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The Wildenstein Catalogue Raisonné of Monet paintings offers a note on this painting: “During his second stay in Pourville-Varengeville, Monet painted the customs’ officer’s cottage several times and from various angles. This general view shows it overhanging the Gorge du petit Ailly." Monet spent six months in this part of Normandy in 1882, and the cabin in this painting was one of his favorite motifs to revisit. It appears in eighteen paintings from that year, and another dozen from a later trip to the area in 1897. His fixation with this house on the hill later became a habit of working serially – each canvas a singularity registering a unique guise yet set sequentially and in direct relationship to other works within the series. Monet circumambulated and painted the cabin from so many angles that as a group, the paintings are not as clearly recognizable as a series as the celebrated grain-stacks, Rouen cathedral, or poplar series. Still, it is a fixed and iconic element that reappears in many of Monet’s paintings from this period.
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<br>Japanese woodblock prints were a life-long source of inspiration for Monet, and this piece in particular draws upon Hiroshige's "Utsu Mountain, Okabe," c. 1833. This print is part of a series called “The Fifty-three Stations of the Tōkaidō,” which documented scenic views from the major road that linked the shōgun’s capital, Edo, to the imperial one Kyōto. Monet amassed an extensive collection of woodblock prints – many of which are still on view at Giverny.

Le Chemin du Petit Ailly a Varengeville

23 1/2 x 28 7/8 in.

Circle of Animals/Zodiac Heads: Gold

bronze with gold patina

"The Great White Throne, Zion" from 1901 is a luminous canvas from one of the most important painters of the American landscape. Thomas Moran depicted his landscape subjects with a majestic and sublime quality, and he drew inspiration from travels throughout the American West. This painting presents the expansive monolith at Zion National Park in southwestern Utah. The sheer power of nature and the immensity of natural world emerge in Moran's compositions.
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<br>Moran was a member of the "Hudson River School," a group of painters responsible for reinventing the concept of landscape painting, in which observation within nature became the central element to creating a painting.
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<br>This painting has been in the same private collection for over 40 years.

The Great White Throne, Zion

oil on canvas laid on panel

"Femme debout et vue de face agrafant son corset" (1883) is an intimate scene of a dancer dressing that has remained in the same private collection for 13 years.
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<br>Here Degas experiments with Intimism, a cross current in 19th-century art where personal domestic scenes and interiors were depicted with intimate attention to the mood and feeling of the scene. The commanding, vertical composition accommodates a brilliant application of pigment on the right side of the canvas, where Degas experiments with atmospheric perspective. The gradations of color and light become as important as the figure for Degas -- perhaps he is paying homage to the "Nabis" circle, including Éduard Vuillard and Pierre Bonnard.
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<br>Comparable quality Degas works are rare in the marketplace. The majority of monumental canvases have been acquired by prominent institutions worldwide, including the National Gallery in London, the Metropolitan Museum of Art in New York, and Musée d'Orsay in Paris, among many others.

Femme Debout et vue de Face Agrafant son Corset

35 1/8 x 21 3/4 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

Alexander Calder's "The Palm Tree" (1947) has an understated beauty and brings to life Calder's mastery of the oil paint medium. The present work is registered in the archives of the Calder Foundation, New York, under application number #A08381. This painting was acquired by the current owner directly from Perls Galleries in New York in 1974. Perls was one of the primary dealers of Calder's work. The painting has never been to auction and has remained in the same private collection since 1974.

ALEXANDER CALDER

39 ½ x 29 ¾ in.

By the 1970s, when "Cantilever" was created, Alexander Calder was at the height of artistic prowess. He created this piece with an informed eye, having been working for the better part of the century on identifying and expounding upon his unique creative vision. One of the most instantly recognizable artists of his time, Calder was referred to as an "Engineer of Beauty" by his close friend and neighbor Robert Osborn. "Cantilever" is a bold experiment in balance, form, and color in the third dimension.
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<br>The work was exhibited at the Perls Gallery, Calder's primary dealer. Since that time, the work has remained in the same private collection. It is registered in the archives of the Calder Foundation, New York, under application number A08148.
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<br>It was also in 1973 that Alexander Calder completed the Monumental sculpture in Chicago, "Flamingo."

ALEXANDER CALDER

34 1/4 x 60 1/4 x 14 3/4 in.

sheet metal, wire and paint

"The Busy Bee" (1875), demonstrates Homer's influential excellence in watercolor. He began working in the medium in 1873, painting scenes of children and the daily lives of everyday people. Homer's prolific work in watercolor helped to establish it as a serious artistic medium.
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<br>This piece is from the reconstruction era and depicts a single figure. The boy depicted in "The Busy Bee" is a model that appears repeatedly in Homer's work from this period, including some of the most widely celebrated reconstruction era paintings like "Dressing for the Carnival" (1877) at the Metropolitan Museum of Art. Nearly all Homer’s works from of the reconstruction era south are in museum collections. Another painting of the same model, "Taking Sunflower to Teacher" (1875), is in the Georgia Museum of Art.
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<br>This work is available from a private collection where it has stayed for the last 25 years. It has been exhibited widely beginning in 1876 at the National Academy of Design in New York and going on to be exhibited throughout the 20th century at major American museums such as The Metropolitan Museum in New York, the Whitney Museum of American Art, the Los Angeles County Museum of Art, and The Amon Carter Museum of American Art in Fort Worth, Texas.

watercolor and gouache on paper

This early Matisse portrait, “Nu accoudé,” was created at a time when Synthetic Cubism was prominent, yet Matisse remains true to his more representational depiction of his subject. Influenced by approaches to visual art in North Africa and the Middle East, Matisse brought European art a fresh new aesthetic. The odalisque, or more generally the female figure, features prominently in the work of Matisse: drawings, prints, and paintings all depict the nude as well as partially clothed figures.
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<br>Drawing was the foundation for Matisse’s paintings. In the present work, you can see compositional attention that developed through the close study of his subject -- and the artist’s keen powers of observation and understanding of the sitter. “Nu accoudé” has an illustrious exhibition history and provenance. In addition to being owned by Galerie Bernheim-Jeune, the work was featured in a 1955 exhibition at the San Francisco Museum of Art.
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<br>Upon Matisse’s death in 1954 Pablo Picasso said, “When Matisse died, he left me his odalisques as a legacy.”

19 x 15 3/4 in.

Alexander Calder’s “Red Versus Yellow” (1973) evokes a delicate sense of balance in form and color. Calder began working on sculptures as early as 1909, and these early, often austere, pieces later developed into his iconic “Stabiles” and “Mobiles.” The “Stabile” form ranges in size from palm-sized works to monumentally scaled public art installations. The present work, “Red Versus Yellow” is a modestly sized work that shows the artist working with the confidence of a master. The piece is registered in the archives of the Calder Foundation, New York, under application number #A08159.
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<br>1973 was a prolific year for the artist; many seminal works were created in that year including, “Stegosaurus,” a 50’ tall sculpture created for the Wadsworth Atheneum, Hartford, Connecticut.
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<br>Calder's work is held in the collections of major museums worldwide including The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Whitney Museum of American Art in New York, the Art Institute of Chicago, and the Tate Gallery in London among many others.

ALEXANDER CALDER

Red Versus Yellow

21 7/8 x 23 1/2 x 9 1/2 in.

sheet metal, wire and paint

Blood Cinema is an elegant and interactive masterwork of steel and acrylic by Anish Kapoor. The artist’s most notable works are grand-scale public installations that explore perception, captivating and challenging viewers worldwide with iconic public installations such as Chicago’s Cloud Gate (2006) and in his well-known glass and mirror pieces. Resting on the floor like an oversized lens, Blood Cinema warps the viewer’s perspective and distorts its environment through ethereal shades of red, epitomizing Kapoor's capacity for viewer immersion.

77 1/4 x 77 1/4 x 18 3/4 in.

acrylic and steel

Rothenberg created Diagonal (1975) in the year of her breakout exhibition at 112 Greene Street in New York. Her Horses series reintroduced representational imagery when the dominant trends were abstraction and Minimalism. The painting’s expressive brushwork, sense of movement, and simplified forms result in a triumphant blend of figuration and abstraction. As in many of Rothenberg's important works, Diagonal evokes the muted and enchanting colors and atmosphere of her adopted home in the American Southwest.

SUSAN ROTHENBERG

45 7/8 x 60 1/8 in.

acrylic and tempera on canvas

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.

A Whirling Square

acrylic on canvas

One of the most celebrated artists of the American West, Charles Russell deeply appreciated Native American culture with particular focus on the Northern Plains Indians. He spent the summer of 1888 living near the camps of the Blackfeet, Piegan, and Blood Indians in Canada, which would inspire his work for decades to come. One of the first "Western" artists to live the majority of his life actually in the West, Russell lived in Montana from the age of 16.
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<br>Russell achieved great popularity during his lifetime for his emotionally charged depictions of the people and places he observed. This direct familiar observation added a depth to his work that was groundbreaking and affecting. Russell would work on the preliminary studies for his paintings in nature, out in the wild.
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<br>“Cascade Buffalo Hunt” has remained in a private collection for nearly 50 years.

CHARLES RUSSELL

Cascade Buffalo Hunt

18 1/4 x 24 in.

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.

"Bateaux et Barques aux Martigues" (1907) exhibits the Fauvist style that would come to define Modern European Art from about 1904-1910. The Fauves or "Wild Beasts," as they were known for their revolutionary and unrestrained use of color, would exhibit together and work in the same French villages and locations. Henri Matisse, André Derain, Maurice de Vlaminck, and others in the group first showed together in 1905 at the annual Salon d'Automne in Paris.
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<br>Raoul Dufy was particularly fond of painting coastal scenes in the south of France; he would return to paint the stunning Mediterranean landscape throughout his career. "Bateaux et Barques aux Martigues" shows the influence of Paul Cezanne in its geometric structure and attention to composition. The present work was exhibited in the 2015 Museo Thyssen-Bornemisza exhibition, "Raoul Dufy."

Bateaux et Barques aux Martigues

18 x 21 1/2 in.

Shortly after his major retrospective exhibition at the Museum of Modern Art in New York in 1941, Salvador Dalí parlayed the idea of accumulated, or “flowering,” eyes into a grand oil and tempera painting for the set of his 1944 ballet Mad Tristan. In this painting from the same year," Les Yeux Fleuris," Dalí depicts three rows of four eyes with long lashes and a tear dropping on a brick wall backdrop. Eyes appear in Dalí paintings, sculpture, and jewelry throughout his career — as late as the 1981 painting Argus and, most notably, in paintings Dalí made for the dream sequences of the film Spellbound directed by Alfred Hitchcock.

Les Yeux Fleuris

27 x 19 3/8 in.

Studio interiors remained a favored subject for artists throughout the 19th and 20th Centuries. David Hockney’s “Bridlington Studio Interior” (1996) was painted during a difficult time for the artist. His mother’s illness in 1996 compelled the artist to use warmer colors and paint simple subjects such as still lifes, portraits, and interiors. The studio depicted here was located at Hockney's mother's house in Bridlington on the Yorkshire coast, evoking a sense of nostalgia that is deeply personal to the artist and drawing the viewer into the space. This emotionally charged work features a space devoid of figures; the easel and chairs are the only intimations of the presence of people.
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<br>“I love life. I write it at the end of letters – 'Love life, David Hockney.' When I’m working, I feel like Picasso, I feel I’m 30. When I stop I know I’m not, but when I paint, I stand up for six hours a day and yeah, I feel I’m 30. Picasso said that, from the age of 30 to 90, he always felt 30 when he painted.”- David Hockney

Bridlington Studio Interior

18 1/8 x 25 5/8 in.

Studio interiors remained a favored subject for artists throughout the 19th and 20th Centuries. David Hockney’s “Bridlington Studio Interior” (1996) was painted during a difficult time for the artist. His mother’s illness in 1996 compelled the artist to use warmer colors and paint simple subjects such as still lifes, portraits, and interiors. The studio depicted here was located at Hockney's mother's house in Bridlington on the Yorkshire coast, evoking a sense of nostalgia that is deeply personal to the artist and drawing the viewer into the space. This emotionally charged work features a space devoid of figures; the easel and chairs are the only intimations of the presence of people.
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<br>“I love life. I write it at the end of letters – 'Love life, David Hockney.' When I’m working, I feel like Picasso, I feel I’m 30. When I stop I know I’m not, but when I paint, I stand up for six hours a day and yeah, I feel I’m 30. Picasso said that, from the age of 30 to 90, he always felt 30 when he painted.”- David Hockney

Bridlington Studio Interior

18 1/8 x 25 5/8 in.

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.

"San Loretto" (2008) references a story from the Catholic faith, in which the house of the Holy Family was miraculously transported out of Nazareth for protection during the Crusades. The story appeals to Anselm Kiefer's distinctive visual themes of ruin and renewal, depicting the great effort of carrying the structure to Italy while speaking to the destruction of the Crusades. The buildup of fragments and rubble on San Loretto coalesces into an image of a bird, which combined with the title and its layers of meaning, suggests the figure of a dove and even the Holy Spirit. Kiefer has said, “People think of ruins as the end of something, but for me they were the beginning. When you have ruins you can start again."
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<br>The painting shows Kiefer’s desire to create a self-contained world within the confines of the canvas; the winged form flies effortlessly across a vast, open landscape created using Kiefer’s favored thick-Impasto surface.
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<br>Kiefer draws from a variety of sources for the subjects of his work, including Judeo-Christian themes, mythological subjects, and German history itself. Kiefer can produce some of the most provocative and innovative works of our time using his automatic process. Much like the spontaneous working nature of Jackson Pollock before him, Kiefer is spiritually connected to the work during the creative process, letting his subject come through at the moment.
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<br>In honor of Kiefer’s 70th birthday, the Centre Pompidou, the Bibliothèque Nationale in Paris, and the Museum der bildenden Künste in Leipzig hosted a retrospective exhibition for the artist in 2015. The present work has been held in a private collection since its creation.

mixed media on canvas

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

1962 Plus 35 Nude Sketch II

43 x 58 5/8 in.

alkyd oil on canvas

"Ohne Titel (Merzbild Mit Schuhsohle)," Untitled (Merz Picture with Show Sole)," is representational of European Avant Garde trends of the early 20th Century, including most notably the Dada movement. Kurt Schwitters was born in Hanover, Germany, in 1887 and studied at the Dresden Academy. As an early associate of the Dada movement, it was planned for Schwitters to start a Hanover outpost of sorts for the group, but this never came to fruition.
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<br>An assemblage of found and crafted objects, the present work is typical of the Merz style, for which Schwitters is most highly lauded. Merz is a made-up term and describes the large assemblages and room installations that comprised the artist's output during the 1920s and 1930s. Schwitters is known as a father of installation art and was incredibly influential to artists such as Jasper Johns, Robert Rauschenberg, and Anselm Kiefer.

KURT SCHWITTERS

Ohne Titel (Merzbild Mit Schuhsohle)

21 1/4 x 17 3/4 in.

oil and relief assemblage on plywood

DAVID BREUER-WEIL - Flight - bronze - 275 in.

DAVID BREUER-WEIL

conceived in 2018

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

Cape Split, Maine

22 1/4 x 28 1/4 in.

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

The Human Condition

A favorite artist of Solomon R. Guggenheim, Bauer was a prominent early figure of the non-objective art movement at the beginning of the 20th century. "Larghetto III" is among a series of early works with musically inspired titles. Guggenheim so admired the artist that he purchased more than 300 of Bauer's works, forming the foundation of his collection.
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<br>The opening of Guggenheim's Museum of Non-Objective Painting in 1939 featured work by Rudolf Bauer and Wassily Kandinsky. Classical music played in the exhibition space.
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<br>German-born Bauer worked closely with the legendary "Der Sturm" gallery in Berlin. He was also imprisoned by the Gestapo for some time because of his subversive art. He emigrated to the United States upon his release in 1939.
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<br>The influence of Bauer's work can be seen in the paintings of Jackson Pollock and Arshile Gorky, among many others.

oil and tempera on cardboard

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.

12 7/8 x 19 3/8 in.

charcoal on paper

One of the most important and influential of the Abstract Expressionists, Helen Frankenthaler is famed for her soak-stain method. She thinned oil paint with turpentine before pouring it onto unprimed and unstretched raw canvas. This technique allowed the paint to spread across the surface while also soaking into the canvas itself, rather than sitting on top of a primer. She would call the meeting of colors on the canvas “well-ordered collisions.”
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<br>Frankenthaler’s method would become an impetus for the Color Field branch of Abstract Expressionism with Morris Louis citing her as an influence. Her influence was so immense, Louis even declared that she was “the bridge from [Jackson] Pollock to what was possible."
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<br>This painting showcases her switch to acrylics and the combination of technique at play – her soak-stain method layered with gestural thick swaths of paint, called impasto. The palette here is alluring in pale pink with thick accents of silver, graphite and copper (minerals), yellow, orange, and red. The title "Mica" has a double meaning, referring to the mineral group of colors and the Latin "micare" meaning "to glitter."

HELEN FRANKENTHALER

47 1/4 x 42 5/8 in.

acrylic on canvas

Not Vital - Tongue - stainless steel - 307 x 67 x 59 in.

307 x 67 x 59 in.

stainless steel

Society portraiture was an inventive exercise for Warhol at a time when formal portraits were thought of as a relic of a bygone era. More than a decade before creating the present example, "Portrait of a Lady" (1984), Warhol began referring to himself as "just a travelling society painter." Many of his best-known works are his commissioned pieces of glamorous and prominent figures of popular culture. All of his society portraits are the same dimensions as Warhol wanted them to be able to fit together in one space, forming one large Portrait of Society.
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<br>In preparation for each portrait, Warhol took several Polaroids of his subject. From these initial Polaroids, he developed screens for the unique portrait to be printed in ink over the painted canvas. Warhol completed his first commissioned portrait in 1963, of Ethel Scull. The portraits could be commissioned in groups, and sitters could have more than one made with varying colors and subtle differences in execution.

Portrait of a Lady

40 x 40 x 1 1/2 in.

synthetic polymer and silkscreen colors on canvas

98 3/4 x 79 1/4 in.

acrylic on canvas

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

DAVID BREUER-WEIL

conceived in 2012

bronze with brown patina

This painting has remained in the same private collection since its creation. Along with its companion work, "Untitled" (1991) was on display in the lobby of Chicago's Heller International Building at 500 West Monroe Street from the building's opening in 1992 until its renovation in 2015.
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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 museum exhibition, "Julian Schnabel: Symbols of Actual Life" at the Legion of Honor, Fine Arts Museums of San Francisco, in 2018, featured several of Schnabel's large-scale paintings.

JULIAN SCHNABEL

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

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

Carl Andre’s floor sculptures are typically made from glowing tiles of lead, zinc, or copper. They differ from most other minimalist artwork in their accessibility: they are meant to be walked on. Art historically, Andre places himself in the lineage of Constantin Brancusi and Henry Moore. Andre continues in their tradition of reducing the vocabulary of sculpture to its most vital and simple forms. The works also speak to Donald Judd’s idea of “specific objects,” which emphasized the phenomenological experience of the viewer and an exploration of structure and space.

16 Ace Zinc Square

16 x 16 x 1/4 in. ea./installed 64 x 64 x 1/4 in.

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. He is perhaps best recognized for paintings incorporating words and phrases, or for his many photographic books, all influenced by the deadpan irreverence of the Pop Art movement.
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<br>Ruscha employs words as images, taking phrases out of their original context and transforming them into subject matter. As with his East Coast Pop counterparts Andy Warhol and Roy Lichtenstein, Ruscha’s initial artistic training was in commercial art – a background evident in his iconic typographical works. In this painting from 2013, the words “Evolution Revolution” overlay a serene mountain silhouette. Describing his inspiration, Ruscha once said, “I like the idea of a word becoming a picture, almost leaving its body, then coming back and becoming a word again.”

Evolution Revolution

acrylic on museum board

Andy Warhol's portrait of Dorothy Blau highlights the close ties between them and is evidence of how each pushed the other. Blau was a close friend of Andy Warhol and a pillar of the art scene in Miami. She has the rare distinction of being a repeated subject in Warhol's work as he created portraits of her two times, three years apart. This red canvas presents a younger Blau in her first Warhol portrait in 1983.
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<br>Warhol credited Blau as a critical component in his rise to international fame and as a pillar of 20th century art. This 1980s portrait contains all of the hallmarks of Warhol during his last decade, a period in which he found renewed creative impulses and a return to hand painting.

Portrait of Dorothy Blau-Red

acrylic and silkscreen ink on canvas

GRANVILLE REDMOND - The Evening Desert - oil on canvas - 41 x 49 in.

GRANVILLE REDMOND

The Evening Desert

Andy Warhol, who famously said that, “In the future, everybody will be famous for 15 minutes,” was known for his portraits of influential and powerful celebrities, businesspeople, and socialites. He was obsessed with exploring hallmarks of a consumer society such as wealth and fame. From his renowned Factory studio in New York, Warhol became a pop culture icon, one of the most important artists of the 20th century, and a name synonymous with Pop art.
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<br>Warhol's notable Death and Disaster series addresses depictions of death in the media, commenting on desensitization through repeated imagery. Often using photos from mass-circulated newspapers, magazines, and tabloids, Warhol took them out of the journalistic context and appropriated them in artwork. “Electric Chairs” (1971), based on an image of the electric chair at Sing Sing Prison, belongs to this series. Warhol first used this subject matter in 1963 and returned to the image for this 1971 set of prints, in which he put more prominence on the chair by cropping the image. Here, Warhol repeats the image ten times in different color combinations. Each screenprint is hand-signed and stamped on the verso.

Electric Chairs

35 3/8 x 47 7/8 in. ea.

Julian Schnabel is an American painter whose style is associated with the Neo-Expressionist movement of the 1980s. Pascin Pig Passin Time is part of Schnabel’s broken plate series of paintings, inspired by the trencadís, or broken tile mosaic, of architect Antoni Gaudí. With a humorous title and depicting his first wife, Jacqueline Beaurang, the broken ceramics give Schnabel an assertive and textural surface in which to create large-scale works that captured the brash and audacious period of the 1980s.

JULIAN SCHNABEL

Pascin Pig Passin Time

48 x 40 x 6 in.

oil, plates, and bondo on board

After his move to Paris in 1950, Sam Francis began to use vibrant, bold color in his painting. Influenced by Henri Matisse, Francis evolved his palette to include bright reds, yellows, whites and blues. “New York, New York” is an exemplary work that shows the influence of the Parisian art scene on the artist. Francis provides the link between the audacious American Abstract Expressionism and the more calligraphic European Tachisme.

New York, New York

39 3/4 x 27 in.

gouache/egg tempera on gessoed French paper

"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.

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

Lions on the Dreyfus Fund, Inc.

63 x 35 1/2 in.

pencil and oil on cut wood and canvas

Gabriel Orozco is one of the preeminent artists working today. A native Mexican, Orozco gained initial recognition in the 1990s through his artistic creations across a wide range of media, including sculpture, drawing, photography, and installation works. Orozco had a significant mid-career traveling retrospective that ended in 2011 at the Tate Modern. He is widely regarded as one of the most innovative artists of our time.
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<br>“Samurai Tree - Invariant Gold 2” (2005) is part of the “Samurai Tree” series, the genesis of which was an exploration into the geometry of the circle in drawings Orozco produced on graph paper before 2004.
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<br>“I thought that by establishing some rules, I could build up a structure that behaves like a sculpture,” says the artist, “so it’s a flat mobile maybe, or it’s a diagram that’s rotating and moving. And behaving not like a painting, in a way.”

Samurai Tree - Invariant Gold 2

47 1/4 x 47 1/4 in.

acrylic on canvas

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

Gary Hume's "Seabird" (2006) is a bold, innovative work that shows his talent in seamlessly forming a geometric composition with his signature gloss-paint on aluminum technique. This piece is bright, playful, and an excellent example of Hume's work.
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<br>Gary Hume was an early member of the "YBA" or Young British Artist group. Hume participated, alongside Damien Hirst, in the seminal 1988 London exhibition "Freeze." Elected to the Royal Academy in 2001, Hume was also nominated for the 1996 Turner Prize. The artist was also subject of a critically acclaimed 2013 retrospective exhibition at the Tate Britain.
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<br>Hume's work is widely represented in Museum collections worldwide, including the Metropolitan Museum of Art in New York, The Philadelphia Museum of Art, and the Tate in London.

87 x 48 1/2 x 1 1/4 in. ea.

gloss paint on aluminum in four panels

In the 1970s, Butterfield made her first horses from plaster, papier-mâché, and mud and sticks. In 1980, she traveled to Israel on a John Simon Guggenheim grant, and worked with steel and other detritus of wars, and determined the material held emotional content. This set her on a course of making horses with found and welded steel, fused aluminum, copper, and wood — materials that also have a history. Butterfield’s “Yellow River,” c. 1984, is an uncommon example of the artist’s work as the subject is in repose with an experimental minimalist aesthetic. Created using scrap metal from a school bus, the painted steel elements seem to combine organically. Butterfield is widely recognized for her materials-oriented approach to sculpture.
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<br>Deborah Butterfield's work is included in numerous museum collections, including the Honolulu Museum of Art, the Rockwell Museum, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Delaware Art Museum, the Boise Art Museum, the Albrecht-Kemper Museum of Art, the Neuberger Museum of Art, and the Rockford Art Museum among many others.

DEBORAH BUTTERFIELD

26 x 96 x 56 in.

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

EDWARD HOPPER - Old Ice Pond at Nyack - oil on canvas - 11 3/4 x 19 3/4 in.

Old Ice Pond at Nyack

11 3/4 x 19 3/4 in.

Kenny Scharf established his reputation working in 1980s New York as a street artist. His organic forms - as seen in “Kolorbz” - are instantly recognizable. Scharf now works from Los Angeles where he began his career. He has decorated the facades of several buildings across the metropolitan area, including a project at the former Pasadena Museum of California Art. Scharf is associated with the Lowbrow art movement, a term which he pioneered and used and which refers to a combination of Pop Art and Surrealism.
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<br>In March 2020, Scharf set a new auction record of $525,000 for a depiction of the Flinstones estimated to sell for 20-50k. As the prices for Scharf’s contemporaries continue to soar into the stratosphere, many collectors and institutions are re-evaluating the Scharf market to reflect his art historical importance. Acquired directly from the artist, "Kolorbz" is a signature Scharf work, full of personality and energy with a burst of vibrant color.

oil and 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

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

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

With a Quick, Noiseless Stride, He Crossed the Narrow Space

30 1/4 x 20 1/8 in.

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

Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

Widely respected photo-realist painter Davis Cone (b.1950) showcases his immense talent in “River Oaks Theater”. The stage-like composition with an immaculate sense of detail and realism is almost indistinguishable from a photograph. Along with Richard Estes and Ralph Goings, Davis Cone emerged as one of the pre-eminent photo-realists working after the 1970s.
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<br>Cone is widely collected by museums and exhibited regularly with the O.K. Harris gallery in New York City from 1979-1998.

River Oaks Theater

40 x 61 1/4 in.

acrylic on canvas

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

MATTHEW MONAHAN

107 x 62 x 27 in.

NATHAN OLIVEIRA - Standing Figure #4 - oil on canvas - 66 x 54 in.

NATHAN OLIVEIRA

Standing Figure #4

NATHAN OLIVEIRA - Antlers - oil, alkyd and wax on canvas - 84 x 70 x 1 1/2 in.

NATHAN OLIVEIRA

84 x 70 x 1 1/2 in.

oil, alkyd and wax on canvas

NATHAN OLIVEIRA - Han Stele with Wheels - oil and alkyd on canvas - 84 x 70 in.

NATHAN OLIVEIRA

Han Stele with Wheels

oil and alkyd on canvas

NATHAN OLIVEIRA - Seated Man in Room - oil on canvas - 78 x 60 x 1 in.

NATHAN OLIVEIRA

Seated Man in Room

78 x 60 x 1 in.

NATHAN OLIVEIRA - Wing IV - oil on canvas - 84 x 63 in.

NATHAN OLIVEIRA

Guenther Uecker and his avant-garde contemporaries experimented with monochromatic color, light, materiality, and repetition. For Uecker, this experimentation manifested in his noteworthy nail-covered canvases. The 1984 piece, Poesie der Destruktion – Poetry of Destruction – presents a tumultuous arrangement on a neat square background. The swarming bed of nails evokes a forceful action with violent connotations. Black and orange swaths of oil paint undulate on the rough surface beneath the exterior of hammered and bent metal. The composition suggests wreckage, yet it lives in the context of artistic creativity, urging the viewer to observe the coexistence of creative and destructive forces.

GUENTHER UECKER

Poesie der Destruktion

24 x 24 x 5 1/2 in.

mixed media on canvas

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

Celebrated for his vivid use of color, grand presentations of the female figure, and skillful work in multiple media, Tom Wesselmann was one of the most influential artists to emerge from the Pop art movement during the 1960s. Originally planning a career as a cartoonist, Wesselmann quickly established himself as one of the driving forces of contemporary art in New York. Since 1983, Tom Wesselmann used enamel on cut-out steel to depict his loose and energetic, yet meticulous, sketches in the third dimension. Ranging in scale, the sculptural works are an innovative part of the artist’s oeuvre.
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<br>Wesselmann's work is included in museum collections worldwide, including the Whitney Museum of American Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the Albright-Knox Art Gallery, the Museum of Modern Art in New York, the Walker Art Center, and the National Galerie, Berlin, among many others.

Monica Reclining in Chinese Robe

enamel on cut-out steel

AARON CURRY - Yellow Bird Boy - powder-coated aluminum and steel - 114 x 97 x 60 in.

Yellow Bird Boy

114 x 97 x 60 in.

powder-coated aluminum and steel

"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.

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

WOJCIECH FANGOR - Red Moons 2 - oil on canvas - 71 x 26 in.

WOJCIECH FANGOR

SADAMASA MOTONAGA - Untitled - oil on canvas - 16 x 12 1/2 in.

SADAMASA MOTONAGA

16 x 12 1/2 in.

MERET OPPENHEIM - Untitled - horse hair and photo collage on title page - 9 1/2 x 7 1/2 in.

MERET OPPENHEIM

9 1/2 x 7 1/2 in.

horse hair and photo collage on title page

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

A leading artist of the Arte Povera movement in the 1960s and '70s, Jannis Kounellis challenged the traditional media of art making. His work often incorporates natural or everyday materials, installation, or performance. Untitled (2014) is a unique example of his sculptural work in iron, canvas, and enamel. A common thread in his work is a sense of isolation experienced in contemporary society, combining elements of the past and the present to address memory, detachment, history, and loss. Kounellis once explained, “[art] must be born of historical necessity: that is, it must be of a historical situation and constitute the indispensable language of that moment.”

JANNIS KOUNELLIS

78 3/4 x 70 7/8 x 4 3/4 in.

iron, canvas and enamel

Richard Prince is one of the most influential names in contemporary art. Prince is part of The Pictures Generation, a loosely associated group of artists who appropriated mass media imagery to examine and question issues of stereotypes, cultural tropes, and the constructed narrative of images. Prince and The Pictures Generation helped to usher in post-modernism in art.
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<br>In the late 1970s, Richard Prince began taking photographs of photographs, appropriation art in line with the readymades of Marcel Duchamp. "Untitled (Portrait)(Boy)" was included in the sensational 2014 Gagosian exhibition, New Portraits. For this series, Prince himself commented on each of the Instagram images and appropriated them for this body of work, creating a precise snapshot of our time. This work and series ask us to question the meaning within the proliferation of “selfies” and how people use these images to create and to project a narrative of themselves. It also challenges ideas of authorship, both constructing and deconstructing the nature of images while capturing a sense of immediacy within the apparatus of social media.

Untitled (Portrait)(Boy)

65 3/4 x 48 3/4 in.

inkjet 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

Celebrated for his vivid use of color, grand presentations of the female figure, and skillful work in multiple media, Tom Wesselmann was one of the most influential artists to emerge from the Pop art movement during the 1960s. Originally planning a career as a cartoonist, Wesselmann quickly established himself as one of the driving forces of contemporary art in New York. Since 1983, Tom Wesselmann used enamel on cut-out steel to depict his loose and energetic, yet meticulous, sketches in the third dimension. Ranging in scale, the sculptural works are an innovative part of the artist’s oeuvre.
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<br>Wesselmann's work is included in museum collections worldwide, including the Whitney Museum of American Art, the Smithsonian American Art Museum, the Art Institute of Chicago, the Albright-Knox Art Gallery, the Museum of Modern Art in New York, the Walker Art Center, and the National Galerie, Berlin, among many others.
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<br>"Partial Monica with Hat and Beads" is from the collection of Gloria Luria, a pioneer of the art scene in Miami as an art dealer and collector. She introduced into the region artists that are today considered icons of art history: Pat Steir, David Hockney, Andy Warhol, Arakawa, Helen Frankenthaler, Joan Mitchell, Robert Rauschenberg, James Rosenquist, Larry Rivers, Claes Oldenburg, and many more. Luria has dedicated her life to fostering a thriving culture in the region from being a founding member and president of the Art Dealers Association of South Florida to helping bring the art fair, Art Miami, to the Miami Beach Convention Center. Her philanthropic generosity also extends to the performing arts, helping support Tanglewood and the Boston Symphony Orchestra, and the Adrienne Arsht Center for the Performing Arts and the New World Symphony.

Partial Monica with Hat and Beads

enamel on laser-cut steel

ALEXANDER CALDER - Card Players - gouache on paper - 29 x 42 in.

ALEXANDER CALDER

gouache on paper

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

When Life Magazine ran a slick pictorial spread entitled “Women Artists in Ascension” in their May 13, 1957 issue, it named Grace Hartigan “the most celebrated of the young women artists.” Truthfully, any one of the five women – Grace Hartigan, Lee Krasner, Joan Mitchell, Elaine de Kooning, and Helen Frankenthaler — identified by Mary Gabriel in Ninth Street Women as the key female members of the New York School of painters would have felt the claim marginalized their work when freighted with the qualifier ‘woman’. After all, they were forging their way into the emerging art scene at the very moment of the ascendance of Abstract Expressionism and doing so on equal terms with the men. Yet the more important point is that the assertion is in fact, true. During the 1950s, Hartigan was the most successful female artist of the time. Beginning in 1951, solo exhibitions had become a yearly occurrence at the Tibor de Nagy Gallery. In 1953, Alfred Barr, director of the Museum of Modern Art instructed the institution to purchase her canvas “The Persian Jacket”. To his mind, Hartigan’s diametrically brushed images utilized the lessons of abstraction to figurative ends that proved not a retreat from Pollock, but a way forward. It would be the first work by a ‘second-generation’ New York School painter of either gender accepted into a museum collection, let alone the Museum of Modern Art. Hartigan painted this piece, "Still Life with Blue Wall" that same year.
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<br>Hartigan continued to work within a range between representationalism and abstraction; a predilection she shared with both Elaine and Willem de Kooning. Early on, the hurly-burly activities and window displays outside her third-story studio were the visual sweetmeat she incorporated and served to showcase her abilities as one of the strongest colorists of the New York School.

Still Life with Blue Wall

JOHN PHILIP FALTER - Spring Light - tempera on board - 22 x 40 in.

JOHN PHILIP FALTER

tempera on board

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

ELAINE DE KOONING - Untitled (Totem Pole) - oil on canvas stretched over cardboard cylinders - 97 x 12 3/8 x 12 3/8 in.

ELAINE DE KOONING

Untitled (Totem Pole)

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

oil on canvas stretched over cardboard cylinders

IRVING NORMAN - To Have and Have Not, Charity Gala - oil on canvas - 92 x 104 in.

To Have and Have Not, Charity Gala

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

ALEXANDER CALDER

Woman with Square Umbrella

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

“Man with Hoops” (1946) is a proto-Abstract Expressionist sculpture by David Hare. Flirting with surrealist elements, the present work shows how monochromatic creations convey a wide range of artistic expression in the third dimension. Much like Picasso’s sculptures from the same period, Hare references African sculptural traditions and art historical precedents for quasi-abstract figures.
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<br>Hare was included in the "Dada, Surrealism, and Their Heritage" exhibition of 1968 at the Museum of Modern Art, New York.

67 1/2 x 32 x 24 in.

gesso, wood, hessian, and plaster on steel base

“Angus” (c. 2000) is a cast bronze work that showcases Deborah Butterfield’s dedication to depicting the horse in the third dimension. This piece has had only one owner, a friend of the artist.
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<br>Butterfield's choice of material, often natural or industrial, is central to the effect of her work. Her driftwood pieces such as this one are some of her most highly celebrated for their graceful compositions of seemingly fragile and worn materials set with the permanence and solidity of bronze. She has spoken of her chosen subject matter as a sort of self-portrait, drawing parallels between the character of the horse, its connection to its natural environment, and the varied expressions of serenity and power within the human experience. Butterfield was born the same day as the 75th Kentucky Derby and partly credits this for her desire to feature horses so prominently in her work.
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<br>The compact size of the work is a stark contrast to the other large examples, some of which are wall sculptures. Comparable quality Butterfield sculptures are featured in prominent museum collections, including The New Orleans Museum of Art, The Modern in Fort Worth, and Purdue University collections, among others.

DEBORAH BUTTERFIELD

36 x 42 x 11 in.

cast bronze with patina

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

65 x 58 x 40 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.

chrome-plated aluminum

WILLIAM KENTRIDGE - World on its Hind Legs - metal and wood - 64 x 26 x 30 in.

WILLIAM KENTRIDGE

World on its Hind Legs

64 x 26 x 30 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

“Picnic in Yellow” is a painting from Roland Petersen’s famed “Picnic Series”. From 1961, the theme of picnics became central to Petersen and showcased his skill with, color, paint, and composition. Within this series and in this painting, there is a thoughtful and meticulous arrangement of figures around a table and nestled within the landscape. So, too, are there intense diagonals that cut across the painting, emphasized with both planes of color and thick paint.
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<br>Petersen’s picnic series, particularly the early ones from 1961 as in “Picnic in Yellow”, show a deep understanding of art history in their relationship to the geometric planes of color of Post-Impressionists like Paul Cezanne. Petersen creates a symphony of color and hues in “Picnic in Yellow”, also suggesting a dialogue with the Fauvists and their outrageous use of color. But, far from cold examinations into configuration and color, Petersen maximizes the ability of oil paint by creating mounds of impasto which creates depth and warmth via texture in the picnic series paintings of 1961. This daring use of impasto would soon cease by the early 1970s as Petersen would switch to acrylic paint due to his allergy to oil paints.

ROLAND PETERSEN

Picnic in Yellow

ALEXANDER CALDER - Signalisations - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

30 x 43 3/8 in.

gouache and ink on paper

ALEXANDER CALDER - Shadowed Sun - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

30 x 43 3/8 in.

gouache and ink on paper

ALEXANDER CALDER - Orange and Black Spiral - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

Orange and Black Spiral

30 x 43 3/8 in.

gouache and ink on paper

More than an artist, Theaster Gates also works as curator, urban planner, and project facilitator. From sculpture to painting, installation to public projects, Gates’s works are hubs in which to question labor and commodity while also bringing to the fore people and things that are often unseen and unheard. Convex Concave takes custom-made bricks that Gates had previously used for Black Vessel for a Saint at the Walker Art Center and repurposes it into a painting-like sculpture that references minimalist artist like Sol LeWitt, the labor of making bricks, and the original context of the bricks for the installation at the Walker.

34 1/2 x 35 31/2 x 3 1/8 in.

ROBERT MOTHERWELL - In Black and White - oil on paper mounted on board - 22 3/4 x 28 3/4 in.

ROBERT MOTHERWELL

In Black and White

22 3/4 x 28 3/4 in.

oil on paper mounted on board

WOJCIECH FANGOR - Green Points - oil on canvas - 52 7/8 x 33 1/2 in.

WOJCIECH FANGOR

52 7/8 x 33 1/2 in.

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

201 x 48 x 48 in.

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

201 x 48 x 48 in.

HERB ALPERT - Hope - bronze - 212 x 48 x 48 in.

212 x 48 x 48 in.

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

IRVING NORMAN - The Academy - oil on canvas - 110 x 90 in.

IRVING NORMAN - Funeral of the Gods - oil on canvas - 90 x 110 in.

Funeral of the Gods

MIMMO PALADINO - Untitled - copper and bronze - 149 x 23 x 30 1/2 in.

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.

IRVING NORMAN - Interrelations - oil on canvas - 120 x 80 in.

IRVING NORMAN - The Summit, The Ultimate Summit - oil on canvas - 120 x 80 in.

The Summit, The Ultimate Summit

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

ROLAND PETERSEN - Girl with Trees - oil on canvas - 71 x 59 1/2 in.

ROLAND PETERSEN

Girl with Trees

71 x 59 1/2 in.

JEAN-BAPTISTE GREUZE - Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length - oil on panel - 23 5/8 x 19 3/8 in.

JEAN-BAPTISTE GREUZE

Portrait of Jeanne Philiberte Ledoux (1767–1840), half-length

23 5/8 x 19 3/8 in.

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 DIEBENKORN - Blue Surround - spit bite aquatint & drypoint aquatint on paper - paper: 35 x 26 1/4 in.

RICHARD DIEBENKORN

paper: 35 x 26 1/4 in.

spit bite aquatint & drypoint aquatint on paper

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

PAUL JENKINS - Phenomena By Return - acrylic on canvas - 104 3/4 x 49 5/8 in.

Phenomena By Return

104 3/4 x 49 5/8 in.

acrylic on canvas

American artist Robert Rauschenberg helped to revolutionize art in the 20th century through his assemblages incorporating found objects and pop culture. For the Hoarfrost series, Rauschenberg used solvent to transfer images from newspapers and magazines to unstretched fabric. Hoarfrost is a kind of lacy film made up of minute, needle-like ice crystals. Rauschenberg evoked the transience of the hoarfrost by printing newspaper and magazine pages on overlapping layers of delicate fabrics. Other pieces in this series are in the collections of The Guggenheim, MoMA, SF MOMA, the National Gallery of Art and Tate.

ROBERT RAUSCHENBERG

Berm (Hoarfrost)

62 1/2 x 35 1/2 in.

solvent transfer on fabric with cardboard

ANTHONY CARO - Figure in a Tub - bronze - 42 x 30 1/4 x 24 1/4 in.

Figure in a Tub

42 x 30 1/4 x 24 1/4 in.

IRVING NORMAN - Farewell - oil on canvas - 90 x 100 in.

IRVING NORMAN - M.F.I. Complex - oil on canvas - 100 x 76 in.

IRVING NORMAN - Supreme Justice - oil on canvas - 100 x 76 in.

Supreme Justice

IRVING NORMAN - To the Unknown - oil on canvas - 96 x 72 in.

IRVING NORMAN - Students - oil on canvas - 110 x 72 in.

Ed Ruscha is one of the most distinguished American artists due in part for his explorations of the symbols of Americana and the relationship between language and art. The End is a cinematic theme that the artist used in the 1990s and 2000s, appearing in paintings, prints, and drawings – notably the 1991 large-scale painting at the Museum of Modern Art. Addressing the passage of time and obsolescence, Ruscha makes use of an antiquated typeface and an old cinematic tradition of using text in film. The concept of ephemerality is enhanced by the words themselves, The End, and the nature of the medium itself; considered futuristic when it was developed in the 1960s, the laser technology for holograms also creates a sense of impermanence as the images change with the viewer’s movement. While there is innate movement in the shifting words and images, these holograms also represent a full stop – a transitory moment frozen in time.

glass hologram set

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.

GERT AND UWE TOBIAS - Untitled (GUT/2053) - colored woodcut on canvas - 78 3/4 x 118 1/4 in.

GERT AND UWE TOBIAS

Untitled (GUT/2053)

78 3/4 x 118 1/4 in.

colored woodcut on canvas

Stanton Macdonald-Wright was a co-founder of the Synchromism movement, which combined abstraction and intense color. He was influenced by ideas that the qualities of color were connected to the qualities of music. He stopped painting this way in the 1920s, but his work experienced a revitalization in the 1950s, following a retrospective of his work at LACMA. Inspired by the renewed interest, Wright began producing works with increased passion; these works were considered Neo-Synchromism. La Gaîté is a phenomenal example of this period in Wright’s career, showcasing the brighter colors and larger canvases he favored during his personal renaissance.

STANTON MACDONALD-WRIGHT

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.

Franz Kline was a central figure in American Art until his death in 1962. Close friends with Jackson Pollock and the “Cedar Tavern” group, Kline would help make New York City the epicenter of post-war avant-garde art in the 1940s and 1950s. Broad, gestural abstractions dominate the artist’s work. Those abstractions range from small, eloquent studies (such as the present work) and grow in scale to some of his monumentally scaled oil on canvas works, such as “Monitor” (1956) at the Museum of Contemporary Art, Los Angeles. Kline tapped into the unconscious; his work portrays the free-flowing and impromptu moment. “Untitled” (1951) was in the artist’s collection until 1960, just two years before his death. Smaller-scale works of comparable quality can be found in museum collections worldwide. The Museum of Modern Art in New York has a similar drawing on newsprint: “Untitled” (1951).

9 5/8 x 6 3/4 in.

brush and India Ink on paper

ALEXANDER CALDER - Vive - gouache and ink on paper - 30 x 43 3/8 in

ALEXANDER CALDER

gouache and ink on paper

CHARLES ARNOLDI - Construction - acrylic on plywood and found wooden sticks - 128 x 68 x 8 in.

CHARLES ARNOLDI

128 x 68 x 8 in.

acrylic on plywood and found wooden sticks

VALERIE JAUDON - Palmyra - oil on canvas - 84 x 114 in.

ALEXANDER CALDER - Mickey Mouse - gouache and ink on paper - 30 x 43 3/8 in.

ALEXANDER CALDER

30 x 43 3/8 in.

gouache and ink on paper

Perle Fine was chosen by her peers to be included in the seminal 1951 Ninth Street Show. She also participated from 1951 to 1957 in the invitational New York Painting and Sculpture Annuals. She was one of the 24 artists (from 156 New York School artists) to be included in all of the Annuals – Grace Hartigan, Joan Mitchell, and Elaine de Kooning were among the other 24.
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<br>The title of this piece references Marcel Duchamp's Modernist classic, "Nude Descending a Staircase" from 1912, which combined cconcerns of Cubism and Futurism in an artistic tradition of analyzing motion via photography. The subject of this painting may relate to the 1958 Whitney show, "Nature in Abstraction: The Relation of Abstract Painting and Sculpture to Nature in 20th-Century Art," of which her work was a part.
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<br>For Fine "Abstract Expressionism had never been a form of open rebellion against earlier styles, but rather a beautiful, unexplored country."
<br>- Housley, Kathleen L. (January 1, 2003). "The Tranquil Power of Perle Fine's Art". Woman's Art Journal. 24 (1): 3–10.

Figure Descending a Ladder

Perle Fine’s “The Early Morning Garden” was featured in the Denver Art Museum’s notable 2016 exhibition, “Women of Abstract Expressionism.” Fine was chosen by her peers to be included in the seminal 1951 Ninth Street Show. She also participated from 1951 to 1957 in the invitational New York Painting and Sculpture Annuals. She was one of the 24 artists (from 156 New York School artists) to be included in all of the Annuals – Grace Hartigan, Joan Mitchell, and Elaine de Kooning were among the other 24.

The Early Morning Garden

oil and collage on canvas

TONY CRAGG - Bodicea - bronze and steel - 32 x 23 x 78 in.

32 x 23 x 78 in.

bronze and steel

Takashi Murakami is one of the most celebrated contemporary and Japanese artists. Murakami developed the theoretical and visual language of “Superflat”. He based his art movement on the Japanese “flat” art aesthetic and of anime and manga fused with commentary on the Kawaii tendency in postmodern Japan.
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<br>Murakami and his art have chartered new ground in infiltrating and merging high and low culture. The painting features a proliferation of eyes in his trademark style. No two eyes are exactly alike, and each are in various states of opening or closing. Like his art, these eyes have hidden depth – the irises contain a multitude of miniature concentric circles. The painting seems to combine elements of pop culture, cartoons, technology, and fashion into a singular plane.

TAKASHI MURAKAMI

24 x 23 3/4 x 2 in.

acrylic on canvas layed on wood

IRVING NORMAN - Monumental - oil on canvas - 90 x 64 in.

IRVING NORMAN - Air Raid Shelter - oil on canvas - 100 x 64 in.

Air Raid Shelter

IRVING NORMAN - Children #2 - oil on canvas - 72 x 90 in.

IRVING NORMAN - Totems - oil on canvas - 72 x 110 in.

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

ink wash on paper

MANUEL NERI - Standing Male Figure - polychrome plaster and wood - 70 x 13 3/4 x 19 in.

Standing Male Figure

70 x 13 3/4 x 19 in.

polychrome plaster and wood

ALEXANDER CALDER - Aux Clous - gouache and ink on paper - 30 x 21 1/4 in

ALEXANDER CALDER

gouache and ink 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.

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

HERB ALPERT - Illumination - bronze - 159 x 40 x 40 in.

159 x 40 x 40 in.

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

161 x 40 x 40 in.

TOM WESSELMANN - Study for Bedroom Painting #6 - pencil and thinned Liquitex on paper - 5 1/4 x 6 3/4 in.

Study for Bedroom Painting #6

5 1/4 x 6 3/4 in.

pencil and thinned Liquitex on paper

CHUCK CLOSE - Self-Portrait, 2000 - screenprint on paper - 58 1/3 x 48 in.

Self-Portrait, 2000

58 1/3 x 48 in.

screenprint on paper

WILLIAM MORRIS - Fallow Deer Situla - blown glass - 16 x 23 1/2 x 13 in.

Fallow Deer Situla

16 x 23 1/2 x 13 in.

AUGUSTE RODIN - Minotaure, version à la base carrée - bronze with brown and green patina - 24 x 28 1/2 x 27 in.

Minotaure, version à la base carrée

Conceived circa 18

24 x 28 1/2 x 27 in.

bronze with brown and green patina

Donald Sultan’s Black and Blue from 2008 fits comfortably within both Pop art and Minimalism. The work is a sly reference to Warhol as if a polarized negative image of the Pop artist’s iconic Flower series. Working with unconventional use and application of paint, Sultan vacillates between abstraction and representational art, but always maintaining strong contrasts and powerful, simple statements. Sultan describes his work as "heavy structure, holding fragile meaning." Sultan’s work is represented in the permanent collections of many major museums in the United States and abroad, including the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and the Whitney Museum of American Art.

49 3/4 x 50 1/4 x 5 in.

plaster and resin on board

"Purple Tree" from 1936 shows the genesis of the artist's evolution into total abstraction. One of a series of Casein works on panel completed in 1936, the present work is fully documented and recorded in the Hans Hofmann Catalogue Raisonné. "Purple Tree" shows Hoffmann's "push/pull" color theory, where he placed warm and cool colors side by side. Hofmann was an influential instructor for Helen Frankenthaler, Joan Mitchell, Frank Stella, Lee Krasner, and Louise Nevelson (among many others).
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<br>The 2019 exhibition "Hans Hofmann: The Nature of Abstraction" at the University Museum in Berkeley, California, featured 70 works and showed the evolution of Hofmann throughout his career.

casein on board

Spring, an unusually large-scale oil painting by William Wendt, depicts a huge expanse of blue, almost cloudless California sky over a wide, flat plain of verdant grass. The only other adornments to this landscape are stands of tall, thin trees that, in the forefront, seem to tower over the far distant snow-capped mountaintop. Wendt’s Impressionist style is evident in the detailed brushwork that makes up the sky. Using short dashes of blue upon blue, Wendt builds the varying color from dark at the top to lighter blue as it nears the mountain on the horizon. Looking closely, the sky almost appears to be a mosaic, but from further back, the colors and strokes blend seamlessly to create its soft, pastel look.

IRVING NORMAN - Liberation War Prisoners - oil on canvas - 72 x 90 in.

Liberation War Prisoners

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

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

Contemporary German artist Katharina Grosse works in a variety of media to accomplish site-specific works as well as smaller-scale sculptures such as the present work, "Untitled 2015". The structure of Grosse's compositions are meant to invoke emotional reactions from the viewer. The artist believes that the physical presence of the viewer affects the work and changes an individual's experience of that work.
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<br>Grosse is included in numerous museum collections worldwide, including the Museum of Modern Art, New York, and in 2019 was selected for a mural commission at the Museum of Fine Arts, Boston. "Untitled, 2015" has a prestigious exhibition history, having been included in: Venice Biennale Art, "All the World's Future," 2015 by Okwui Enwezor (curator).
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<br>"That is the challenge for me, to find a way to make painting visible - make it a visceral part of our everyday life"- Katharina Grosse.

KATHARINA GROSSE

41 1/2 x 40 x 18 in.

acrylic aluminum

FRANCIS CELENTANO - Undulating Units - acrylic on canvas - 36 x 90 in.

FRANCIS CELENTANO

Undulating Units

acrylic on canvas

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 MYERS - Pompeii - stainless steel - 37 x 33 x 64 in.

37 x 33 x 64 in.

stainless steel

NATHAN OLIVEIRA - Figure #4 - bronze - 40 x 21 1/2 x 30 in.

NATHAN OLIVEIRA

40 x 21 1/2 x 30 in.

ALEXANDER CALDER - Bug-Eyed Beastie - gouache on paper - 29 1/4 x 43 in.

ALEXANDER CALDER

Bug-Eyed Beastie

29 1/4 x 43 in.

gouache on paper

Afternoon Tea on the Terrace (1905-1906) was commissioned by Rodman Wanamaker as part of a mural for the Grand Deluxe Shelburn hotel in Atlantic City. The mural was later divided into seven pieces that were displayed in the hotel dining room. Frieseke’s earliest mural work was for his patron, Rodman Wanamaker. Other commissions included mural decorations that were installed in Wanamaer’s New York department store in 1904 and 1907, the Rodman Wanamaker Hotel in 1905, and the Amphitheater of Music in New York in 1908. Art historians credit Wanamaker’s constant commissions as being the sole reason Frieseke was able to devote himself to painting.

FREDERICK FRIESEKE

Afternoon Tea on the Terrace

ALEXANDER CALDER - Le Grand Rouge - gouache and ink on paper - 43 3/8 x 30 in.

ALEXANDER CALDER

43 3/8 x 30 in.

gouache and ink on paper

ALEXANDER CALDER - L' Envolee - gouache and ink on paper - 43 3/8 x 30 in.

ALEXANDER CALDER

43 3/8 x 30 in.

gouache and ink on paper

ALEXANDER CALDER - Cercles - gouache and ink on paper - 30 3/4 x 22 1/2 in.

ALEXANDER CALDER

30 3/4 x 22 1/2 in.

gouache and ink on paper

RON ARAD - Before Summer - stainless steel welded chaise - 41 x 77 x 15 in.

41 x 77 x 15 in.

stainless steel welded chaise

NATHAN OLIVEIRA - Seated Nude with Arms Raised - oil on canvas - 50 1/8 x 45 in.

NATHAN OLIVEIRA

Seated Nude with Arms Raised

50 1/8 x 45 in.

Sculptural work by Theaster Gates is anchored in the artist’s long-standing commitment to social action and responsibility, rooted in his home city of Chicago. The wooden frame of "Lathe Black Box" from 2012 is made of wood from The Dorchester Project, one of his best-known pieces. The project transformed a dilapidated building in Chicago’s South Side into a community gathering place and a celebration of local culture. Gates has described this project as part of a “circular ecological system,” selling sculptural works from the material of these projects to finance the ongoing building renovations. In recent years, his creative efforts do not only consist of making fine art from construction materials, but also extend to creating construction materials as fine art.
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<br>Much of Gates’s work deals with history, memory, and renewal. The mirrored glass at the center of "Lathe Black Box" creates an ambiguous effect, confronting the viewer with their own reflection.

Lathe Black Box

50 1/4 x 53 x 6 7/8 in.

wood, glass and lathe

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

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

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

IRVING NORMAN - Aspirations - oil on canvas - 90 x 54 in.

IRVING NORMAN - The Lawmakers, The Legislators - oil on canvas - 90 x 72 in.

The Lawmakers, The Legislators

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

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

52 x 68 1/8 in.

IRVING NORMAN - Draftee - oil on canvas - 100 x 38 in.

IRVING NORMAN - City Image - oil on canvas - 124 x 44 in.

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

Considered a third-generation Abstract Expressionist, Judith Godwin’s work is influenced by color, gesture, emotions, and personal experiences. In 1953 she moved to New York to attend the Art Students League of New York and the Hans Hofmann School of Fine Arts. It was during this period that she embraced Zen living, which has continued to inspire her style and personal life. In the late 1950s, around the time this painting was created, Betty Parsons invited Godwin to join her gallery, Section Eleven.

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

IRVING NORMAN - To Be Remembered - oil on canvas - 90 x 48 in.

To Be Remembered

IRVING NORMAN - Thirty Pieces of Silver - oil on canvas - 90 x 54 in.

Thirty Pieces of Silver

WILLIAM MORRIS - Rhyton - blown glass - 26 x 14 x 12 in.

26 x 14 x 12 in.

The Merger - Carte de Triunfo - stainless steel and aluminum - 46 x 40 x 23 1/2 in.

Carte de Triunfo

46 x 40 x 23 1/2 in.

stainless steel and aluminum

After producing a large cycle of works known as Contrasts of Forms, which infuse abstraction into genres of landscape, still life, and figure, Leger In the mid-1920s, was associated with the French formalist movement called Purism, which sought to strip Cubism of its decorative aspects. This is when he created Profil, Vase et Clef, adopting flatter colors and bold, black outlines in his work. From this point forward on, his art was essentially figurative. Profil, Vase et Clef was exhibited at Galerie Beyeler in Basel and illustrated in the catalog, and the provenance also includes Galerie Louise Leiris and Galerie Seroussi in Paris.

Profil, Vase et Clef

18 1/2 x 11 3/4 in.

pen and ink on card

TIM HAWKINSON - Forest Ear - wood and mixed media - 72 x 48 x 1 3/4 in.

72 x 48 x 1 3/4 in.

wood and mixed media

IRVING NORMAN - Mining - oil on canvas - 40 x 84 in.

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

74 1/8 x 37 1/2 in.

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

TADASUKE (Tadasky) KUWAYAMA

acrylic on canvas

RICHARD ANUSZKIEWICZ - Moonbow - acrylic on canvas - 48 x 48 in.

RICHARD ANUSZKIEWICZ

acrylic on canvas

SERGEJ JENSEN - Men with Hats - canvas collage on canvas - 71 x 51 1/2 in

canvas collage on canvas

HARRY BERTOIA - Untitled (Suspended Willow) - steel and steel wire - 71 1/2 x 39 x 39 in.

Untitled (Suspended Willow)

71 1/2 x 39 x 39 in.

steel and steel wire

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

The Bull Fighter

NATHAN OLIVEIRA - Untitled - oil on canvas - 84 X 63 in.

NATHAN OLIVEIRA

HASSEL SMITH - Piano, Bass and Drums - oil on canvas - 67 7/8 x 48 1/4 in.

Piano, Bass and Drums

67 7/8 x 48 1/4 in.

WILLIAM MORRIS - Artifact Pouch - blown glass - 20 x 20 x 20 in.

20 x 20 x 20 in.

NATHAN OLIVEIRA - Woman - oil on canvas - 36 1/4 x 27 x 1 1/2 in.

NATHAN OLIVEIRA

36 1/4 x 27 x 1 1/2 in.

CINDY SHERMAN - Untitled - color photograph - 34 x 23 1/4 in.

34 x 23 1/4 in.

color photograph

JOANNA POUSETTE-DART - Red Desert #9 - acrylic on canvas over wood panels - 81 x 117 1/4 in

JOANNA POUSETTE-DART

81 x 117 1/4 in

acrylic on canvas over wood panels

IRVING NORMAN - Carousel Restaurant - oil on canvas - 60 x 72 in.

Carousel Restaurant

GEORGE CONDO - Girl With Bow Tie - oil on canvas - 39 1/4 x 28 3/4 in

Girl With Bow Tie

39 1/4 x 28 3/4 in

GRACE HARTIGAN - Medieval Costumes - oil on linen - 72 x 84 in.

Medieval Costumes

GRACE HARTIGAN - Renaissance Costumes - oil on linen - 72 x 84 in.

Renaissance Costumes

GRACE HARTIGAN - Caribbean Interior - oil on linen - 72 x 78 in.

Caribbean Interior

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

GRACE HARTIGAN - Chinese Calendar - oil on linen - 84 1/4 x 61 1/4 in.

Chinese Calendar

84 1/4 x 61 1/4 in.

GRACE HARTIGAN - Follies '27 - oil on linen - 77 3/4 x 60 in.

77 3/4 x 60 in.

Rodney McMillian is multidisciplinary artist working in sculpture, painting, performance, and video. Born in South Carolina, McMillian has lived in Southern California since 2000 where he is now Professor of Sculpture at the UCLA School of Arts and Architecture at the University of California, Los Angeles. "Lollipop" (2001-2002) represents one of the earliest works from the artist, who graduated with an MFA from CalArts in 2002.
<br>
<br>McMillian shapes his work around the socio-political history of the United States even through abstraction. At first glance, "Lollipop" appears to be a continuation of Abstract Expressionism in its layered flow of paint. For these works, like abstract expressionists of yore, McMillian pours and drips paints. Nevertheless, on closer inspection, many of his works appear to suggest a map or landscape and thus, the history of struggle and power inherent to mapmaking and landscape painting. Who makes maps and for whom? Who owns the land and at what cost? What happens in that land? Furthermore, in using household paint and other industrial materials, McMillian mines issues of economy, accessibility, and even temporality as the materials are inherently unstable and non-archival.
<br>
<br>McMillian's work is collected by the Museum of Modern Art in New York, the Art Institute of Chicago, the Hammer Museum, the Los Angeles County Museum of Art, and the Museum of Contemporary Art in Los Angeles among others, and his work was featured in the 2008 Whitney Biennial. In 2019, McMillian's work was exhibited at the San Francisco Museum of Modern Art: “New York: Rodney McMillian”, Feb. 9-Jun. 9, 2019.

RODNEY MCMILLIAN

latex on canvas

RODNEY MCMILLIAN - Flag - mixed media - 97 1/2 x 102 in.

RODNEY MCMILLIAN

97 1/2 x 102 in.

GRACE HARTIGAN - Matador - oil on linen - 48 x 72 in.

CHARLES ARNOLDI - Destro - acrylic on canvas - 78 x 96 in.

CHARLES ARNOLDI

acrylic on canvas

NORMAN ZAMMITT - East Wall - acrylic on canvas - 78 x 132 in.

acrylic on canvas

GRACE HARTIGAN - My Fair Lady - oil on linen - 60 x 48 in.

ED MOSES - Nambo Panel I & II - acrylic on canvas - 84 x 66 in.

Nambo Panel I & II

acrylic on canvas

RICHARD DIEBENKORN - Untitled (Urbana Series) - ink on paper - 13 7/8 x 11

RICHARD DIEBENKORN

Untitled (Urbana Series)

OSWALDO VIGAS - Formas Tensionales - oil, cardboard on masonite - 42 x 31 in.

Formas Tensionales

oil, cardboard on masonite

This is the Portrait of Hedda Nova, painted by Joseph Kleitsch. The film industry provided plenty of commissions for Kleitsch, as he was contracted with the prominent LA dealer Earl Stendahl as an in-house portraitist at the time. Hedda was born Hedda Puscewski in Soviet Russia, what is now Ukraine. She became a silent film star, though she never transitioned into talking films due to her thick Russian accent. During the height of her acting career, she was still working hard on learning to speak English. She was married to American actor and director Paul Hurst from 1919 to 1953 when, sadly, he committed suicide after being diagnosed with terminal cancer. This portrait depicts Hedda in a lovely black and gold gown with gossamer sleeves. As a silent film actress, trained to emote without words, it is easy to imagine that her expressive eyes and dramatic hand at her chest are telling the viewer a story.

JOSEPH KLEITSCH

Portrait of Hedda Nova

SANDRO CHIA - Poet, Painter - bronze - 72 x 30 x 54 in.

72 x 30 x 54 in.

NATHAN OLIVEIRA - Gray Head in Grays and Blue - oil on canvas - 25 3/8 x 21 1/4 in.

NATHAN OLIVEIRA

Gray Head in Grays and Blue

25 3/8 x 21 1/4 in.

RON ARAD - Big Easy Volume 2 - stainless steel welded chair - 36 x 53 x 28 in.

Big Easy Volume 2

36 x 53 x 28 in.

stainless steel welded chair

ROY LICHTENSTEIN - Bedroom - 10-color woodcut screenprint - 56 3/4 x 78 3/4 in.

ROY LICHTENSTEIN

56 3/4 x 78 3/4 in.

10-color woodcut screenprint

DAVID MORRIS - Journey - stainless steel, steel base - 132 x 36 x 48 in.

132 x 36 x 48 in.

stainless steel, steel base

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

GENE DAVIS - Licorice Stick - acrylic on canvas - 80 3/4 x 32 3/4 in.

80 3/4 x 32 3/4 in.

acrylic on canvas

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

Totem of a Holy Family

90 x 19 3/4 in.

HERB ALPERT - Embrace - bronze with black patina - 83 x 27 x 27 in.

83 x 27 x 27 in.

bronze with black patina

YAYOI KUSAMA - Soaring Spirit - stainless steel balls and wire - 19 x 18 x 14 in.

19 x 18 x 14 in.

stainless steel balls and wire

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

OSWALDO GUAYASAMIN - Atahualpa en Cajamarcas - oil on canvas - 28 x 19 1/2 in.

OSWALDO GUAYASAMIN

Atahualpa en Cajamarcas

28 x 19 1/2 in.

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

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

LUIS CRUZ AZACETA

acrylic on canvas

Pellegrini returns to Classical Mythology to paint an adapted narration of the love story of Cupid and Psyche. Traditionally, Psyche was a young princess who was hailed for her beauty and unfortunately caught the eye of a jealous Venus. Venus entrusted Cupid to punish Psyche by making her fall in love with something hideous. Cupid accidently scratched himself with his amorous dart, by which he immediately fell in love with Psyche. As a result, Cupid disobeyed his mother’s orders to punish Psyche. Ultimately they married, but not before Psyche completed a number of painstaking and nearly impossible tasks at the behest of Venus.
<br>
<br>Pellegrini’s interpretation of this myth is cast over two canvases with different chromatic palettes, oscillating on a spectrum of abstraction and representation. This creates a disorienting temporal effect that creates a sense of mystery surrounding the passage of time between two lovers.

51 1/4 x 127 in.

KAY SAGE - Passionnément, Pas du Tout - assemblage - 12 1/4 x 9 1/4 in.

Passionnément, Pas du Tout

12 1/4 x 9 1/4 in.

STEFAN KURTEN - Die Besten Jahre - oil on canvas - 74 3/4 x 57x 1 5/8 in.

Die Besten Jahre

Painted in 2001/20

74 3/4 x 57x 1 5/8 in.

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

FRANCIS CELENTANO

Nineteen Hexagons

48 x 41 1/2 in.

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

PABLO PICASSO - Fumeur a la Cigarette Blanche - aquatint on paper - 16 1/4 x 12 1/2 in.

Fumeur a la Cigarette Blanche

16 1/4 x 12 1/2 in.

aquatint on paper

"Bringing in the Ears" is a composition drawing for an advertisement for Niblets Corn, published in the August 10, 1942 edition of Life magazine. This drawing has been in the same family collection since 1970.
<br>
<br>Among the most noteworthy illustrators this country has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew and grandson Jamie rank among the most respected artists of their generations, heavily influenced by other artists in the extended Wyeth family. N.C. Wyeth, in addition to illustrating more than 100 books, including adventure classics like Treasure Island, Kidnapped, Robinson Crusoe, and The Last of the Mohicans, was also a highly regarded muralist, receiving numerous commissions for prestigious corporate and government buildings throughout the United States.
<br>
<br>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. He possessed a rare ability to depict subjects and events from a child’s point of view, and is particularly known for dramatizing characters by the use of long shadow, a technique that is said to have influenced the epic moviemaking style of the 1940s. In addition to providing supplementary drama and excitement to the written word, Wyeth’s works have become classics in and of themselves.

Bringing in the Ears (Composition drawing)

26 1/2 x 32 in.

charcoal on paper

ARISTIDES DEMETRIOS - Embrace - stainless steel - 51 x 31 3/4 x 18 3/4 in.

ARISTIDES DEMETRIOS

51 x 31 3/4 x 18 3/4 in.

stainless steel

IRVING NORMAN - Frosted Window - oil on canvas - 36 x 90 in.

MARVIN CONE - Barn Group Near Marion - oil on masonite - 11 1/2 X 23 7/8 in.

Barn Group Near Marion

11 1/2 X 23 7/8 in.

oil on masonite

STEPHEN PACE - #5757 - oil on canvas - 79 3/4 x 66 in.

79 3/4 x 66 in.

Pablo Picasso's 1964 aquatint "Tete d'Homme au Maillot Raye" is one of a series of color aquatint portraits created just a decade before the artist's death in 1973.
<br>
<br>Masterfully employing the aquatint and etching media, Picasso created this work after having acquired a lifetime worth of knowledge in working as an artist. Picasso helped shape the direction of Modern art, and the present work is a tangible symbol of the artist's genius. This piece is signed with a dedication to Picasso's friend and printer, Aldo Crommelynck.

Tete d'Homme au Maillot Raye

image: 16 3/8 x 12 1/2 in. sheet: 22 1/8 x 16 1/8 in.

aquatint and soft-ground etching in colors

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

Tewa Plaza at First Mesa

DANIEL SPRICK - Interior Still Life - oil on masonite - 48 x 40 in.

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

HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.

84 x 108 1/4 in.

acrylic on canvas

JAMES WEEKS - Two Children - oil on canvas - 41 1/2 x 35 in.

41 1/2 x 35 in.

GEORGE GARDNER SYMONS - White River Bank - oil on canvas - 25 1/4 x 30 in.

GEORGE GARDNER SYMONS

White River Bank

25 1/4 x 30 in.

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

acrylic on canvas

ARISTIDES DEMETRIOS - Sempre Allegro - stainles steel - 101 1/4 x 35 1/2 x 37 in..

ARISTIDES DEMETRIOS

101 1/4 x 35 1/2 x 37 in..

ARISTIDES DEMETRIOS - Joy of Being II - stainless steel - 72 x 21 1/2 x 14 in.

ARISTIDES DEMETRIOS

Joy of Being II

72 x 21 1/2 x 14 in.

stainless steel

THOMAS NOZKOWSKI - Untitled - oil on linen on panel - 15 x 30 in.

THOMAS NOZKOWSKI

oil on linen on panel

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

71 x 82 1/2 in.

WOLFGANG PAALEN - Composition - oil, tempera and ink on canvas - 14 3/4 x 18 in.

WOLFGANG PAALEN

14 3/4 x 18 in.

oil, tempera and ink on canvas

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

A first-generation Abstract Expressionist, Charlotte Park lived next to Jackson Pollock and Lee Krasner who became close influences. Before moving to New York, Park lived in Washington D.C. and took classes with Cubist painter Wallace Harrison. Those Cubist influences are evident in her distinctive geometric and gestural forms. Her early 1950 works consisted mainly of black and white paintings, colored gouaches, and gestural drawings; here, in “Untitled,” we see an exploration of color, gesture, and form in this critical early period of her career. A year after this painting was completed, Park showed at the Whitney Museum of American Art’s “Annual Exhibition of Contemporary Painting.”

42 x 35 3/4 in.

PABLO PICASSO - Jacqueline au Chevalet - partly glazed ceramic - 16 3/4 x 16 3/4 in.

Jacqueline au Chevalet

16 3/4 x 16 3/4 in.

partly glazed ceramic

HASSEL SMITH - I Dreamt I Dwelt in Marble Halls - acrylic on canvas - 68 x 68 in.

I Dreamt I Dwelt in Marble Halls

acrylic on canvas

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

70 1/2 x 120 1/2 in.

acrylic and paper on canvas

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.

MAX PELLEGRINI - Il Dormiento, La Caduta di Icaro a Torino - oil on canvas - 78 3/4 x 98 1/2 in.

Il Dormiento, La Caduta di Icaro a Torino

78 3/4 x 98 1/2 in.

DAVID MORRIS - Matador's Cape - bronze on steel base - 76 x 60 x 36 in.

76 x 60 x 36 in.

bronze on steel base

HERB ALPERT - Tormenta del Sol (Sun Storm) - acrylic on canvas - 72 x 121 in.

Tormenta del Sol (Sun Storm)

acrylic on canvas

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.

NANCY SPERO - The Modest Orgasms of the Middle Class - gouache, charcoal, and collage on paper - 25 x 20 in.

The Modest Orgasms of the Middle Class

gouache, charcoal, and collage on paper

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

67 7/8 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - 316 Revisited - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - In the Valley of the Kings - acrylic on canvas - 67 1/2 x 68 in.

In the Valley of the Kings

67 1/2 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 67 7/8 x 68 in.

67 7/8 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 67 3/4 x 67 5/8 in.

67 3/4 x 67 5/8 in.

acrylic on canvas

HASSEL SMITH - Homage to the Headhunters - acrylic on canvas - 68 x 68 in.

Homage to the Headhunters

acrylic on canvas

HASSEL SMITH - King Clone - acrylic on canvas - 67 3/4 x 67 1/2 in.

67 3/4 x 67 1/2 in.

acrylic on canvas

HASSEL SMITH - Untitled, 109-84 - acrylic on canvas - 67 5/8 x 68 in.

Untitled, 109-84

67 5/8 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

68 1/4 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 67 3/4 in.

68 x 67 3/4 in.

acrylic on canvas

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

HERB ALPERT - Tsunami - acrylic on canvas - 72 x 120 in.

acrylic on canvas

ALEX KATZ - Untitled - oil on masonite - 11 7/8 x 15 3/4 in.

11 7/8 x 15 3/4 in.

oil on masonite

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

HELMUT NEWTON - Woman into Man, Hotel George V, for French Vogue, 1979 - gelatin silver print - 18 1/2 x 12 in.

Woman into Man, Hotel George V, for French Vogue, 1979

18 1/2 x 12 in.

gelatin silver print

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.

PETER SHELTON - Whitebagbone - mixed media - 86 x 22 x 18 in.

86 x 22 x 18 in.

JAE KON PARK - Untitled - oil on canvas - 55 1/4 x 55 1/2 in.

55 1/4 x 55 1/2 in.

Celebrated Hassel Smith moved through different styles over his long career including Abstract Expressionism, his “Measured” series, and Gestural Abstraction. This painting comes from his “Measured” period in which paintings encompassed geometric shapes and numbers on grids. Smith finds rhythms in the paintings through the intervals and sizes of the shapes. Among his friends were Clyfford Still and Mark Rothko. Smith lived in the Bay Area of California before moving to the UK, settling in Cornwall and Bristol. Heather James is proud to represent the estate of Hassel Smith.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - From A - B - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - The Kiss of Deaf - acrylic on canvas - 68 1/8 x 68 1/8 in.

The Kiss of Deaf

68 1/8 x 68 1/8 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 68 in.

68 1/4 x 68 in.

acrylic on canvas

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.
<br>
<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.

HASSEL SMITH - Quilt Pattern - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - More and More about 9 - acrylic on canvas - 68 x 68 in.

More and More about 9

acrylic on canvas

HASSEL SMITH - Untitled - oil on canvas - 68 x 68 in.

HASSEL SMITH - Arezzo Revisited - acrylic on canvas - 68 x 68 in.

Arezzo Revisited

acrylic on canvas

HASSEL SMITH - From 1 to 9 - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

ANDREW WYETH - Study - Ink on board - 16 x 16 in.

TOM WESSELMANN - Radio Edition - enamel on cut-out steel - 29 1/2 x 37 1/2 in.

29 1/2 x 37 1/2 in.

enamel on cut-out steel

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

71 x 100 1/8 in.

NATHAN OLIVEIRA - Hawk #11 - oil on canvas - 11 3/4 x 8 3/4 in.

NATHAN OLIVEIRA

11 3/4 x 8 3/4 in.

KARL BENJAMIN - Untitled - oil on canvas - 50 1/4 x 50 in.

50 1/4 x 50 in.

NATHAN OLIVEIRA - Standing Figure #2 - bronze - 26 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

Standing Figure #2

26 x 16 x 23 1/2 in.

JOSEPH KLEITSCH - Portrait of Ruth E. Bach - oil on panel - 39 1/2 x 26 3/4 in.

JOSEPH KLEITSCH

Portrait of Ruth E. Bach

39 1/2 x 26 3/4 in.

DAVID HARE - Night Sky - painted steel, steel, and bronze - 65 1/2 x 14 3/4 x 14 1/8 in.

65 1/2 x 14 3/4 x 14 1/8 in.

painted steel, steel, and bronze

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 68 in.

acrylic on canvas

WILLIAM THEOPHILUS BROWN - Jim Christiansen (Open Book) - acrylic on canvas - 38 x 37 7/8 in.

WILLIAM THEOPHILUS BROWN

Jim Christiansen (Open Book)

38 x 37 7/8 in.

acrylic on canvas

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

acrylic and paper on canvas

JAE KON PARK - Untitled - oil on canvas - 51 1/4 x 64 in.

51 1/4 x 64 in.

JAE KON PARK - Untitled - oil on canvas - 52 1/4 x 64 1/2 in.

52 1/4 x 64 1/2 in.

JOE ZUCKER - Interior #2 (Diptych) - acrylic on canvas and wood - 48 1/4 x 48 1/4 in.; 47 1/4 x 47 in.

Interior #2 (Diptych)

48 1/4 x 48 1/4 in.; 47 1/4 x 47 in.

acrylic on canvas and wood

JOE ZUCKER - Interior - acrylic and wood on canvas - 48 x 48 1/4 in.; 46 13/16 x 46 13/16 in.

48 x 48 1/4 in.; 46 13/16 x 46 13/16 in.

acrylic and wood on canvas

ROBERT NATKIN - Apollo XL - acrylic on canvas - 88 x 116 1/4 in.

88 x 116 1/4 in.

acrylic on canvas

IRVING NORMAN - Crossing the Bridge - oil on canvas - 90 x 60 in.

Crossing the Bridge

TIM HAWKINSON - Tusk - 132 jello molds on iron plate - 16 x 14 1/2 x 8 in.

16 x 14 1/2 x 8 in.

132 jello molds on iron plate

ARNE HIERSOUX - Yonder Cisco - acrylic and paper on canvas - 59 x 93 3/4 in.

59 x 93 3/4 in.

acrylic and paper on canvas

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

acrylic on canvas

JAE KON PARK - Untitled - oil on canvas - 44 1/4 x 64 in.

44 1/4 x 64 in.

JAE KON PARK - Untitled - oil on canvas - 44 1/8 x 57 1/4 in.

44 1/8 x 57 1/4 in.

DALE CHIHULY - Ikebana Diptych (from Burned Drawings series) - crushed charcoal, acrylic paint and pigment - 60 x 40 1/2 in. ea.

Ikebana Diptych (from Burned Drawings series)

60 x 40 1/2 in. ea.

crushed charcoal, acrylic paint and pigment

HENRY MOORE - Two Reclining Figures - charcoal, green chalk, brown conte, watercolor wash, and gouache on paper - 8 3/4 x 11 1/2 in.

Two Reclining Figures

8 3/4 x 11 1/2 in.

charcoal, green chalk, brown conte, watercolor wash, and gouache on paper

MICHAEL CORINNE WEST - The Day After - oil on canvas - 84 5/8 x 49 7/8 in.

MICHAEL CORINNE WEST

84 5/8 x 49 7/8 in.

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

LORSER FEITELSON

Dancers - Magical Forms

DAMIEN HIRST - Pharmaceuticals - inkjet in colors - 52 x 43 in.

Pharmaceuticals

inkjet in colors

SALVADOR DALI - Les Caprices De Goya de Dali - 80 drypoint etchings on heliogravures - sheet: 17 3/8 x 12 1/4 in.

Les Caprices De Goya de Dali

sheet: 17 3/8 x 12 1/4 in.

80 drypoint etchings on heliogravures

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

THEASTER GATES - Stand-Ins for Period of Wreckage 25 - white concrete and porcelain - 48 x 12 x 12 in.

Stand-Ins for Period of Wreckage 25

48 x 12 x 12 in.

white concrete and porcelain

LEONORA CARRINGTON - Bayan - pencil on paper - 13 x 21 in.

LEONORA CARRINGTON

pencil on paper

MARC CHAGALL - Bacchante - lithograph - 24 x 30 in.

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

JAE KON PARK - Untitled - oil on canvas - 44 1/4 x 57 3/8 in.

44 1/4 x 57 3/8 in.

GUILLERMO KUITCA - Untitled - oil on plywood - 18 1/4 x 25 5/8 in.

GUILLERMO KUITCA

18 1/4 x 25 5/8 in.

EVAN PENNY - No One In Particular (Old) - silicone, pigment, hair on aluminum - 40 x 32 x 7 1/2 in.

No One In Particular (Old)

40 x 32 x 7 1/2 in.

silicone, pigment, hair on aluminum

PETER YOUNG - #5 - oil on canvas - 60 x 132 in.

IRVING NORMAN - Prisoner - oil on canvas - 54 x 20 in.

In this portrait by Joseph Kleitsch, the sitter is unknown, the painting titled only Woman in Pink. She is wearing a pink dress with white lace sleeves trailing down and into in her lap. She is holding a bit of the lace in her hands, almost absent-mindedly as she tilts her head toward the painter and gives him a small, amused smile. Her hair is swept into a modest updo, and the pink flushing her cheeks echoes the pink of her dress. Kleitsch’s technique in rendering the lace is fascinating, as he seems to have only fully painted the pattern of the lace and the rest is made up of a few light and minimal strokes of the brush, lending it a sheer quality.

JOSEPH KLEITSCH

40 1/2 x 28 1/4 in.

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

IRVING NORMAN - Homeless 1 - oil on canvas - 48 x 60 in.

GEORGE CONDO - Abstract Face - oil on board - 15 7/8 x 11 3/4 in.

15 7/8 x 11 3/4 in.

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

Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory.
<br>
<br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014

Sogni di Gloria

70 3/4 x 70 3/4 in.

Puccetto was a small yellow canary that sang from his cage in Pellegrini’s studio for twelve years. To him, tiny and frail, Pellegrini dedicated the large painting to emphasize the importance he had in his life.
<br>
<br>– In conversation with Max Pellegrini, November 201

Quadro teologico in onore di Puccetto, Canarino Morto da Tempo

62 3/4 x 78 3/4 in.

The Queen of the Night drinks water from the clasped hands of faith, while two shepherds embrace each other, unaware of Jesus’ birth. Angels, portrayed almost translucently on the canvas, spray holy water and bring about the giving of gifts. A precious jewel is depicted in the right corner, while a humble basket of turkeys sits on the cape of the Madonna. Nearby rests a basket with a goldfinch, an ancient symbol, which is a harbinger of good luck for newborn babies. The baby Jesus, just as the clasped hands that the Queen drinks out of, represents faith – the angels have sprinkled with holy water and he will soon make himself known to the world.
<br>
<br>“For me the faith in religion becomes faith in painting and will defeat the giants." – Max Pellegrini, July 2015, in conversation with Curator Chip Tom

La Regina della Notte e della Luna

63 1/4 x 79 in.

A young man and woman embrace one another, a woman holds a child, a sleeping baby holds a black and red thread, another young woman undresses, and an angel spreads its wings in this collage like composition. Together, these characters create a narrative in which young love, fate, and life are intertwined: the sleeping baby holds a red thread and black thread, reminiscent of the mythological three Fates, who spun life and death on their loom. These threads are physically connected to the young lovers, who embrace each other, wholly unaware of the hold that the infant has on them. A woman holding a child watches over the love of the youthful boy and girl, just as Mary and Jesus watch over and defend mankind. The merging of narratives and symbols is a common element in Pellegrini’s oeuvre, and is masterfully expressed here.

Gli Amanti che si amano non ci Sono per Nessuno

59 1/4 x 78 3/4 x 1 in.

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

Yellow Tulip #18

oil and tar on paper

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/8 x 48 in.

68 1/8 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - In Berkeley - acrylic on canvas - 70 x 49 in.

acrylic on canvas

HASSEL SMITH - Eyeball to Eyeball - oil on canvas - 46 x 46 in.

Eyeball to Eyeball

ROLAND PETERSEN - Luncheon - oil on canvas - 24 1/4 x 26 3/8 in.

ROLAND PETERSEN

24 1/4 x 26 3/8 in.

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

PETER SHELTON - noarm. - plastic and acrylic - 45 x 15 3/4 x 8 in.

45 x 15 3/4 x 8 in.

plastic and acrylic

JAE KON PARK - Untitled - oil on canvas - 38 x 51 in.

JAE KON PARK - Untitled - oil on canvas - 38 1/4 x 51 1/2

38 1/4 x 51 1/2

Paul Wonner is one of the most celebrated artists of the Bay Area Figurative movement, along with David Park, Elmer Bischoff, Richard Diebenkorn, and his partner William Theophilus Brown. The Bay Area Figurative Movement was a loose collection of artists that broke away from the dominant and overly-influential style of abstract expressionism, pushing considerations of what is modern away from abstraction once more onto the body and figuration. This painting comes from Wonner’s period in which he adopted the crisp realism of Dutch Baroque still life painting, populating his works with objects from everyday contemporary life. Acclaimed for his expressive figurative paintings and distinctive style of still life painting, Wonner had numerous solo exhibitions in New York, Los Angeles and San Francisco and his works are held at major museums throughout the United States, including the Smithsonian American Art Museum in Washington, D.C., the San Francisco Museum of Modern Art, and the Solomon R. Guggenheim Museum in New York. Heather James is proud to partner with the Crocker Art Museum to represent the estate of Paul Wonner and William Theophilus Brown.

Striped Cloth with Fruit and Cheese

acrylic on canvas

William Theophilus Brown, along with his partner Paul Wonner, is one of the most celebrated artists of the Bay Area Figurative movement, along with David Park, Elmer Bischoff, and Richard Diebenkorn. The inspiration to take chances and to try new mediums is evident in Brown’s works including his fearless examination of nude forms, bold colors, his shifts from sensual form to precise architectural landscapes, and even his experimentation during his last decade with collage and pure abstraction. This painting is a great example of Brown’s draftsmanship in its careful but bright study of the seated figure. Brown ran through many artistic circles and included among his friends, Samuel Barber, Igor Stravinski, Paul Hindemith, André Previn, Mary Sarton, Christopher Isherwood, and Don Bacardy. Heather James is proud to partner with the Crocker Art Museum to represent the estate of Paul Wonner and William Theophilus Brown.

WILLIAM THEOPHILUS BROWN

acrylic on canvas

PABLO PICASSO - Faune et Vieux Roi / Le Vieux Bouffon - linocut in colors - 27 1/2 x 22 3/4 in.

Faune et Vieux Roi / Le Vieux Bouffon

27 1/2 x 22 3/4 in.

linocut in colors

WILLIAM THEOPHILUS BROWN - Horse with Swimmers at Beach - acrylic on canvas - 36 x 48 in.

WILLIAM THEOPHILUS BROWN

Horse with Swimmers at Beach

acrylic on canvas

IRVING NORMAN - Slum Youth - oil on canvas - 44 1/4 x 20 1/4 in.

44 1/4 x 20 1/4 in.

HELMUT NEWTON - Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975 - vintage gelatin silver print - 8 x 11 3/4 in.

Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975

vintage gelatin silver print

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 x 48 in.

acrylic on canvas

HASSEL SMITH - Untitled - acrylic on canvas - 68 1/4 x 48 1/8 in.

68 1/4 x 48 1/8 in.

acrylic on canvas

ANDY WARHOL - The Shadow (from Myths) - color screenprint with diamond dust on paper - 37 1/2 x 37 1/2 in.

The Shadow (from Myths)

37 1/2 x 37 1/2 in.

color screenprint with diamond dust on paper

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

Kingstown, St. Vincent

NORMAN ZAMMITT - Panel for Black to White - acrylic on canvas on pine board - 100 x 11 1/4 in.

Panel for Black to White

100 x 11 1/4 in.

acrylic on canvas on pine board

Mirror images of a cloaked figure embrace a bare-chested and bearded man, who is almost child-like in his relative stature. Their embrace mirrors that of Michelangelo’s Pieta, and the many similar depictions of Christ and the Madonna. A dark shade of blue casts a shadow over the composition, assuredly a temporal indicator, but possibly a reference to Picasso’s blue period as well, a major influencer on Pellegrini’s artwork. The wall panels behind the figures depict religious scenes, and remind the viewer of stained glass walls in churches and chapels. Light shines from windows in the city below, also illuminated by a full moon peaking over mountainous scenery.

59 1/4 x 59 1/4 in.

From the late 1990’s to the early 2000’s, Pellegrini returned to his paintings in the Life of an Anarchist series, “reworked them, constructed them in ‘layers,’ corrected them, initiated series or returned to iconographies of his past works.” These paintings, which are dedicated to Pellegrini’s wife Roberta, depict a woman who is free and positive, and are part of a long line of works in which there is an absolute female protagonist. (Sara D’Alessandro, “Biography,” in Max Pellegrini, ed. Danilo Eccher, 2014). Pellegrini had his wife in mind for these paintings, since “she considers herself an integrated anarchist, a woman with no prejudice but not fanatical or destructive.”
<br>
<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

Vita di un’anarchica: la scelta

In an abstracted image of St. Peter’s basilica in Rome, Pellegrini returns to religious narratives to express his “anti-ideological and anti-pauperist” impression of the church and its relationship with faith (Antonio Monda, “Interview with Max Pellegrini). In the lower half of the painting, the birth of Jesus is the central focus, while the life of the church is highlighted in the upper half. According to Pellegrini, he depicted the birth of Jesus in the style of a baroque 18th century Neapolitan nativity scene that can be interpreted “as a feast for the birth of faith.” This faith is conceived of as “the material support for the Popes’ power and of the Church’s glory,” represented in this painting by the Pope clutching the moon in his hand.
<br>
<br>
<br>- Partial text adapted from Max Pellegrini, July 2015, in conversation with Curator Chip Tom

59 1/4 x 59 1/4 x 1 in.

MAX PELLEGRINI - Il Cavallo di Padova - oil on canvas - 59 x 59 in.

Il Cavallo di Padova

MAX PELLEGRINI - La Geisha e il Cavaliere - oil on canvas - 63 x 51 in.

La Geisha e il Cavaliere

GUSTAVO LOPEZ ARMENTIA - Imágenes, Recuerdos y Soledades - acrylic on panel - 52 x 77 in.

GUSTAVO LOPEZ ARMENTIA

Imágenes, Recuerdos y Soledades

acrylic on panel

KENNETH NOLAND - Doors and Ghosts - unique monotype on paper - 78 1/2 x 42 1/2 in.

Doors and Ghosts

78 1/2 x 42 1/2 in.

unique monotype on paper

KENNETH NOLAND - Doors and Ghosts #17 - unique monotype on paper - 78 3/4 x 43 in.

Doors and Ghosts #17

78 3/4 x 43 in.

unique monotype on paper

ROBERT NATKIN - Untitled - acrylic on canvas - 60 x 60 in.

acrylic on canvas

HERB ALPERT - Flight 447 - acrylic and coffee on canvas - 64 x 96 in.

acrylic and coffee on canvas

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

PAUL JENKINS - Phenomenon High Vortex - acrylic on canvas - 48 x 50 in.

Phenomenon High Vortex

acrylic on canvas

JAE KON PARK - Untitled - oil on canvas - 34 x 43 1/4 in..

34 x 43 1/4 in..

JAE KON PARK - Untitled - oil on canvas - 36 x 45 1/2 in.

36 x 45 1/2 in.

JAE KON PARK - Untitled - oil on canvas - 35 1/4 x 46 in.

35 1/4 x 46 in.

JAE KON PARK - Untitled - oil on canvas - 45 3/4 x 35 1/2 in.

45 3/4 x 35 1/2 in.

ALEXANDER CALDER - Compositions with Faces and Forms - ink on paper - 15 1/2 x 23 in. ea.

ALEXANDER CALDER

Compositions with Faces and Forms

15 1/2 x 23 in. ea.

CARLOS LUNA - Iluminado - byzantine mosaic - 47 1/2 x 82 in.

47 1/2 x 82 in.

byzantine mosaic

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi on linen - 42 1/2 x 103 1/2 in.

42 1/2 x 103 1/2 in.

recycled ganpi paper fiber, old documents, mica and sumi on linen

CARLOS LUNA - Gallo / Rooster - bronze - 27 1/2 x 7 1/2 x 16 in

Gallo / Rooster

27 1/2 x 7 1/2 x 16 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

CHRISTIAN ECKART - Zootrope (Sandwers Curve) - lacquer on aluminum - 65 x 55 x 5 in.

CHRISTIAN ECKART

Zootrope (Sandwers Curve)

65 x 55 x 5 in.

lacquer on aluminum

Jiang Guofang - Woman with a Red Scarf - oil on canvas - 20 7/8 x 25 5/8 in

Woman with a Red Scarf

20 7/8 x 25 5/8 in

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

MARC CHAGALL - The Yellow Sun - lithograph - 20 x 24 in.

FRED MITCHELL - Untitled - oil on canvas - 72 x 72 in.

WILLIAM THEOPHILUS BROWN - Untitled (Painting with Jumping Man and Snake) - acrylic on canvas - 38 x 42 in.

WILLIAM THEOPHILUS BROWN

Untitled (Painting with Jumping Man and Snake)

acrylic on canvas

IRVING NORMAN - Strange Lovers (The Hard Marriage) - ink and colored pencil on paper - 22 3/4 x 29 in.

Strange Lovers (The Hard Marriage)

22 3/4 x 29 in.

ink and colored pencil on paper

JOSEPH KLEITSCH - Portrait of Charles F. W. Nichols - oil on canvas - 27 x 22 in.

JOSEPH KLEITSCH

Portrait of Charles F. W. Nichols

WILLIAM THEOPHILUS BROWN - Untitled (Industrial Landscape with One Way Street) - acrylic on canvas - 54 x 76 in.

WILLIAM THEOPHILUS BROWN

Untitled (Industrial Landscape with One Way Street)

acrylic on canvas

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.

JAMES ROSENQUIST - Drawing Study - oil pastel and pencil on paper - 35 x 22 1/2 in.

JAMES ROSENQUIST

35 x 22 1/2 in.

oil pastel and pencil on paper

ANDY WARHOL - Blackglama (Judy Garland) - screenprint on Lenox Museum Board - 38 x 38 in.

Blackglama (Judy Garland)

screenprint on Lenox Museum Board

MEL RAMOS - Tomato Catsup; A.C. Annie; Lola Cola; and Tobacco Red - four offset lithographs printed in colors - 30 3/4 x 25 1/4 in. (each)

Tomato Catsup; A.C. Annie; Lola Cola; and Tobacco Red

30 3/4 x 25 1/4 in. (each)

four offset lithographs printed in colors

ADAM EMORY ALBRIGHT - Two Boys with Cows "Coming Home" - oil on canvas - 35 3/4 x 59 3/4 i in.

ADAM EMORY ALBRIGHT

Two Boys with Cows "Coming Home"

35 3/4 x 59 3/4 i in.

LOUISE NEVELSON - Untitled - wood and paper collage - 37 1/4 x 25 1/8 in.

LOUISE NEVELSON

37 1/4 x 25 1/8 in.

wood and paper collage

REMBRANDT VAN RIJN - The Good Samaritan - etching - 10 x 8 1/8 in.

REMBRANDT VAN RIJN

The Good Samaritan

HERB ALPERT - Robotic Revolution - acrylic on canvas - 60 x 84 in.

Robotic Revolution

acrylic on canvas

HERB ALPERT - Salutation - acrylic on canvas - 60 x 84 in.

acrylic on canvas

HANS HOFMANN - Yellow Vase - oil on panel - 8 x 7 1/2 in.

ROLPH SCARLETT - Untitled - 1035 - oil on canvas - 15 x 16 in.

Untitled - 1035

KARL BENJAMIN - Untitled - oil on canvas - 50 x 38 1/4 in.

50 x 38 1/4 in.

PAUL WONNER - Fruit and Kitchen Towels on Two Tables - acrylic and ink on paper - 38 1/4 x 26 3/4 in.

Fruit and Kitchen Towels on Two Tables

38 1/4 x 26 3/4 in.

acrylic and ink on paper

JAE KON PARK - Untitled - oil on canvas - 35 1/2 x 45 1/2 in.

35 1/2 x 45 1/2 in.

JAE KON PARK - Untitled - oil on canvas - 36 x 46 in.

Warhol began depicting the "Hammer and Sickle" in 1976 after seeing the symbol from the Soviet flag used in graffiti while visiting Italy. The icon represents the union of industrial and farm workers’ interests. To Warhol, the symbol was more Pop than politics. One of his assistants scoured books for reproductions and ultimately purchased a double-headed hammer and a sickle and arranged them in different positions to photograph. Warhol used the images for his series of silkscreens, which New York’s Castelli Gallery exhibited in 1977. His almost expressionist use of the hammer and sickle diffuses some of the Cold War tension that prevailed from the early 1940s through the 1980s.

Hammer & Sickle

image: 30 x 40 1/8 in. board: 32 1/2 x 42 1/2 in.

ARISTIDES DEMETRIOS - The Eternal Flame - steel - 47 3/4 x 6 x 7 in.

ARISTIDES DEMETRIOS

The Eternal Flame

47 3/4 x 6 x 7 in.

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

JOSE MARIA SICILIA

Yellow Flower IV

acrylic on linen

PAUL JENKINS - Phenomena Lucifer Edge - oil on canvas - 45 x 34 3/4 in

Phenomena Lucifer Edge

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

86 1/2 x 31 3/8 in.

painted monotype on handmade paper

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

MANUEL OCAMPO - Tratado De Enfermeria - oil on panel - 47 3/4 x 48

Tratado De Enfermeria

NATHAN OLIVEIRA - Runner (Ochre) - bronze - 17 x 16 x 23 1/2 in.

NATHAN OLIVEIRA

17 x 16 x 23 1/2 in.

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

Untitled (Oak Leaves)

Pennsylvania native Shirley Goldfarb won a scholarship for study at the Art Students League of New York from 1952-1953. During this time in New York she frequented the Cedar Bar where other AbEx artists convened, then the following year moved to Paris. She remained there the rest of her life, developing her particular AbEx style that combines painterly action with light and color. There, she befriended contemporaries Joan Mitchell, Sam Francis, Alberto Giacometti, Man Ray, Max Ernst, Andy Warhol, and David Hockney. A portrait of Goldfarb by Hockney is now in the collection of the San Francisco Museum of Modern Art.

SHIRLEY GOLDFARB

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

HERB ALPERT - East of the Sun - acrylic on canvas - 71 3/4 x 71 3/4 in.

East of the Sun

71 3/4 x 71 3/4 in.

acrylic on canvas

EDWARD LEE HENDRICKS - 6 Jacks - aluminum & urethane enamel with 6" spheres - 19 1/2 x 24 x 24 in.

EDWARD LEE HENDRICKS

19 1/2 x 24 x 24 in.

aluminum & urethane enamel with 6" spheres

CLEVE GRAY - Lateral F - acrylic on canvas - 24 x 36 in.

acrylic on canvas

DAMIEN HIRST - The Souls on Jacob's Ladder Take Their Flight - color photogravure etching - 47 1/2 x 43 1/4 in.

The Souls on Jacob's Ladder Take Their Flight

47 1/2 x 43 1/4 in.

color photogravure etching

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

SAM FRANCIS - Untitled - acrylic on gessoed masonite wood panel - 9 x 6 1/4 in.

acrylic on gessoed masonite wood panel

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

JEFF KOONS - Train (blue) - screenprint with digital inkjet on Somerset paper - 32 x 25 1/4 in.

32 x 25 1/4 in.

screenprint with digital inkjet on Somerset paper

EDWARD HENRY POTTHAST - Rocky Pasture - oil on board - 12 x 16 in.

EDWARD HENRY POTTHAST

PABLO PICASSO - L'Atelier du Vieux Peintre (Old Painter's Studio) - lithograph - 17 x 24 in.

L'Atelier du Vieux Peintre (Old Painter's Studio)

PABLO PICASSO - Man Uncovering a Woman (Homme dévoilant une femme) - etching/engraving - 16 x 12 1/2 in.

Man Uncovering a Woman (Homme dévoilant une femme)

16 x 12 1/2 in.

etching/engraving

FRANCESCO CLEMENTE - Untitled - pastel on paper - 26 x 18 3/4 in.

FRANCESCO CLEMENTE

26 x 18 3/4 in.

pastel on paper

ARISTIDES DEMETRIOS - Succession - bronze - 27 1/4 x 17 x 13 in.

ARISTIDES DEMETRIOS

27 1/4 x 17 x 13 in.

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.

PABLO PICASSO - La Source - drypoint on thin Montval laid paper - 7 x 9 1/4 in.

drypoint on thin Montval laid paper

MARC CHAGALL - Paysage Bleue - lithograph in colors - 20 3/4 x 26 3/4 in.

20 3/4 x 26 3/4 in.

lithograph in colors

MERCEDES MATTER - Untitled - oil on canvas - 10 x 14 in.

MERCEDES MATTER

It wasn't until the age of 78 that Pablo Picasso experimented with linoleum cuts, turning them into a major vehicle for artistic expression. Picasso used ochers, browns and blacks, reminiscent of Greek vase painting, as the dominating color scheme , which displays his expressive carving style.
<br>
<br>Artist's Proof signed by hand in pencil, "Picasso" in lower right.
<br>Printed by Arnéra, Vallauris. Published by Berggruen for the deluxe edition of Jacques Prévert's book, " Diurnes", with découpages and photographs by André Villers.
<br>Catalogue reference: Bloch 1062

Seated Female Nude, from "Diurnes"

21 1/2 x 17 in.

Linocut in Colors

TOM WESSELMANN - Big Blonde - screenprint in colors on wove paper - 55 x 74 in.

screenprint in colors on wove paper

BILLY AL BENGSTON - Syltkakor Draculas - acrylic on canvas - 44 x 44 in.

BILLY AL BENGSTON

Syltkakor Draculas

acrylic on canvas

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

WILLIAM THEOPHILUS BROWN

Landscape with Rocks

acrylic on canvas

CLARENCE HINKLE - Portrait of a Chinese Boy - oil on canvas - 36 x 30 in.

CLARENCE HINKLE

Portrait of a Chinese Boy

MARC CHAGALL - The Rabbi of Vitebsk (The Praying Jew) - etching and aquatint in colors on Chine-collé on Japan Paper - 27 5/8 x 21 in.

The Rabbi of Vitebsk (The Praying Jew)

27 5/8 x 21 in.

etching and aquatint in colors on Chine-collé on Japan Paper

MAX PELLEGRINI - Resurrection no. 3: The Faun’s rebirth - oil on canvas - 39 1/4 x 51 in.

Resurrection no. 3: The Faun’s rebirth

39 1/4 x 51 in.

MARC CHAGALL - A Sequestered Garden - original lithograph in colors - 23 3/4 x 20 in.

A Sequestered Garden

23 3/4 x 20 in.

original lithograph in colors

ALEXANDER CALDER - El Circulo de Piedra - gouache and ink on paper - 20 1/2 x 15 1/2 in.

ALEXANDER CALDER

El Circulo de Piedra

20 1/2 x 15 1/2 in.

gouache and ink on paper

PAUL LAURITZ - Tree Shadowed Road - oil on canvas - 40 1/8 x 50 1/4 in.

Tree Shadowed Road

40 1/8 x 50 1/4 in.

JACK YOUNGERMAN - White Open Round - oil on canvas - 72 in. diameter

JACK YOUNGERMAN

White Open Round

72 in. diameter

DAVID MORRIS - The Matador - cast steel - 43 1/2 x 15 1/2 in.

43 1/2 x 15 1/2 in.

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

Discipline-Reading Boy

56 1/2 x 28 1/4 in.

Ink and Watercolor on Handmade Paper

ZENG JIANYONG - Discipline-Flying Bird - ink and watercolor on handmade paper - 56 1/2 x 28 1/4 in.

Discipline-Flying Bird

56 1/2 x 28 1/4 in.

ink and watercolor on handmade paper

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.

TONY DE LOS REYES - The Needle - oil on linen - 89 x 119 x 6 in.

TONY DE LOS REYES

89 x 119 x 6 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.

KENNETH NOLAND - Winds 82-08 - painted monotype on handmade paper - 86 x 32 in.

painted monotype on handmade paper

LAWRENCE SCHILLER - Marilyn Monroe - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

vintage silver gelatin photograph

JULIO SUSANA - Mariachi - oil on canvas - 63 x 73 in.

JULIO SUSANA - Enegia Solar - oil on canvas - 60 x 72 in.

JULIO SUSANA - Vida Musical - oil on canvas - 64 x 80 in.

RUSSELL YOUNG - Mountain - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

indigo pigment screenprint on felt in 6 panels

RUSSELL YOUNG - Wave - indigo pigment screenprint on felt in 6 panels - 74 x 120 in.

indigo pigment screenprint on felt in 6 panels

KYOKO IBE - Untitled - recycled ganpi paper fiber, old documents, mica and sumi - 33 x 81 in.

recycled ganpi paper fiber, old documents, mica and sumi

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

CHARLES HERBERT WOODBURY

Beach Scene with Umbrella

PAUL WONNER - Figure and Plant - oil on canvas - 48 x 40 in.

Figure and Plant

RUBEN ALPIZAR - Untitled - acrylic on canvas - 57 x 38 in.

acrylic on canvas

WILLEM DE KOONING - Untitled - charcoal on vellum - 22 3/4 x 18 1/8 in.

WILLEM DE KOONING

22 3/4 x 18 1/8 in.

charcoal on vellum

JAE KON PARK - Untitled - oil on burlap - 39 1/2 x 35 1/2 in.

39 1/2 x 35 1/2 in.

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

FELIPE CASTANEDA

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

FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.

FELIPE CASTANEDA

18 1/2 x 6 1/2 x 11 in.

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

FELIPE CASTANEDA

11 1/2 x 7 x 7 in.

NAOTO NAKAGAWA - New York Post - oil on canvas - 56 x 70 1/8 in.

56 x 70 1/8 in.

JAE KON PARK - Untitled - oil on canvas - 25 1/4 x 35 in.

25 1/4 x 35 in.

JAE KON PARK - Untitled - oil on canvas - 35 x 33 7/8 in.

35 x 33 7/8 in.

NAOTO NAKAGAWA - Aggressive Still Life - oil on canvas - 56 1/4 x 70 1/4 in.

Aggressive Still Life

56 1/4 x 70 1/4 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.

FELIPE CASTANEDA - Mujer con Guitarra - marble - 16 1/2 x 10 1/2 x 10 in.

FELIPE CASTANEDA

Mujer con Guitarra

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

MARC CHAGALL - Plate 8, Anacreon - lithograph on Arches - 22 x 17 1/4 in.

Plate 8, Anacreon

22 x 17 1/4 in.

lithograph on Arches

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

SYLVIA PLIMACK MANGOLD - Gray Winter Glaze - oil on canvas - 30 x 40 in.

SYLVIA PLIMACK MANGOLD

Gray Winter Glaze

ARISTIDES DEMETRIOS - Reaching for a Star - stainless steel welded - 34 1/4 x 8 7/8 x 5 3/4 in.

ARISTIDES DEMETRIOS

Reaching for a Star

34 1/4 x 8 7/8 x 5 3/4 in.

stainless steel welded

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