Artwork

Artists Categories Price
THOMAS MORAN - Jupiter Terrace, Yellowstone - oil on canvas - 20 x 30 in.
THOMAS MORAN
Jupiter Terrace, Yellowstone
1893
20 x 30 in.
oil on canvas

Created at a seminal point early in the artist’s career, Le Mont Riboudet a Rouen au Printemps by Claude Monet, depicts a beautiful landscape with flora, figures working in the fields, and haystacks. The aesthetic is comparable to that of Camille Pisarro and Alfred Sisley, Monet’s contemporaries also working en plein air at the time to capture nuances of the French countryside on canvas. The painting’s distinguished provenance includes Durand-Ruel and Gustave Caillebotte.
CLAUDE MONET
Le Mont Riboudet a Rouen au Printemps
1872
21 1/2 x 28 5/8 in.
oil on canvas

TOM WESSELMANN - Bedroom Breast - oil on cut-out aluminum - 80 x 76 x 10 in.
TOM WESSELMANN
Bedroom Breast
2004
80 x 76 x 10 in.
oil on cut-out aluminum

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. <br> <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. <br> <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 CARL FRIESEKE
Afternoon at the Beach
1905 / 1906 in Fra
60 x 178 in.
oil on canvas

ALEXANDER CALDER - The Palm Tree - oil on canvas - 39 ½ x 29 ¾ in.
ALEXANDER CALDER
The Palm Tree
1947
39 ½ x 29 ¾ in.
oil on canvas

WIFREDO LAM - Sans Titre - oil on canvas - 63 1/4 x 51 1/4 in.
WIFREDO LAM
Sans Titre
1963
63 1/4 x 51 1/4 in.
oil on canvas

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.
ANISH KAPOOR
Blood Cinema
2000
77 1/4 x 77 1/4 x 18 3/4 in.
acrylic and steel

DAVID PARK - Woman at Piano - oil on canvas - 29 1/4 x 24 in.
DAVID PARK
Woman at Piano
1954
29 1/4 x 24 in.
oil on canvas

SAM FRANCIS - A Whirling Square - acrylic on canvas - 222 x 210 in.
SAM FRANCIS
A Whirling Square
1975
222 x 210 in.
acrylic 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.
TOM WESSELMANN
1962 Plus 35 Nude Sketch II
1997
43 x 58 5/8 in.
alkyd oil on canvas

SAM FRANCIS - Coral Trails - acrylic on canvas - 78 x 108 in.
SAM FRANCIS
Coral Trails
1986
78 x 108 in.
acrylic on canvas

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
Diagonal
1975
45 7/8 x 60 1/8 in.
acrylic and tempera on canvas

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.
SALVADOR DALI
Les Yeux Fleuris
1944
27 x 19 3/8 in.
oil on canvas

SAM FRANCIS - Untitled, 1961-62 - oil on canvas - 83 3/4 x 75 5/8 in.
SAM FRANCIS
Untitled, 1961-62
1961-62
83 3/4 x 75 5/8 in.
oil on canvas

MAX PECHSTEIN - Akt & Fuchsschwanz - oil on canvas - 19 7/8 x 25 3/4 in.
MAX PECHSTEIN
Akt & Fuchsschwanz
c. 1909-1917
19 7/8 x 25 3/4 in.
oil on canvas

ANISH KAPOOR - Untitled - alabaster - 40 5/8 x 48 1/2 x 17 1/2 in.
ANISH KAPOOR
Untitled
2011
40 5/8 x 48 1/2 x 17 1/2 in.
alabaster

AD REINHARDT - Untitled - oil on canvas - 40 x 32 in.
AD REINHARDT
Untitled
1949
40 x 32 in.
oil on canvas

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.
ANSELM KIEFER
San Loretto
2008
74 x 111 in.
mixed media on canvas

Nectarine (c. 1976) is an example of the large-scale steel sculpture for which Anthony Caro is best known. Considered to be a major influence in the development of modern sculpture, Caro was once a studio assistant to Henry Moore and sought inspiration from American sculptor David Smith. Often recognized for the revolutionary contribution of removing sculpture from pedestals and installing them directly on the ground, Caro places his work directly in the viewer’s space.
ANTHONY CARO
Nectarine
c. 1976
79 x 110 x 51 in.
rusted and varnished steel

Nicknames of Maitre D’s (1984) is a riot of oil and modeling paste on velvet, a favorite textile of Schnabel. The velvet absorbs light, making way for luminescent color, while also speaking to the era’s postmodern embrace of kitsch in its reference to velvet paintings. The painting recalls the artist’s experiences in nightclubs, including visual references to neon tubes, jukeboxes, dancing, and graffiti. Writ large in the painting are the European influences on Schnabel – Anselm Kiefer, Sigmar Polke, and Joseph Beuys – in his use of unconventional material and layered imagery.
JULIAN SCHNABEL
Nicknames of Maitre D's
1984
108 x 252 in.
oil and modeling paste on velvet, in 3 parts

ROBERT HENRI - Girl with Muff - oil on canvas - 57 1/4 x 38 3/4 in.
ROBERT HENRI
Girl with Muff
c. 1900
57 1/4 x 38 3/4 in.
oil on canvas

N.C. Wyeth created this painting as an illustration for Daniel Defoe’s Robinson Crusoe (p. 270), part of the Scribner’s Classics series. The painting represents a pivotal scene in the novel in which Crusoe meets and rescues Friday, the indigenous man who becomes his companion. The scene here depicts Friday expressing his gratitude to Crusoe. Among the most noteworthy illustrators the United States has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew Wyeth produced some of the most celebrated realist works of 20th-century American art, admired for the emotional impact of their stories. N.C. Wyeth's mastery of visual narrative is on full display in this 1920 scene from classic literature.
N.C. WYETH
"- and then he kneeled down again, kissed the ground, and taking me by the foot, set my foot upon hi
1920
40 3/4 x 30 in.
oil on canvas

YAYOI KUSAMA - Increment in the Spring - acrylic, synthetic fibre, plastic and stuffed fabric in wooden box construction - 39 1/2 x 23 1/2 x 11 7/8
YAYOI KUSAMA
Increment in the Spring
1986
39 1/2 x 23 1/2 x 11 7/8
acrylic, synthetic fibre, plastic and stuffed fabric in wooden box construction

Robert Motherwell is admired for his gestural contributions to Abstract Expressionism. From his early period starting in the 1940s until his final works of the 1990s, one can see a distinct stylistic shift into his characteristic Elegy paintings and signature gestural works. Gesture No. 45 demonstrates Motherwell’s intuitive approach to painting influenced by the automatic drawing of the Surrealists. His gestures in this painting are characterized by a suggestion of chance and accident: “Painting is a medium in which the mind can actualize itself; it is a medium of thought,” he said. “Thus painting, like music, tends to become its own content.”
ROBERT MOTHERWELL
Gesture No. 45
c. 1977
48 x 36 in.
acrylic on canvas

RUDOLF BAUER - Larghetto III - oil and tempera on cardboard - 24 x 34 in.
RUDOLF BAUER
Larghetto III
1919
24 x 34 in.
oil and tempera on cardboard

FERNAND LEGER - Femme Couchee - charcoal on paper - 12 7/8 x 19 3/8 in.
FERNAND LEGER
Femme Couchee
1912
12 7/8 x 19 3/8 in.
charcoal on paper

YAYOI KUSAMA - Incomplete Proliferation No. 81 - ink and pastel on paper - 16 3/4 x 11 3/4 in.
YAYOI KUSAMA
Incomplete Proliferation No. 81
1951
16 3/4 x 11 3/4 in.
ink and pastel on paper

Marc Chagall was a Russian-French modernist artist, known for his synthesis of surrealism and symbolism. This work is a preparatory gouache for the stained glass windows of the Mainz Cathedral in Germany. Although Jewish, Chagall believed the work for the cathedral represented a chance for peace and borrows from the Old and New Testaments. This work combines the distinctive style of Chagall and the unique design properties of stained glass windows. Chagall visualized a panorama of blue with lead lacing for the windows which is evident in this drawing.
MARC CHAGALL
The Angel and the Tree of Life
1981
matted image: 46 3/4 x 29 in.
tempera, gouache, black pencil and pen and ink on paper

FERNANDO BOTERO - Lovers - white marble - 20 1/8 x 12 1/2 x 13 1/8 in.
FERNANDO BOTERO
Lovers
2010
20 1/8 x 12 1/2 x 13 1/8 in.
white marble

NORMAN ROCKWELL - Study for "Scouts of Many Trails" - oil on masonite - 40 x 28 1/2 in.
NORMAN ROCKWELL
Study for "Scouts of Many Trails"
c. 1937
40 x 28 1/2 in.
oil on masonite