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查看者: 艺术家类别价格

根据布兰迪温河艺术博物馆编制的目录，《清教徒鳕鱼》的初稿是 N. C. 怀斯在 1945 年 10 月去世前完成的。该条目记录了草图的图像、艺术家的题词及其标题《Puritan Cod Fishers》，目录将其描述为 "备用"。无论是哪种情况，这幅大型画布都是一件独一无二的作品，安德鲁-怀斯后来回忆说，这幅画完全是由他亲手绘制的，是父亲的设计和构图与出色的儿子的执行合作的成果。对安德鲁来说，这一定是一次感触颇深的情感体验。鉴于父亲对细节和真实性的关注，这艘小帆船的线条代表了十六世纪使用的藠头。另一方面，安德鲁很可能比他父亲更深地描绘了躁动不安的大海的色调，这一选择恰如其分地突出了任务的危险性。

Andrew Wyeth & N. C. Wyeth

普里坦鳕鱼渔民

108 1/2 x 157 1/2 英寸。

画布上的油画

A major figure in both the Abstract Expressionist and American Figurative Expressionist movements of the 1940s and 1950s, Elaine de Kooning's prolific output defied singular categorization. Her versatile styles explored the spectrum of realism to abstraction, resulting in a career characterized by intense expression and artistic boundary-pushing. A striking example of de Kooning's explosive creativity is Untitled (Totem Pole), an extremely rare sculptural painting by the artist that showcases her command of color. <br><br>She created this piece around 1960, the same period as her well-known bullfight paintings. She left New York in 1957 to begin teaching at the University of New Mexico in Albuquerque, and from there would visit Ciudad Juárez, where she observed the bullfights that inspired her work. An avid traveler, de Kooning drew inspiration from various sources, resulting in a diverse and experimental body of work.

伊莱恩·德·库宁

无题（图腾极）

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

画布上的油伸过纸板缸

FERNAND LEGER - Composition orange et noir - 油画 - 36 1/8 x 23 1/2 英寸。

费尔南德·勒格

橙色和黑色构成

36 1/8 x 23 1/2 英寸

画布上的油画

<div><font face=Lato size=3 color=black>Known for his ability to blend traditional Japanese techniques with modern aesthetics, Hiroshi Senju's sublime depictions of bands of cascading veils of paint evoke sensations of tranquility and awe. Senju began exploring waterfall imagery in the early 1990s, pouring translucent pigment onto mulberry paper mounted on board, creating cascading movement. In this work, "<em>Waterfall," </em>he masterfully bonds ribbons of cascading water into two curtain-like ethereal panels. Senju's interest in synesthesia is undeniable. "<em>Waterfall</em>" conjures sound, smell, and feel sensations as much as the rushing water's appearance. In the present work, he placed these dynamic elements in a context that grounds the viewer's sense of place within the natural world. A wedge of blue in the upper left corner contrasts the otherwise monochromatic palette, providing a sky association bounded by a hillside or cliff (for which Senju is known). Additionally, as the cascading water descends, it reaches a destination expanse at the bottom of the picture plane, where the force of the water disperses into a fine mist at the point of contact, serving as a visual anchor. </font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Senju's finesse is evident throughout. He uses mulberry paper, a traditional Japanese material known for its delicate texture and strength. The paper's natural fibers absorb pigments in ways that create subtle gradients and fluidity, enhancing the visual effect of the cascading water. He employs traditional Nihonga techniques, such as layering washes to build depth and movement and utilizing varied brush strokes to achieve different effects. Additionally, he incorporates modern methods like the airbrush to apply fine mists of pigment, creating smooth and seamless gradients that mimic the delicate spray and vapor associated with cascading water.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Hiroshi Senju pays homage to the traditional art forms of his heritage while pushing the boundaries of contemporary art. His ability to convey the sublime through simplicity and abstraction makes this artwork a testament to his unique vision and artistic mastery. It stands as a serene reminder of nature's timeless beauty, captured through the ability of a master painter and artist.  </font></div>

日本桑皮纸上的天然颜料和铂金，裱在木板上

HERB ALPERT - 箭头 - 青铜 - 201 x 48 x 48 in.

201 x 48 x 48 in.

<div><font face=Calibri size=3 color=black>Standing at an impressive 103 inches, this elegantly spare “Sonambient” sculpture by Harry Bertoia allows us to marvel at one of the finest artisans of his generation. This piece, the tallest in the series currently available here at Heather James Fine Art, features a precise arrangement of 36 slender tines in a 6 x 6 grid. This arrangement's uniformity and symmetry are visually captivating and crucial for the sculpture's acoustic properties. The rods, austere and uncapped by finials, have an aged patina with copper undertones, suggesting Bertoia's use of copper or a similar alloy known for its resonant qualities and distinctive coloration. Given the outstanding length of these rods, the attachment method is particularly noteworthy. Bertoia meticulously inserted each rod into individual holes in the base plate using precision drilling and securing techniques such as welding that ensured the rods were firmly anchored and stable, maintaining the structural integrity essential for consistent acoustic performance.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Beyond his uncompromising nature, Bertoia's work draws significant inspiration from natural elements. This sculpture's tall, slender rods evoke images of reeds or tall grasses swaying gently in the wind. This dynamic interaction between the sculpture and its environment mirrors the movement of plants, creating an immersive, naturalistic experience. Yet when activated or moved by air currents, the rods of this monumental work initiate metallic undertones that confirm its materiality without betraying its profound connection to the natural world.</font></div><br><br><div><font face=Calibri size=3 color=black>Integrating technical precision and natural inspiration depends on exacting construction that ensures durability and acoustic consistency, while its kinetic and auditory nature imbues the piece with a sense of vitality. This fusion invites viewers to engage with the sculpture on multiple sensory levels, appreciating its robust craftsmanship and evocative, naturalistic qualities. Bertoia's ability to blend these elements results in a work that is both a technical marvel and a tribute to the beauty of the natural world.</font></div>

哈里·贝托亚

无题（发声雕塑）

103 x 16 x 16 英寸

After disappointing sales at Weyhe Gallery in 1928, Calder turned from sculpted wire portraits and figures to the more conventional medium of wood. On the advice of sculptor Chaim Gross, he purchased small blocks of wood from Monteath, a Brooklyn supplier of tropical woods. He spent much of that summer on a Peekskill, New York farm carving. In each case, the woodblock suggested how he might preserve its overall shape and character as he subsumed those attributes in a single form. There was a directness about working in wood that appealed to him. Carved from a single block of wood, Woman with Square Umbrella is not very different from the subjects of his wire sculptures except that he supplanted the ethereal nature of using wire with a more corporeal medium.<br>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York

亚历山大·卡尔德

妇女与方形伞

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.<br><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. <br><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.

朱利安·施纳贝尔

油，树脂，格索，织物和皮革在接缝的滴布

JOHN CHAMBERLAIN - ASARABACA - 工业用铝箔，丙烯酸漆和聚酯树脂 - 20 x 23 x 22 英寸。

约翰·张伯伦

阿萨拉巴卡

20 x 23 x 22 英寸

工业级铝箔，丙烯酸漆和聚酯树脂

罗杰-布朗以其个人化的、往往充满幻想的图像和高度风格化的画作而闻名，画中的人物和物品反映了他对日常经验的兴趣。酸雨》探索了现代生活和社会评论的主题，反映了艺术家在社会中的角色以及艺术推动变革的潜力。从更个人的层面来看，酸雨的主题可能象征着腐蚀性的情绪或心理状态，如抑郁、焦虑或被无法控制的环境压垮的感觉。正如酸雨是一个几乎不为人知但却极具破坏性的环境问题一样，新出现的艾滋病毒/艾滋病疫情危机也可能促使布朗创作这幅作品，以处理个人的悲痛，批评政治领导人的应对措施不力，并倡导同情、理解和医学研究。

48 x 72 x 2 英寸

画布上的油画

安迪-沃霍尔是20世纪下半叶美国艺术的代名词，以其标志性的肖像画和消费品而闻名，他将大众文化和美术混为一谈，重新定义了艺术可以是什么以及我们如何对待艺术。虽然沃霍尔的许多作品可能不代表著名的个人，但他对无生命物体的描绘将他的对象提升到了一个名人的高度。沃霍尔在其职业生涯早期作为时尚插画师时首次描绘了鞋子，并在20世纪80年代回到了这个主题，将他对消费主义和魅力的迷恋结合起来。沃霍尔一直希望融合高端和低端文化，他选择了突出像鞋子这样无处不在的东西。这个主题可以表示贫穷或财富，功能或时尚。沃霍尔将这堆鞋美化了，在它们身上覆盖了一层闪闪发光的钻石粉，进一步模糊了功利性需求和风格化声明作品之间的含义。

安迪·沃霍尔

钻石尘埃鞋（黑色和白色）

40 x 59 1/2 in.

丝网印刷与钻石粉

作为极简主义雕塑家托尼-史密斯（Tony Smith）的女儿，琪琪的艺术创作不局限于任何单一的媒介或技术，她的作品往往能引发多重解读。Club 体现了人腿的形态和尺寸，是运动和稳定的基本要素。史密斯的标题邀请观众将一条腿重新想象为武器，并思考人类的脆弱性、身体自主性的动力以及力量与脆弱性之间复杂的相互作用。这种将身体部位转化为物体的方式，既传达了保护，又具有攻击性，同时也反映了有性别区分的身体如何驾驭我们的社会和个人环境。俱乐部》充分体现了史密斯的创作能力，他的作品富含象征意义，易于解读，并能引发人们对人类经历的思考。

基基-史密斯

33 x 8 x 6 英寸

"梦中之梦 "是 Ryan McGinnes 的一个重要绘画和丝网版画系列，其名称来自埃德加-爱伦-坡的一首著名诗歌。在探索感知、现实和潜意识等主题时，麦金尼斯融入了各种符号和图案，包括几何图形、植物元素和具象图案，并将其排列成错综复杂的图案，这些图案似乎在观者眼前变换和变形。标题暗示了一种模糊性和不确定性，反映了现实的难以捉摸性和人类经验的逃避性。通过探讨感知和幻觉的主题，麦金尼斯鼓励观众质疑自己对世界的假设，并思考现实可能比表面看起来更加多变和主观。

96 1/4 x 143 x 2 3/4 英寸

画布上的丙烯酸

"A drawing is simply a line going for a walk."<br>-Paul Klee<br><br>A significant draftsman, Paul Klee's works on paper rival his works on canvas in their technical proficiency and attention to his modern aesthetic. As an early teacher at the Bauhaus school, Klee traveled extensively and inspired a generation of 20th Century Artists. <br><br>Klee transcended a particular style, instead creating his own unique visual vocabulary. In Klee's work, we see a return to basic, geometric forms and a removal of artistic embellishment. "Der Hafen von Plit" was once owned by Alfred H. Barr, Jr., the First Director of the Museum of Modern Art, New York.

冯-普利特港(Hafen von Plit)

14 1/4 x 19 1/2 in.

铺纸上的钢笔和墨水，安装在编织纸上

黛博拉·巴特菲尔德是一位美国雕塑家，以她由木材、金属和其他发现物品制成的马匹雕塑而闻名。1981年的作品，无题（马），由木棍和纸在电线骨架。这部作品的令人印象深刻的规模创造了一个显着的效果，提出了巴特菲尔德的著名题材的一个引人注目的例子。巴特菲尔德最初用她在蒙大拿州博兹曼的房产上找到的木材和其他材料来制作马，并将这些马视为一个比喻性的自画像，挖掘了这些形式的情感共鸣。

德博拉·巴特菲尔德

100 x 157 x 36 in.

电线骨架上的木棍和纸

曼努埃尔-内里是20世纪60年代湾区具象主义运动的核心人物。该团体不强调抽象形式，而是通过人的形式的力量来强调情感。本作品 "无题"（1982年）以真人大小的尺寸探索了女性的形态。在他60年的职业生涯中，涅利喜欢只用一个模特，即玛丽亚-朱莉娅-克里门科。许多雕塑作品中没有脸，这就增加了神秘和模糊的元素。无题》中构图的重点是人物的结构和形式。曼努埃尔-内里被世界各地的博物馆收藏，包括艾迪逊画廊/菲利普斯学院；斯坦福大学的安德森收藏；芝加哥艺术学院；斯坦福大学坎特艺术中心；辛辛那提艺术博物馆；加州萨克拉门托的克罗克艺术博物馆；丹佛艺术博物馆，德克萨斯州的埃尔帕索艺术博物馆；旧金山美术博物馆；哈佛大学艺术博物馆；华盛顿的赫什霍恩博物馆和雕塑园。檀香山艺术博物馆、纽约大都会艺术博物馆和华盛顿特区国家艺术馆。

曼纽尔·内里

67 x 24 x 26 in.

The Tang Dynasty (618-907 AD) was a prosperous period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing used the three glaze-colors were ochre or brown, green and clear. Glazed wares were much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>This Sancai-Glazed Horse would have been an incredible status symbol for its owner and many have been lost to time. This sculpture is comparable to examples held in museum collections worldwide, including the Metropolitan Museum of Art, New York.

唐朝（公元618-907年）

25 x 26 x 9 英寸

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

三才釉地灵

唐朝（公元618-907年）

47 1/4 x 14 x 14 in.

WALEAD BESHTY - Los Caballos en la Conquista - Ceramica Suro 滑铸残片、釉料和烧制板 - 9 1/2 x 32 1/4 x 21 1/2 英寸。

瓦莱德-贝希蒂

征服中的骑兵

9 1/2 x 32 1/4 x 21 1/2 英寸

Ceramica Suro 滑铸残片、釉料和烧制板

<div><font face=Lato size=3 color=black>In Harry Bertoia's oeuvre, "<em>Willow</em>" stands apart as an extraordinary synthesis of natural inspiration and innovative metalwork. Its cascading strands of stainless-steel capture the weeping elegance of a willow tree's drooping branches while introducing a dynamic, interactive quality through its shimmering surface and subtle responsiveness to movement. The strands—whether referred to as "tinsels," "filaments," or "tendrils"—reflect the delicacy of natural forms, blending artistry with technical mastery.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Bertoia, a visionary sculptor with an unparalleled ability to transform industrial materials into organic beauty, likely employed meticulous processes to create "<em>Willow,</em>" cutting thin sheets of stainless steel into fine strips and expertly attaching them to a central core, positioning each strand to flow like water or sway like leaves in the breeze. The tactile quality of the strands, which respond to air currents or touch, invites the viewer into a contemplative engagement with the work, much like one might feel beneath the canopy of a willow tree.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>This piece epitomizes Bertoia's lifelong fascination with nature, stemming from his early years in the rural village of San Lorenzo, Italy. His sensitivity to the organic world continually informed his artistic practice, from his celebrated Sonambient sound sculptures to creations like “<em>Willow</em>, “which reimagine the relationship between form and environment. As he once said, "I no longer hold onto terms like music and sculpture. Those old distinctions have lost all their meaning."</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Once again , Bertoia captivates us by reaching beyond the traditional boundaries of sculpture, delivering a work that is as much a sensory experience as a visual one. It is a harmonious blend of natural inspiration and innovative artistry, a reminder of the sacred beauty found in the intersection of art and the natural world.</font></div>

哈里·贝托亚

无题（柳树）

61 x 32 x 32 英寸

WILLIAM WENDT - 拉古纳山 - 布面油画 - 25 x 30 in.

画布上的油画

CHARLES ARNOLDI - Sticky Wicket - 胶合板上的亚克力、模型浆料和胶合板上的粘性木棍 - 44 1/4 x 91 x 3 英寸

查尔斯·阿诺迪

44 1/4 x 91 x 3 英寸

胶合板上的丙烯、造型浆糊和胶棒

Jaudon was one of the founders of the Pattern and Decoration movement. With a foundation of feminist theory, Jaudon repositioned what were considered trivial art forms and minor visual images. These forms and symbols were relegated because of their association with the feminine or non-Western. <br><br>At the same time, Palmyra exemplifies the ability of Jaudon to create aesthetically beautiful works. Jaudon interweaves shades of red into ornate arabesques recalling gothic stonework, celtic knots, and Islamic calligraphy. The crispness of the lines against the impasto and the layering of red tones makes it appear that the lines are carved like stone.

84 x 114英寸。

画布上的油画

MARC QUINN - Lovebomb - 铝合金上的照片层压 - 108 1/4 x 71 3/4 x 37 3/4英寸。

108 1/4 x 71 3/4 x 37 3/4 英寸。

铝合金上的照片层压板

Signed and titled verso<br>JR-33-76

画布上的丙烯酸

JOANNA POUSETTE-DART - 无题（红色沙漠研究） - 木板上的丙烯酸 - 33 1/2 x 42 x 3/4 英寸。

乔安娜·普塞特-达特

无题（红色沙漠研究）

33 1/2 x 42 x 3/4 英寸。

木板上的亚克力

Harry Bertoia的Willow雕塑作为一种优雅和精致的表达引起了共鸣；这些品质与我们通常对其合金的内在属性的联想相悖。这个悬浮的版本--罕见的柳树版本--似乎有一种自我意识的存在；它喜欢这种属性的对比。然而，它所招致的只是观赏它的存在乐趣。把《柳》看作是一个大胆表达的考尔德版本，如果后者的大师有一个更有机的或肉体的唤起。悬空的，它指挥着它的区域，但又尊重它与周围的空间关系。光线、形式、空间--这些都是雕塑家的概念性工具。但是，还有谁会想到使用更容易与僵硬和张力联系在一起的反光材料来创造一束层叠的不锈钢线，悬浮在空间中，像植物一样，如此优雅美丽？

哈里·贝托亚

无标题（悬挂柳树）

123 x 39 x 39 in.

The Tang Dynasty (618-907 AD) was a prosperous cultural period that helped shape Chinese history's foundations for future centuries. This era was marked by notable technological and cultural advances, including gunpowder and printing. Among artistic advances during this period was the perfection of the sancai glaze technique, which was a prominent attribute of sculpture during this period. Sancai (tri-colored) glazing; the three glaze-colors used were ochre or brown, green and clear. Glazed wares where much more costly to produce than other terracotta wares, and were therefore only reserved for the wealthiest patrons. <br><br>The Sancai-Glazed Earth Spirit offered here depicts a "Zhenmushou." These are mythical hybrid creatures whose bodies are a combination of dogs, lions, boars and other animals. These fierce looking beasts would be found in pairs guarding the entrance of Tang Dynasty tombs.

三才釉地灵

高度：44英寸

MEL RAMOS - Lola Cola; A.C. Annie; Della Monty; Tobacco Red - 四幅胶印彩色石版画 - 每幅 30 3/4 x 25 1/4 英寸。

梅尔·拉莫斯

罗拉可乐；A.C. 安妮；德拉蒙蒂；烟草红

各 30 3/4 x 25 1/4 英寸。

四幅胶印彩色石版画

费利佩·卡斯塔内达 - 穆杰尔·康吉拉 - 大理石 - 16 1/2 x 10 1/2 x 10 in.

费利佩·卡斯塔纳达

穆杰尔·康·吉吉拉

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

AI WEIWEI - "Fairytale "椅子 - 木制 - 49 x 45 x 17 1/2英寸.

"童话般的椅子

49 x 45 x 17 1/2 英寸。

克里斯蒂安·罗萨 - 无标题 - 画布上的油画 - 71 x 82 1/2 in.

克里斯蒂安·罗莎

71 x 82 1/2 in.

画布上的油画

MERION ESTES - Sky Blue Sky - 布料拼贴和丙烯颜料画板 - 80 x 60 x 1 3/4 英寸。

80 x 60 x 1 3/4 英寸

布艺拼贴画和丙烯颜料

JASPER JOHNS - Voice 2 - 手工制作的 Fred Stiegenthaler 纸上的七色石版画 - 17 x 23 英寸。

贾斯珀·约翰斯

手工制作的 Fred Stiegenthaler 纸上的七色石版画

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

费利佩·卡斯塔纳达

11 1/2 x 7 x 7 in.

格雷戈里苏米达 - 遥远的阴影，骑士渡轮，CA - 水彩 - 21 1/2 x 29 3/4 in.

格雷戈里·苏米达

遥远的阴影，骑士渡轮， CA

21 1/2 x 29 3/4 in.

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