 39 1/5 in.

27 3/8 x 39 1/5 in.

FELANDUS THAMES - Untitled - acrylic on canvas - 24 x 24 in.

FELANDUS THAMES

acrylic on canvas

ANN DIENER - Bourne #1 - graphite Prismacolor, ink and cut paper on paper - 14 x 16 in.

graphite Prismacolor, ink and cut paper on paper

ROBYN DENNY - Untitled - screenprint - 24 x 21 in.

LYNN DAVIS - Icebergs (Disco Bay, Greenland) - toned gelatin silver print - 13 1/4 x 11 in.

Icebergs (Disco Bay, Greenland)

13 1/4 x 11 in.

toned gelatin silver print

LAWRENCE LEE - Big Lips - India Ink, graphite, tea stains, pen and watercolor - 7 x 7 in.

India Ink, graphite, tea stains, pen and watercolor

WOJCIECH FANGOR - White Ellipse - oil on canvas - 25 x 28 in.

WOJCIECH FANGOR

DENNIS OPPENHEIM - Sculpture Installation Photograph - print - 14 x 18 1/2 in.

DENNIS OPPENHEIM

Sculpture Installation Photograph

14 x 18 1/2 in.

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