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<div>Georgia O’Keeffe’s <em>Black Place II</em> (1945) belongs to one of the most profound and austere series of her career, inspired by repeated journeys to the Bisti Badlands, a remote, otherworldly area of northwestern New Mexico that she called the Black Place. Deeply compelled by this landscape, O’Keeffe often camped there so she could study its shifting forms and tonal subtleties at different hours of the day. In this work, she reduces the scene to its essentials: two massive hills pressing together, no visible horizon, and a composition defined by gravity, stillness, and quiet monumentality. The sweeping, interlocking forms create a sense of scale that feels both intimate and immense, evoking a landscape experienced as presence rather than panorama. </div><br><br><div> </div><br><br><div>Works from the Black Place series are exceptionally rare. Of the fourteen canvases O’Keeffe painted, only four remain in private hands; the remainder are held by major institutions including The Metropolitan Museum of Art, SFMOMA, and the Art Institute of Chicago. As a result, opportunities to encounter a work from this group outside of museum collections are exceedingly uncommon. </div><br><br><div> </div><br><br><div><em>Black Place II </em>has an illustrious lineage, from its earliest days in the holdings of Alfred Stieglitz’s famous New York gallery, An American Place, to the noted Philadelphia philanthropist and collector Daniel Dietrich, to the collection of Jan T. and Marica Vilcek. The painting’s legacy is further underscored by its unusually long institutional life. It was shown as early as 1946 at Stieglitz’s An American Place, and has continued to appear in major institutional retrospectives, including exhibitions at the Centre Pompidou and, most recently, the Museum of Fine Arts, Boston. This sustained public and scholarly attention has firmly established the importance of the Black Place paintings within O’Keeffe’s oeuvre. </div>

GEORGIA O'KEEFFE

《黑地 II》

画布上的油画

Cottonwood Tree (Near Abiquiu), New Mexico (1943) by celebrated American artist Georgia O’Keeffe is exemplary of the airier, more naturalistic style that the desert inspired in her. O’Keeffe had great affinity for the distinctive beauty of the Southwest, and made her home there among the spindly trees, dramatic vistas, and bleached animal skulls that she so frequently painted. O’Keeffe took up residence at Ghost Ranch, a dude ranch twelve miles outside of the village of Abiquiú in northern New Mexico and painted this cottonwood tree around there. The softer style befitting this subject is a departure from her bold architectural landscapes and jewel-toned flowers.<br><br>The cottonwood tree is abstracted into soft patches of verdant greens through which more delineated branches are seen, spiraling in space against pockets of blue sky. The modeling of the trunk and delicate energy in the leaves carry forward past experimentations with the regional trees of the Northeast that had captivated O’Keeffe years earlier: maples, chestnuts, cedars, and poplars, among others. Two dramatic canvases from 1924, Autumn Trees, The Maple and The Chestnut Grey, are early instances of lyrical and resolute centrality, respectively. As seen in these early tree paintings, O’Keeffe exaggerated the sensibility of her subject with color and form.<br><br>In her 1974 book, O’Keeffe explained: “The meaning of a word— to me— is not as exact as the meaning of a color. Color and shapes make a more definite statement than words.” Her exacting, expressive color intrigued. The Precisionist painter Charles Demuth described how, in O’Keeffe’s work, “each color almost regains the fun it must have felt within itself on forming the first rainbow” (As quoted in C. Eldridge, Georgia O’Keeffe, New York, 1991, p. 33). As well, congruities between forms knit together her oeuvre. Subjects like hills and petals undulate alike, while antlers, trees, and tributaries correspond in their branching morphology.<br><br>The sinewy contours and gradated hues characteristic of O’Keeffe find an incredible range across decades of her tree paintings. In New Mexico, O’Keeffe returned to the cottonwood motif many times, and the seasonality of this desert tree inspired many forms. The vernal thrill of new growth was channeled into spiraling compositions like Spring Tree No.1 (1945). Then, cottonwood trees turned a vivid autumnal yellow provided a breathtaking compliment to the blue backdrop of Mount Pedernal. The ossified curves of Dead Cottonweed Tree (1943) contain dramatic pools of light and dark, providing a foil to the warm, breathing quality of this painting, Cottonwood Tree (Near Abiquiu). The aural quality of this feathered cottonwood compels a feeling guided by O’Keeffe’s use of form of color.

GEORGIA O'KEEFFE

木棉树（近阿比丘），新墨西哥州

画布上的油画

<div>Claude Monet’s <em>Le bassin d’Argenteuil</em> (1875) is a luminous example from one of the most pivotal periods of his career, painted in the late spring or summer of 1875, just one year after the groundbreaking first Impressionist exhibition. Set along the Seine at Argenteuil, the composition captures a quiet basin animated by small boats, figures, and reflections, rendered with loose, expressive brushwork that conveys the fleeting effects of light and atmosphere. The gentle diffusion of water and sky creates a shimmering surface, perfectly suited to Monet’s plein air practice and his desire to record perception in the moment. </div><br><br><div> </div><br><br><div>Argenteuil was central to the crystallization of Impressionism, marking a time when its ideas, subject matter, and collaborative spirit fully coalesced. Between 1871 and 1878, Monet’s presence there drew fellow artists including Renoir, Manet, Sisley, and Caillebotte, fostering an environment of shared experimentation and innovation. </div><br><br><div> </div><br><br><div>The painting’s early provenance further enhances its significance. It was owned by Oscar A. H. Schmitz, the German writer and intellectual known for his writings on Jungian psychology and his discerning collection of 19th-century art. Following Schmitz’s unexpected death in 1933, the collection was sent to the Kunstmuseum Basel. In 1936, the art dealer Wildenstein & Co. took over 62 works from the collection and organized a major exhibition and sale in Paris and New York.<em> Le bassin d’Argenteuil</em> is included in the Daniel Wildenstein catalogue raisonné (1996), vol. II, p. 153, as no. 371, and is published in eight books. </div>

克劳德·莫奈

阿尔让特伊水域

21又3/4英寸×29又1/4英寸

画布上的油画

<div><font face=Lato size=3 color="#191919"><em>Argenteuil, l’Hospice</em> from 1872 belongs to one of the most formative chapters in Claude Monet’s career, painted during his early years in Argenteuil where he created nearly one hundred eighty canvases between 1871 and 1878. First owned by Paul Durand Ruel, Monet’s dealer and the most important champion of the Impressionists, the painting is included in the Wildenstein catalogue and was featured in the National Gallery London’s landmark exhibition <em>Monet and Architecture </em>in 2018. Created in the same year as his breakthrough <em>Impression, Sunrise</em>, the work reflects the moment when Monet’s vision for modern landscape took shape and laid the foundation for the movement that would soon be known as Impressionism.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">Monet settled in Argenteuil in late 1871, determined to renew his artistic direction after the upheavals of war and exile. The town offered an enticing blend of historical architecture, modern industry, rustic gardens, and the ever-shifting Seine, all within easy reach of Paris. The Aubrey House, where Monet lived, became a gathering place for Renoir, Manet, Sisley, Caillebotte, and later Pissarro, a setting that fostered both artistic exchange and the planning of the first Impressionist exhibition of 1874. As scholar Paul Hayes Tucker has noted, Argenteuil offered Monet a rare diversity of motifs that he encountered daily, ranging from the charmingly old to the strikingly new.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">In this painting Monet set his easel on rue Pierre Guienne, with his back to the Aubrey House, and painted the seventeenth century building that served at the time as the hospice of the Porte Saint Denis. The structure appears at right, viewed from the Seine, rendered with a quiet clarity that captures the atmosphere of an early spring day. The palette reflects both a reverence for the site’s history and an appreciation for Eugène Boudin, the friend and mentor who had encouraged Monet to paint the play of air and light years earlier and who joined him for a housewarming at Argenteuil on January 2, 1872. The hospice later became the Musée du Vieil Argenteuil, further reinforcing the historical resonance of the site.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919"><em>Argenteuil, l’Hospice</em> stands as one of Monet’s earliest paintings from this crucial period and offers a faithful, atmospheric interpretation of a place deeply intertwined with the origins of Impressionism. Its blend of gentle tonalities, soft spring light, and direct observation reveals the artist’s growing confidence in painting the world as he perceived it, moment by moment, as a new vision for modern landscape art emerged.</font></div>

克劳德·莫奈

阿尔让特伊，济贫院

20 x 25 5/8 英寸

画布上的油画

胡安·米罗 - 女神头像 - 青铜，黑色铜绿 - 66 x 36 1/2 x 30 英寸

1970年（1988年铸造）

66 x 36 1/2 x 30 英寸

青铜与黑色帕蒂娜

Between Île-de-France and Burgundy and on the edge of the Fontainebleau Forest lies the medieval village of Moret-sur-Loing, established in the 12th century. When Alfred Sisley described its character to Monet in a letter dated 31 August 1881 as “a chocolate-box landscape…” he meant it as a memento of enticement; that its keep, the ramparts, the church, the fortified gates, and the ornate facades nestled along the river were, for a painter, a setting of unmatched charm. An ancient church, always the most striking townscape feature along the Seine Valley, would be a presence in Sisley’s townscape views as it was for Corot, and for Monet at Vétheuil. But unlike Monet whose thirty views of Rouen Cathedral were executed so he could trace the play of light and shadow across the cathedral façade and capture the ephemeral nature of moment-to-moment changes of light and atmosphere, Sisley set out to affirm the permanent nature of the church of Notre-Dame at Moret-sur-Loing. Monet’s sole concern was air and light, and Sisley’s appears to be an homage keepsake. The painting exudes respect for the original architects and builders of a structure so impregnable and resolute, it stood then as it did in those medieval times, and which for us, stands today, as it will, for time immemorial.<br><br>Nevertheless, Sisley strived to show the changing appearance of the motif through a series of atmospheric changes. He gave the works titles such as “In Sunshine”, “Under Frost”, and “In Rain” and exhibited them as a group at the Salon du Champ-de-Mars in 1894, factors that suggest he thought of them as serial interpretations. Nevertheless, unlike Monet’s work, l’église de Moret, le Soir reveals that Sisley chose to display the motif within a spatial context that accentuates its compositional attributes — the plunging perspective of the narrow street at left, the strong diagonal recession of the building lines as a counterbalance to the right, and the imposing weight of the stony building above the line of sight.

阿尔弗雷德·西斯利

莫雷特教堂，晚间

31 1/4 x 39 1/2 英寸。

画布上的油画

威廉-德-库宁--《划船的女人》--纸上油画，铺在石膏板上--47 1/2 x 36 1/4英寸。

威廉·德库宁

划艇上的女人

47 1/2 x 36 1/4 in.

19世纪70年代初，温斯洛-霍默经常在位于纽约州哈德逊河和卡茨基尔山之间的一个小农庄附近绘制乡村生活场景，该小农庄因其出色的麦田而世代闻名。今天，赫尔利因激发了荷马最伟大的作品之一--1872年夏天绘制的《鞭子的Snap》而更为著名。在其他许多受该地区启发的画作中，《站在麦田里的女孩》感情丰富，但没有过度感伤。它与1866年在法国画的一幅题为《在麦田里》的研究报告以及次年他回到美国后画的另一幅报告直接相关。但荷马无疑会对这幅作品感到最自豪。这是一幅肖像画，一幅服装研究画，一幅具有欧洲田园画伟大传统的风俗画，也是一幅戏剧性的逆光、大气的巡回画，浸透在迅速消逝的阴暗时刻的光线中，并带有羊脂玉般的花香和麦穗的点缀。1874年，荷马送了四幅画给国家设计学院的展览。其中一幅名为 "女孩"。难道不是这一幅吗？

温斯洛荷马

在麦田里（站在麦田里的女孩）

21 3/4 x 13 1/2 in.

画布上的油画

<div>When forty rural Sacramento Delta landscapes by Wayne Thiebaud were unveiled at a San Francisco gallery opening in November 1997, attendees were amazed by paintings they never anticipated. This new frontier betrayed neither Thiebaud’s mastery of confectionary-shop colors nor his impeccable eye for formal relationships. Rather, his admirers were shocked to learn that all but seven of these forty interpretations had been completed in just two years. As his son Paul recalled, “the refinements of my father’s artistic process were ever changing in a chameleon-like frenzy.” The new direction had proved an exhilarating experience, each painting an affirmation of Wayne Thiebaud’s impassioned response to the fields and levees of the local environment he dearly loved.   </div><br><br><div> </div><br><br><div>Viewed from the perspective of a bird or a plane, "The Riverhouse" is an agrarian tapestry conceived with a kaleidoscopic range of shapes and simple forms; fields striped with furrows or striated fans, deliriously colored parallelograms and trapezoids, an orchard garnished pizza-shaped wedge, and a boldly limned river, the lifeline of a thirsty California central valley largely dependent upon transported water. "The Riverhouse" is a painting that ‘moves’ between seamlessly shifting planes of aerial mapping that recalls Richard Diebenkorn’s stroke of insight when he took his first commercial flight the spring of 1951, and those partitions engaging a more standard vanishing point perspective. Thiebaud explained his process as “orchestrating with as much variety and tempo as I can.” Brightly lit with a fauve-like intensity, "The Riverhouse" is a heady concoction of vibrant pigment and rich impasto, one that recalls his indebtedness to Pierre Bonnard whose color Thiebaud referred to as “a bucket full of hot coals and ice cubes.” Among his many other influences, the insertion of objects — often tiny — that defy a rational sense of scale that reflects his interest in Chinese landscape painting.  As always, his mastery as a painter recalls his titular pies and cakes with their bewitching rainbow-like halos and side-by-side colors of equal intensity but differing in hues to create the vibratory effect of an aura, what Thiebaud explained “denotes an attempt to develop as much energy and light and visual power as you can.” </div><br><br><div> </div><br><br><div>Thiebaud’s Sacramento Delta landscapes are an integral and important part of his oeuvre. Paintings such as "The Riverhouse" rival the best abstract art of the twentieth century. His good friend, Willem de Kooning thought so, too.</div>

18 x 35 3/4 英寸。

画布上的油画

<div><font face=Lato size=3 color=black><em>Booksellers by the Seine</em> (1888) emerges from a pivotal moment in Childe Hassam’s early career, created during his period of study in Paris when he was absorbing the influence of the French Impressionists while already demonstrating the skill of an accomplished academic painter. In this finely observed scene along the banks of the Seine, Hassam turns his attention to everyday urban life, depicting Parisians as they browse the open air bookstalls that have lined the river for generations.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The painting reflects Hassam’s gift for portraying people interacting naturally with their surroundings, a hallmark of his finest works. Here he captures not only the activity of the booksellers but also the shifting atmosphere of the city itself, conveyed through soft dabs of paint that suggest autumn leaves floating gently through the air and settling along the foreground. This delicate blending of human presence, weather, and light reveals Hassam’s deep interest in the transient beauty of urban life and marks <em>Booksellers by the Seine</em> as an evocative example from an essential period in his artistic development.</font></div>

柴尔德·哈萨姆

塞纳河畔的书商

28.5 x 19.25 英寸

画布上的油画

<div><font face=Lato size=3 color="#191919">As the idea of using drawings, whether in pencil or pastel to prepare a painting was at odds with Monet’s publicised creative process, he tended to downplay its importance in his work. However, after his death eight folios containing over four hundred drawings came to light as well as many pastels. This convenient and lightweight medium allowed him to experiment with composition and colour and develop ideas for his oil paintings at speed. He also used pastel to produce finished pictures, as in this example.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">During the 1880s Monet returned to the Normandy coast. He found inspiration in the sparkling light and famous limestone cliffs, as had Delacroix and Courbet. As well as working directly in oils, he followed Boudin’s example and used black chalk and pastel to study the effects of light and colour on the sky, sea and land.</font></div><br><br><div><font face=Lato size=3 color="#191919"> </font></div><br><br><div><font face=Lato size=3 color="#191919">In this seascape at Etretat, twenty miles round the coast to the north of Le Havre, Monet has chosen an unusual composition, dividing the landscape down the centre with the vertiginous cliffs; the left half of the picture composed of earthy greens and browns, the right half a sun dappled sea that dissolves into the sky, the horizon only suggested by the lightest touch of charcoal. This picture has a marked difference in atmosphere to another pastel of the nearby Porte d’Aval, dateable to the same period, whose late afternoon sky shows the range of expression that could be achieved with pastel. By the summer of 1885 the year he made this pastel Monet had largely abandoned urban subjects, and was more drawn towards natural phenomena. He painted many views along the coast under different light conditions. As noted in the catalogue raisonné on Monet, this pastel is not a preparatory study for an oil painting, but a wholly original composition. It demonstrates how well the painter understood and enjoyed the versatility of the medium when trying to capture such variable weather.</font></div>

克劳德·莫奈

埃特雷塔，安蒂费尔角

10.5 x 13.375 英寸

粉彩画，纸本，裱于板上

<div>Pierre Bonnard’s <em>La robe de chambre rouge (Marthe Bonnard)</em> (1912) is a richly intimate portrait of the artist’s lifelong muse and wife, Marthe de Meligny, painted at a moment when Bonnard was redefining modern interior painting through color, memory, and psychological nuance. Seated and absorbed in a private moment, Marthe is enveloped by a saturated red ground that presses close to the picture plane, dissolving traditional depth in favor of chromatic intensity. Her patterned robe and softly modeled face emerge through Bonnard’s layered brushwork, where color functions less as description than as emotional atmosphere. </div><br><br><div> </div><br><br><div>Painted in 1912, the work was exhibited extensively from the year of its creation, appearing in seven exhibitions across Paris, Rotterdam, and Munich, signaling its immediate recognition within Bonnard’s circle and the broader European avant-garde. The painting also boasts a distinguished provenance, having passed through the collections of notable French Jewish collector Alphonse Kahn; Eugène Blot, the influential gallerist, collector, and sculpture castor; and Jacques Dupont, the celebrated Olympic cyclist. </div><br><br><div> </div><br><br><div><em>La robe de chambre rouge</em> is published seven times, including Bonnard’s 1968 catalogue raisonné, where it is listed as no. 674. The artist’s portraits of Marthe occupy a central place in his oeuvre. Closely related examples are held in the permanent collections of major institutions such as the Tate, the Museum of Modern Art, the Guggenheim, and The Metropolitan Museum of Art, underscoring the enduring significance of these deeply personal yet formally radical compositions. </div>

皮埃尔-邦纳（PIERRE BONNARD）

红睡袍（玛尔特·博纳尔）

21 x 27 1/4 英寸

画布上的油画

<div><font face=Lato size=3>Camille Pissarro’s La Briqueterie Delafolie à Éragny (1884) offers a vivid rural scene from Éragny. The painting has never been to auction, instead gracing numerous exhibitions in Zurich, Paris, Brussels, Warsaw, and Santa Barbara since its creation. Documented as no. 776 in volume III of the catalogue raisonné by Joachim Pissarro and Claire Durand-Ruel Snollaerts (illustrated p. 514), it stands as a testament to Pissarro’s Impressionist legacy. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The foreground features a polychrome meadow. The staccato green, ochre, and lilac brushstrokes in all directions convey the wind’s gentle movement through the field beneath a fleecy sky. In the distance, the Delafolie brickyard emerges, owned by Pissarro’s good friend and neighbor. The catalogue raisonné notes:  </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>“The Delafolie brickyard at Éragny, refers to a local family-owned and operated brickyard. Mr. Delafolie wasn’t just a bricklayer—he was Pissarro’s neighbor and brewed his own cider. His cider was reportedly so good that Claude Monet once wrote to Pissarro asking who the merchant was and how he could order a keg for himself. Pissarro and Mr. Delafolie were good friends, and Pissarro often took advantage of Mr. Delafolie’s regular deliveries to Paris and Gisors to ship his paintings along with the bricks.”  </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Similar works reside in the Musée d’Orsay, the Walters Art Museum, and the Birmingham Museum of Art. This painting offers collectors a rare, well-traveled piece, embodying Pissarro’s intimate connection to Éragny’s landscape and community. </font></div>

卡米尔·皮萨罗

埃拉格尼的德拉福里面包店

18 1/4 x 21 7/8 英寸

画布上的油画

<div>"Twilight on the San Joaquin" (c. 1873) is a luminous oil painting that exemplifies Albert Bierstadt’s mature engagement with the American landscape and his mastery of light effects. Executed in a refined Luminist style, the work emphasizes a tranquil, glowing atmosphere achieved through meticulous detail, subtle tonal transitions, and a carefully controlled palette. The fading light of dusk settles gently over the scene, transforming the San Joaquin River into a reflective plane that anchors the composition and enhances its meditative stillness. </div><br><br><div> </div><br><br><div>The San Joaquin River, which flows through California’s Central Valley before joining the Sacramento River at the Sacramento–San Joaquin Delta, was a subject well suited to Bierstadt’s interest in expansive yet serene vistas. In this painting, the river becomes a conduit for light, capturing the delicate interplay between sky and water at twilight. The result is a harmonious balance between natural grandeur and intimate observation. </div><br><br><div> </div><br><br><div>Bierstadt was a prominent painter associated with the Hudson River School, known for his large, gleaming depictions of the American West. His portrayals of beauty and plenty helped shape the popular image of the West and reassured Americans, still grappling with the aftermath of the Civil War, that their young democracy possessed a grandeur comparable to Europe and would endure. Between 1871 and 1873, Bierstadt lived in California, maintaining a studio in San Francisco, and traveled extensively through the region, producing works that capture its vastness and unique beauty. </div><br><br><div> </div><br><br><div>A closely related twilight scene, "Owens Valley, California" (c. 1872) is in the collection of the McMullen Museum of Art, Boston College. Twilight on the San Joaquin will be included in the forthcoming Albert Bierstadt catalogue raisonné database directed by Melissa Webster Speidel, President of the Bierstadt Foundation. </div>

阿尔伯特-比尔斯塔特

圣华金河上的黄昏

22 x 29.5 x 0.75 英寸

画布上的油画

<div><font face=Lato size=3>Widely recognized as one of the most consequential artists of our time, Gerhard Richters career now rivals that of Picasso's in terms of productivity and genius. The multi-faceted subject matter, ranging from slightly out-of-focus photographic oil paintings to Kelly-esque grid paintings to his "squeegee" works, Richter never settles for repeating the same thought- but is constantly evolving his vision. Richter has been honored by significant retrospective exhibitions, including the pivotal 2002 show,  "Gerhard Richter: Forty Years of Painting," at the Museum of Modern Art, New York.    "Abstraktes Bild 758-2" (1992) comes from a purely abstract period in Richter's work- where the message is conveyed using a truly physical painting style, where applied paint layers are distorted with a wooden "Squeegee" tool. Essentially, Richter is sculpting the layers of paint, revealing the underlayers and their unique color combinations; there is a degree of "art by chance". If the painting does not work, Richter will move on- a method pioneered by Jackson Pollock decades earlier.    Richter is included in prominent museums and collections worldwide, including the Tate, London, The Museum of Modern Art, New York, and the San Francisco Museum of Modern Art, among many others.</font></div>

格哈德·里希特

24 1/2 x 32 1/4 英寸

画布上的油画

<div>Alfred Sisley’s Cavalier en lisière de forêt (Horseman on the Edge of the Forest), from 1875, is a luminous painting depicting a tranquil road near Marly-le-Roi, where Sisley found creative renewal after moving from Paris’s Batignolles quarter. This work, included in the 2021 catalogue raisonné of the work of Alfred Sisley prepared by Francois Daulte with Galerie Brame & Lorenceau and the Comité Alfred Sisley as no.196, showcases his unrivaled commitment to plein-air painting, even compared to Impressionist peers like Monet and Pissarro. Likely executed entirely outdoors, it captures the immediacy of a summer morning with feathery brushstrokes of muted greens, ochres, and blues, rendering a path winding into a forest, a lone horseman, and two figures—one with a parasol. </div><br><br><div> </div><br><br><div>Sisley’s move to Marly-le-Roi, driven by a love for greenery and the need to support his young family amid financial strain post-Franco-Prussian War, shaped this work. Painted after the 1874 Impressionist exhibition’s disappointing sales, it reflects resilience. The diffused light and geometric composition—path and trees anchoring a vast sky—evoke the region’s gentle haze. Camille Pissarro, a close colleague, hailed Sisley as “a great and beautiful artist, in my opinion he is a master equal to the greatest” (Pissarro, quoted in C. Lloyd, ‘Alfred Sisley and the Purity of Vision’, pp. 5-33, M. Stevens (ed.), Alfred Sisley, exh. cat., New Haven and London, 1992, p. 8). The 2021 Brame and Lorenceau catalogue notes 360 of Sisley’s 1,013 oil paintings reside in museums, affirming his legacy. </div><br><br><div> </div><br><br><div>This concise yet evocative piece offers collectors a rare glimpse into Sisley’s mastery, blending nature’s beauty with Impressionist innovation. </div>

阿尔弗雷德·西斯利

19 1/4 x 25 3/4 英寸

画布上的油画

<div><font face=Lato size=3 color=black>A rare and important painting by Giulio Cesare Procaccini depicting the legendary Judith Beheading Holofernes—a subject that has captivated artists from Caravaggio and Artemisia Gentileschi to Kehinde Wiley and Robert Longo. The dramatic biblical scene, rendered with striking chiaroscuro, exemplifies Procaccini’s mastery of light and emotion and his engagement with one of art history’s most enduring themes of justice and triumph.</font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>This work holds exceptional provenance, having been commissioned by Giovanni Carlo Doria, one of Genoa’s most prominent collectors whose holdings included works by Leonardo da Vinci, Titian, and Van Dyck, remaining in the Doria family collection for approximately 300 years. It is recorded in the artist’s catalogue raisonné and has an extensive literature history.</font></div><br><br><div><font face=Lato size=3 color=black> </font></div><br><br><div><font face=Lato size=3 color=black>Comparable compositions by Procaccini appear in major museum collections such as the National Gallery of Art, Washington, D.C., and the Hermitage Museum, Saint Petersburg.  This painting represents a rare opportunity to acquire a museum-caliber example of the artist’s work, distinguished by both its art historical significance and exceptional provenance.</font></div><br><br><div><font color=black> </font></div>

朱利奥·凯撒·普罗卡奇尼

犹滴与荷罗弗尼的头颅

52 x 38 3/4 英寸

画布上的油画

Tom Wesselmann was a leader of the Pop Art movement. He is best remembered for large-scale works, including his Great American Nude series, in which Wesselmann combined sensual imagery with everyday objects depicted in bold and vibrant colors. As he developed in his practice, Wesselmann grew beyond the traditional canvas format and began creating shaped canvases and aluminum cut-outs that often functioned as sculptural drawings. Continuing his interest in playing with scale, Wesselmann began focusing more closely on the body parts that make up his nudes. He created his Mouth series and his Bedroom series in which particular elements, rather than the entire sitter, become the focus.<br> <br>Bedroom Breast (2004) combines these techniques, using vivid hues painted on cut-out aluminum. The work was a special commission for a private collector's residence, and the idea of a bedroom breast piece in oil on 3-D cut-out aluminum was one Wesselmann had been working with for many years prior to this work's creation. The current owner of the piece believed in Wesselmann's vision and loved the idea of bringing the subject to his home.<br><br>It's one of, if not the last, piece Wesselmann completed before he passed away. The present work is the only piece of its kind - there has never been an oil on aluminum in 3D at this scale or of this iconography.

托姆·韦塞尔曼

80 x 76 x 10 英寸

切断铝上的油

<div><font face=Lato size=3 color=black><em>The Isle of Shoals</em> reflects one of the most personal and sustained subjects in the career of Childe Hassam, remaining in the artists own collection for twenty years. Hassam first visited the Isles of Shoals in 1884, returning regularly until 1915, and the rugged beauty of this small island group off the Gulf of Maine became a central source of inspiration throughout his life. The shifting light, scattered wildflowers, and crystalline waters offered a constant supply of visual poetry, and the islands became the setting for many of his most luminous and celebrated landscapes and coastal scenes.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Similar views of the Isles of Shoals now reside in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art, and the Dallas Museum of Art, underscoring the importance of the subject within Hassam’s oeuvre. The significance of this body of work was further affirmed in 2016 when the Peabody Essex Museum organized a major exhibition devoted entirely to his Shoals paintings.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>In <em>The Isle of Shoals</em>, Hassam captures the clear northern light and the quiet splendor of the rocky coast, presenting a scene that reflects both the serenity of the islands and the artists deep connection to them.</font></div>

柴尔德·哈萨姆

油画，木板画框

The frame of reference for Irish American Sean Scully’s signature blocks and stripes is vast. From Malevich’s central premise that geometry can provide the means for universal understanding to Rothko’s impassioned approach to color and rendering of the dramatic sublime, Scully learned how to condense the splendor of the natural world into simple modes of color, light, and composition. Born in Dublin in 1945 and London-raised, Scully was well-schooled in figurative drawing when he decided to catch the spirit of his lodestar, Henri Matisse, by visiting Morocco in 1969. He was captivated by the dazzling tessellated mosaics and richly dyed fabrics and began to paint grids and stipes of color. Subsequent adventures provided further inspiration as the play of intense light on the reflective surfaces of Mayan ruins and the ancient slabs of stone at Stonehenge brought the sensation of light, space, and geometric movement to Scully’s paintings. The ability to trace the impact of Scully’s travels throughout his paintings reaffirms the value of abstract art as a touchstone for real-life experience.<br><br><br>Painted in rich, deep hues and layered, nuanced surfaces, Grey Red is both poetic and full of muscular formalism. Scully appropriately refers to these elemental forms as ‘bricks,’ suggesting the formal calculations of an architect. As he explained, “these relationships that I see in the street doorways, in windows between buildings, and in the traces of structures that were once full of life, I take for my work. I use these colors and forms and put them together in a way that perhaps reminds you of something, though you’re not sure of that” (David Carrier, Sean Scully, 2004, pg. 98). His approach is organic, less formulaic; intuitive painter’s choices are layering one color upon another so that contrasting hues and colors vibrate with subliminal energy. Diebenkorn comes to mind in his pursuit of radiant light. But here, the radiant bands of terracotta red, gray, taupe, and black of Grey Red resonate with deep, smoldering energy and evoke far more affecting passion than you would think it could impart. As his good friend, Bono wrote, “Sean approaches the canvas like a kickboxer, a plasterer, a builder. The quality of painting screams of a life being lived.”

塞恩·斯卡利

铝合金上的油彩

<div>Alfred Sisley’s <em>Le Lavoir de Billancourt</em> (1879) is a superb example of the artist’s lifelong devotion to painting directly before nature, and to the quiet drama of landscape in flux. Often described as the “purest” plein air painter of the Impressionist circle, Sisley maintained an almost exclusive relationship with landscape, attending to the subtlest changes of season, weather, and time of day. His river scenes in particular have long been compared to Monet’s for their sensitivity to water—its shifting reflections, softened edges, and the way light dissolves form into atmosphere. </div><br><br><div> </div><br><br><div>Painted along the Seine at Billancourt—an industrial town west of Paris—this work belongs to the sequence of views Sisley produced after the upheavals of 1871, when he moved his family first to Louveciennes and later to nearby Marly-le-Roi. The Seine valley offered him an ever-renewing motif: looping river bends, villages threaded along the banks, and a landscape marked by both history and modern life. Here, the floating washing house (a lavoir) sits low on the water, a practical structure where locals could wash clothes directly in the river for a small fee. Sisley transforms this everyday subject into an evocation of lived place, where human activity is integrated seamlessly into the broader rhythms of sky and current. </div><br><br><div> </div><br><br><div>The 1870s are widely recognized as Sisley’s “golden period”—when his work speaks in a distinctly personal voice rather than under the overt influence of Corot, Courbet, or even early Monet. After ceasing to exhibit at the Salon after 1877, his compositions grew more complex and less dependent on traditional recession and linear perspective, shifting instead toward interlocking patterns and the expressive energy of his brushwork. In<em> Le Lavoir de Billancourt</em>, layers of pigment are built up in quick, multidirectional strokes, creating a richly textured surface saturated with color and air. This heightened spontaneity aligns with contemporary praise for Sisley’s ability to seize passing moments—clouds, breeze, and trembling foliage—so that space and light feel inseparable, and the scene remains vibrantly in motion. The painting is recorded in the François Dault<em> Alfred Sisley: catalogue raisonné de l'oeuvre peint</em> (1959) as no. 315. </div>

阿尔弗雷德·西斯利

比朗库尔洗衣场

20 x 25 5/8 英寸

画布上的油画

<div><font face=Lato size=3>Painted during John Singer Sargent's trip to the Austrian Tyrol in the summer of 1914, this work captures a moment of profound historical tension as Austria declared war on Serbia that July, placing Sargent at the threshold of the First World War. The painting offers a strikingly intimate and unexpected view of the Alpine landscape, framed from within a sheep pen with the mountain itself largely cropped from sight. This choice of vantage point shifts the viewers focus to the meeting point of the valley and the rising slope, where deep verdant greens anchor the composition and an overcast sky suggests a subtle sense of unease beyond the tranquil pastoral foreground.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3>The work is included in the Sargent catalogue raisonne by Richard Ormond and Elaine Kilmurray, confirming its secure place within the artists documented production. Sargent created several related works during his 1914 stay in the Tyrol across both oil and watercolor, including <em>Tyrolese Interior </em>at The Metropolitan Museum of Art, <em>Woodsheds Tyrol</em> at the Art Institute of Chicago, and <em>Trout Stream</em> <em>in the Tyrol</em> at the de Young Museum. Together these works demonstrate Sargent's sustained engagement with the region and its distinctive light, atmosphere, and rural architecture during this pivotal year.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3>This painting also carries distinguished provenance, having been previously held in the collection of Henry Clay Frick, the American industrialist and founder of the Frick Collection, before being given as a gift to his friend and lawyer Louis Cass Ledyard, who also served as counsel to J P Morgan. Its rarity within Sargents mature Tyrolean subjects is further underscored by the small number of comparable works that have reached the market, with only one closely related painting from this period, A Tyrolese Crucifix from 1915, having appeared at auction in recent decades.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3>Sargents work continues to receive major institutional recognition, including the forthcoming exhibition Sargent Dazzling Paris at the Musee d Orsay in 2025 to 2026, reaffirming the ongoing relevance of his mature European landscapes within the broader narrative of early twentieth century art.</font></div>

约翰·辛格·萨金特

蒂罗尔山区的山羊圈

28又1/4英寸×36英寸

画布上的油画

Tom Wesselmann will undoubtedly be remembered for associating his erotic themes with the colors of the American flag. But Wesselmann had considerable gifts as a draftsman, and the line was his principal preoccupation, first as a cartoonist and later as an ardent admirer of Matisse. That he also pioneered a method of turning drawings into laser-cut steel wall reliefs proved a revelation. He began to focus ever more on drawing for the sake of drawing, enchanted that the new medium could be lifted and held: “It really is like being able to pick up a delicate line drawing from the paper.”<br><br>The Steel Drawings caused both excitement and confusion in the art world. After acquiring one of the ground-breaking works in 1985, the Whitney Museum of American Art wrote Wesselmann wondering if it should be cataloged as a drawing or a sculpture. The work had caused such a stir that when Eric Fischl visited Wesselmann at his studio and saw steel-cut works for the first time, he remembered feeling jealous. He wanted to try it but dared not. It was clear: ‘Tom owned the technique completely.’<br><br>Wesselmann owed much of that technique to his year-long collaboration with metalwork fabricator Alfred Lippincott. Together, in 1984 they honed a method for cutting the steel with a laser that provided the precision he needed to show the spontaneity of his sketches. Wesselmann called it ‘the best year of my life’, elated at the results that he never fully achieved with aluminum that required each shape be hand-cut. “I anticipated how exciting it would be for me to get a drawing back in steel. I could hold it in my hands. I could pick it up by the lines…it was so exciting…a kind of near ecstasy, anyway, but there’s really been something about the new work that grabbed me.”<br><br>Bedroom Brunette with Irises is a Steel Drawing masterwork that despite its uber-generous scale, utilizes tight cropping to provide an unimposing intimacy while maintaining a free and spontaneous quality. The figure’s outstretched arms and limbs and body intertwine with the petals and the interior elements providing a flowing investigative foray of black lines and white ‘drop out’ shapes provided by the wall. It recalls Matisse and any number of his reclining odalisque paintings. Wesselmann often tested monochromatic values to discover the extent to which color would transform his hybrid objects into newly developed Steel Drawing works and, in this case, continued with a color steel-cut version of the composition Bedroom Blonde with Irises (1987) and later still, in 1993 with a large-scale drawing in charcoal and pastel on paper.

托姆·韦塞尔曼

卧室里的布鲁内特与伊尔塞斯

105 3/4 x 164 5/8 英寸。

切断铝上的油

<div><font face=Lato size=3 color=black>Irving Norman conceived and created <em>The Human Condition</em> at a time when he must have reflected deeply on the totality of his life. Given its grand scale and cinematic treatment, it impresses as a profound culmination of his artistic journey, synthesizing decades of themes, insights, and experiences into a single monumental work. A man of great humility and an artist of uncommon skill, he translated a horrendous war experience into impactful allegories of unforgettable, often visceral imagery. He worked in solitude with relentless forbearance in a veritable vacuum without fame or financial security. Looking to the past, acutely aware of present trends, he knew, given the human predicament, he was forecasting the future. As one New York Times reviewer mused in 2008, "In light of current circumstances, Mr. Norman's dystopian vision may strike some…as eerily pertinent," an observation that recalled recent events.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Irving Norman's figures, manipulated by their environment and physical space, are of a style that exaggerates the malleability of the human form to underscore their vulnerability and subjugation. This literal and symbolic elasticity suggests that these figures are stretched, compressed, or twisted by the forces of their environment, emphasizing their lack of autonomy and the oppressive systems that govern their existence. While these figures reflect vulnerability, Norman's structural choice in <em>The Human Condition</em> creates a stark juxtaposition that shifts attention toward the central tableau. A commanding female figure, rising above the calamitous failures and atrocities of the past, is joined by a man, forming a symbolic "couple,” suggesting the unity and shared responsibility of a new vision. Their hands, magnified and upturned, present these children as a vision offering hope and renewal for the future. The gesture, combined with the futuristic clothing of the diminutive figures, reinforces the idea of an alternative path—a brighter, forward-looking humanity. The central tableau acts as a metaphorical offering, inviting the viewer to consider a future untouched by the weight of darkness from which these figures emerge.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Here, Norman underscores a hopeful, if not optimistic, vision for generations ahead. The structural decision suggests a deliberate shift in focus: the darker scenes relegated to the sides represent the burdens, past and present. At the same time, the central figures embody the potential for a future shaped by resilience and renewal. This juxtaposition distinguishes <em>The Human Condition</em> as a reflection of Norman's later years, where a tempered hope emerges to claim the high ground over the war-mongering, abject corruption, frantic pleasure-seeking, and the dehumanizing effects of modern society.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Throughout his long career, Norman stood tall in his convictions; he turned, faced the large, empty canvases, and designed and painted complex, densely populated scenes. As for recognition, he rationalized the situation—fame or fortune risked the unsullied nature of an artist's quest. Ultimately, <em>The Human Condition</em> is a summation of Norman's life and work and a call to action, urging us to examine our complicity in the systems he so vividly depicted. Through meticulous craftsmanship and allegorical intensity, it is a museum-worthy masterwork that continues to resonate, its themes as pertinent today as they were when Norman painstakingly brought his vision to life.</font></div>

画布上的油画

<div>Charles White’s <em>Patience Y</em> (1971) is a striking, large-scale work on paper that exemplifies the artist’s profound command of the human figure and his enduring commitment to dignity as a central theme. Executed in charcoal, paint, and wax crayon, the composition presents a monumental female figure with outstretched arms, her body rendered with a sculptural sensitivity that conveys both physical weight and emotional depth. Emerging from a dense, atmospheric ground, the figure appears both grounded and transcendent—at once vulnerable and resolute—embodying the quiet strength that defines much of White’s work. </div><br><br><div> </div><br><br><div>White’s labor-intensive technique is essential to the power of the image. Layers of charcoal are built up and softened to create a rich range of tonal values, while passages of wash and crayon introduce subtle variations in surface and texture. The result is a figure that feels fully realized yet enveloped by a shifting, almost spiritual field. As White described his subjects, these are “images of dignity,” rooted in lived experience and shaped by his belief that art could serve as a vehicle for social awareness and change. </div><br><br><div> </div><br><br><div>This work comes from the distinguished collection of Russell Goings, an early and dedicated supporter of White and Romare Bearden, whose collection reflects a deep commitment to African American art. The continued relevance of White’s practice was reaffirmed by the landmark 2018 retrospective organized by the Art Institute of Chicago and traveling to The Museum of Modern Art, New York, and the Los Angeles County Museum of Art—the first major survey of the artist’s work since his death in 1979—solidifying his legacy as one of the most important American artists of the twentieth century. </div>

查尔斯·怀特

帕蒂恩斯·Y

51.5 x 39.5 英寸

纸本炭笔、颜料及蜡笔

韦恩·蒂博 - 《牛油果沙拉》 - 油画（预制画布） - 20 x 28 英寸

牛油果沙拉

油画（画布）

<div><font face=Lato size=3 color="#191919">Rendered with the soft luminosity and intimate charm that define Pierre-Auguste Renoir’s late portraiture, Buste de femme au corsage vert depicts Gabrielle Renard — the artist’s beloved model and cousin of his wife, Aline Charigot. Gabrielle was a central figure in Renoir’s domestic and artistic life for nearly two decades and appears in nearly 200 of his works, more than any other sitter. Her familiar presence inspired some of Renoir’s most tender portrayals of femininity and grace, as seen here in the delicate modeling of flesh tones and the gentle harmony of greens and rose hues.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">This painting carries distinguished provenance, first owned by the influential Berlin art dealer Paul Cassirer, a key promoter of French Impressionism and Post-Impressionism in Germany. The work is certified by the Wildenstein Plattner Institute and registered with the Art Loss Register, with a signed letter from Sotheby’s confirming inclusion in the forthcoming Renoir Catalogue Raisonné. Comparable examples of Gabrielle portraits are held in major museum collections, including The Metropolitan Museum of Art, Harvard Art Museums, and the Musée de l’Orangerie.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919"><em>Buste de femme au corsage vert</em> exemplifies Renoir’s enduring devotion to beauty and the human form, rendered with a late-career refinement that bridges sensuality and serenity. It stands as an evocative example of the artist’s lifelong exploration of intimacy, and a rare opportunity to acquire a work linked to one of Impressionism’s most personal and storied muses.</font></div>

皮埃尔-阿穆尔·雷诺尔

绿衣女子半身像

18又3/8英寸×13英寸

画布上的油画

$<div><font face=Lato size=3 color=black>Olga de Amaral’s <em>Memento 7</em> exemplifies the Colombian artist’s mastery in transforming textile into a medium of profound sculptural and symbolic resonance. Woven from natural fibers and coated with gesso, metallic leaf, and pigments, the work shimmers between material solidity and optical flux. Its surface glints with gold, refracting light in rhythmic intervals that shift as the viewer moves, evoking both the permanence of memory and its fragility.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The <em>Memento</em> series, from which this piece belongs, explores memory as a layered, luminous presence. By embedding gold leaf within the weave, de Amaral connects her practice to pre-Columbian traditions in which gold was not a mere material but a carrier of spiritual and cultural meaning. In <em>Memento 7</em>, geometric patterning and a richly textured surface create a sense of sacred tapestry, collapsing distinctions between painting, sculpture, and textile.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>De Amaral’s work has been celebrated internationally for expanding the language of fiber art into realms of architecture and abstraction. <em>Memento 7</em> resonates with major institutional holdings of her work, including the Museum of Modern Art (New York), the Metropolitan Museum of Art, the Art Institute of Chicago, and the Musée d’Art Moderne de Paris. Within these collections, her gilded weavings stand as both objects of rare material beauty and meditations on history, place, and the metaphysics of light.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Memento 7</em> thus embodies the artist’s unique synthesis of ancestral craft and modern abstraction, offering a powerful reflection on memory, time, and transformation.</font></div>$

68 x 32 3/4 英寸

亚麻布、石膏、丙烯颜料和金箔

<div><font face=Lato size=3><em>Flowers Before the Sun</em>, a monumental 1989 oil on canvas by James Rosenquist, stands out as a pinnacle of his 1980s floral series, weaving vibrant botanical forms with faint human traces. A key figure of 1960s Pop Art, Rosenquist transitioned from his early commercial-driven works to a deeply personal style, a change reflected in this painting’s dazzling array of flowers in yellows and reds set against a swirling, cosmic backdrop of whites, purples, and oranges. Inspired by the move of his studio to Aripeka, Florida, and the adoption of advanced color photocopier technology, the work fuses nature’s splendor with abstract flair in a fresh approach. </font></div><br><br><div> </div><br><br><div><font face=Lato size=3>The striated layers of hyper-detailed imagery and profusion of warm colors evoke a radiant, otherworldly sun, while subtle human hints add intimacy, reflecting his distinctive blend of advertising heritage with personal vision. Crafted during a time of technological and environmental influence, it captures the vibrancy of Florida’s tropical flora and affirms Rosenquist’s enduring legacy with dramatic brilliance. </font></div>

詹姆斯·罗森奎斯特

日出前的花朵

84 x 144 英寸

画布上的油画

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>Baal</em> channels the charged energy of its evocative title, rooted in ancient Semitic tradition. The name refers to a lord or master but also carries associations with primal forces of nature, chaos, and creation. Hofmann's work reflects this duality, blending structured design with the untamed vitality of gestural abstraction to create a composition oscillating between entropy and order.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Painted at age 65, <em>Baal</em> also showcases Hofmann's willingness to revisit earlier disciplines while addressing the challenges of mid-century abstraction. Its vibrant palette and bold use of complementary colors, particularly the juxtaposition of red and green, heightens the painting's dynamism. His muscular brushwork also reflects his lifelong experimentation with the tension between form and freedom; undulating lines and biomorphic forms evoke the surrealist influence of Miró and the spiritual resonance of Kandinsky's gestural abstractions. Like these predecessors, Hofmann sought to translate "inner necessity" into visual expression, guided by his fertile imagination. Yet the planal elements and curvilinear shapes of <em>Baal</em> also reflect the influence of improvisational painting, a hallmark of Abstract Expressionism as practiced by contemporaries like Arshile Gorky, among others. It is a composition that teems with movement and energy, suggesting a cosmos in flux—chaotic yet deliberate.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Exhibited the same year at Betty Parsons Gallery in New York, <em>Baal</em> signals Hofmann's evolution as a master and innovator. With its vivid dynamism and symbolic title, the painting epitomizes Hofmann's ability to infuse abstraction with elemental power, crafting a deeply personal exploration of form and color.</font></div>

汉斯·霍夫曼

59 3/8 x 47 1/4 英寸

画布上的油画

<div>"Planting (Spring Plowing)", a vibrant watercolor and graphite on paper by Thomas Hart Benton, circa 1939-40, embodies the artist’s signature Regionalist style. The work depicts a rural scene where two figures toil in a field, one guiding a plow pulled by a donkey, the other carrying a bucket, sowing seeds under a bright, cloud-streaked sky. The rolling, richly hued earth, painted in warm browns and oranges, contrasts with the lush green foliage and distant trees, while a small structure sits at the horizon, grounding the composition in everyday life. Benton’s dynamic lines and fluid brushwork capture the rhythm of labor and the vitality of spring, infusing the scene with a sense of movement and purpose. </div><br><br><div> </div><br><br><div>The reverse image of this artwork was transformed into a lithograph in 1939, with notable examples housed in prestigious museum collections including the Smithsonian American Art Museum, Nelson Atkins Museum of Art, Minneapolis Institute of Art, and the Chazen Museum of Art. This print adaptation underscores the piece’s cultural significance, reflecting Benton’s influence on American art during the Depression era and the resonance of this particular subject celebrating the resilience and harmony of its people with nature. Created with a keen eye for detail and a deep connection to the land, "Planting (Spring Plowing)" showcases Benton’s ability to blend realism with his hallmark muscular style. It is accompanied by two letters written by Thomas Hart Benton to Lon Ramsey, its original owner, and bears an inscription by the artist on the verso.  </div>

托马斯·哈特·本顿

种植（春耕）

18 x 21 3/4 英寸。

纸上水彩和石墨

<div><font face=Lato size=3 color=black>Lynne Mapp Drexler’s <em>Spring Sun</em> (1971) exemplifies the vibrant, lyrical abstraction that has brought her renewed recognition in recent years. Composed of concentric circles, cascading brushstrokes, and radiant hues of yellow, orange, and red, the canvas pulses with the rhythm of light and season. Drexler’s painterly vocabulary—layering gestural strokes over pointillist clusters—creates a dynamic surface that evokes both natural phenomena and musical structure, reflecting her lifelong love of symphonic composition.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Painted in 1971, <em>Spring Sun</em> belongs to an important moment in Drexler’s career when she was synthesizing her studies under Hans Hofmann and Robert Motherwell into a personal visual language rooted in color and pattern. The immersive composition suggests not only the brilliance of spring sunlight but also the expressive intensity with which Drexler approached abstraction.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Her contributions have been increasingly recognized by major institutions. The Portland Museum of Art presented a landmark retrospective, <em>Lynne Drexler: Color Notes</em> (2022–2023), and her work has also been exhibited at MoMA PS1 and the Parrish Art Museum. <em>Spring Sun</em> demonstrates why Drexler is now regarded as a vital figure within the second generation of Abstract Expressionists, whose bold use of color and structure continues to resonate with contemporary audiences.</font></div>

琳恩-马普-德雷克斯勒

35又5/8英寸 × 39又3/4英寸 × 1英寸

画布上的油画

安德鲁怀斯 - 星路 - 纸上的水彩 - 21 1/4 x 29 in.

安德鲁·怀斯

21又1/4英寸×29英寸

<div><font face=Lato size=3 color=black>Paul Signac’s <em>Saint-Briac. D’une fenêtre</em> (1885) captures the quiet beauty of the Breton landscape at a pivotal moment in the artist’s evolution from Impressionism to Neo-Impressionism. Painted during one of his frequent stays in Saint-Briac-sur-Mer, a coastal village in Brittany, this work reflects Signac’s early fascination with the play of light, color, and atmosphere before his full embrace of </font><font<br>face=HelveticaNeue size=3 color="#191919">Pointilist </font><font face=Lato<br>size=3 color=black>technique. The composition, framed as if viewed from a window, balances structured geometry with painterly spontaneity, suggesting the artist’s growing concern with order and harmony in nature.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The work once belonged to the French composer and conductor Jules Rivière and has been discussed in major art historical texts, including <em>Connaissance des Arts</em> (1956), Sophie Monneret’s <em>L’Impressionisme et son époque</em> (1980), and Françoise Cachin’s <em>Signac: Catalogue raisonné de l’oeuvre peint</em> (2000), where it is illustrated as entry no. 102. Comparable examples from the same Saint-Briac series are housed in the Metropolitan Museum of Art, the Art Institute of Chicago, and the Carnegie Museum of Art. Collectively, these works reveal Signac’s transition toward the structured luminosity that would soon define Neo-Impressionism and secure his place among the leading innovators of modern painting.</font></div>

圣布里亚克D'une fenetre

25 1/2 x 18 1/8 英寸

画布上的油画

<div>Harold Ancart’s <em>Untitled </em>(2015) reflects the artist’s poetic engagement with landscape and memory, created in the wake of his transformative 2014 cross-country road trip across the United States. During this journey, Ancart converted his car into a mobile studio, stopping spontaneously to sketch and record fleeting impressions of the natural environment. These observations informed a new body of work that magnified and abstracted ephemeral moments in the landscape, ultimately inspiring his first major institutional solo exhibition at The Menil Collection in Houston in 2016. </div><br><br><div> </div><br><br><div>In this painting, a luminous, stylized plant rises against a deep black ground, its elongated leaves rendered in radiant greens, yellows, and reds that appear to glow against the darkness. The composition balances graphic clarity with expressive spontaneity—gestural marks and splashes of color orbit the central form like fragments of light or drifting pollen. By isolating and enlarging a single botanical subject, Ancart transforms a fleeting natural encounter into a monumental image that feels both intimate and cosmic. </div><br><br><div> </div><br><br><div>Plant imagery has remained a recurring motif throughout Ancart’s practice, reappearing in later exhibitions including his 2022–2023 presentation at Gagosian. Trained in Belgium and later influenced by the legacy of American abstraction after relocating to New York in 2007, Ancart’s work merges a European sensibility with the expressive freedom of postwar American painting. </div>

哈罗德·安卡特

于2015年执行

112 x 80 英寸

木板裱布画布，油画棒与铅笔作画，装裱于艺术家选定的画框中

汉斯·霍夫曼

21 3/8 x 24 1/2 英寸

面板上的油

<div><font face=Lato size=3 color=black>Any analysis of Hans Hofmann’s oeuvre is incomplete without considering his small landscapes, which occupied him between 1940 and 1944. These works capture a pivotal moment in his artistic evolution, transitioning from Matisse-inspired figurative still lifes, portraits, and interiors to the pure abstraction that would later define his career. “Landscape #108” exemplifies this shift. Its compressed composition and severe clustering of intense colors prefigure the artist’s mature works, channeling the same ferocious dynamism that is the hallmark of our appreciation for the artist. The Fauvist palette and electric strokes vibrate with energy, their interplay of light and dark creating a rhythmic tension that feels almost musical. While modest in scale, the painting’s boldness and dynamism hint at the daring risks Hofmann would later embrace in his larger abstractions. Rooted in Fauvism and resonant with Kandinsky’s early work, “Landscape #108” remains a robust testament to Hofmann’s evolving visual language during this transformative period.</font></div>

汉斯·霍夫曼

第 108 号景观

23 1/4 x 29 1/4 英寸

面板上的油

<div><font face=Calibri size=3 color=black>Camille Claudel's life story reflects an era when societal constraints often dimmed the brilliance of women; their genius was viewed as a threat to the male-dominated world. Most introductions to Claudel are steeped in misleading biographical details related to her as Rodin's assistant, mistress, or lover, associations that diminish her achievements as a first-rate sculptor whose work borrows little from Rodin in style or subject matter. Despite these challenges, Claudel's legacy has endured, celebrated through exhibitions, biographies, and films since her rediscovery in 1982. </font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black><em>“La Vague (The Wave),”</em> a remarkable sculpture of three women frolicking joyfully, embodies Claudel's passion for art and connection to nature. The women, their hair unruly like the sea, are depicted in a moment of freedom and abandon, yet the looming wave hints at the inevitable sorrow to come—a metaphor for Claudel's life, shadowed by fate. This piece, initially shown in plaster and later cast in bronze with an onyx marble wave, draws direct inspiration from Hokusai's <em>“The Great Wave,”</em> reflecting the Parisian fascination with Japanese art at the time. While <em>“La Vague”</em> showcases Claudel's technical mastery and the influence of Japanese aesthetics, it also poignantly symbolizes her acceptance of the overpowering forces of nature and the tragic course her life would ultimately take. This bronze, cast in 1997, is one of only two not held in a museum, further emphasizing the rarity of and reverence for Claudel's work.</font></div>

CAMILLE CLAUDEL

c.1897 / 1997 年后铸

24 1/4 x 19 x 24 英寸

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

<div><font face=Lato size=3 color=black>Kenneth Noland’s <em>Gray Reflection</em> (1978) comes from the late 1970s, when the artist was deeply engaged with shaped canvases and the refinement of surface and form. The cool slate ground is animated by faint tonal shifts and angled color bands that cut across the polygonal field, creating both balance and quiet momentum.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>This period was far less prolific than his celebrated 1960s circle paintings, making works such as <em>Gray Reflection </em>comparatively rare. While not part of a named series, it resonates with other late-1970s explorations like <em>Burnt Beige </em>at the Cranbrook Art Museum.<br><br></font></div><br><br><div><font face=Lato size=3 color=black>Noland, a central figure of post-painterly abstraction alongside Morris Louis and Helen Frankenthaler, is represented in major museum collections including MoMA, Tate, and the National Gallery of Art.</font></div>

肯尼思·诺兰

灰色的倒影

66又1/4英寸 × 88又1/2英寸

画布上的丙烯酸

<div>Lynne Mapp Drexler’s "Sporadic Spring" (1963) exemplifies her dynamic approach to color and gesture during her revered 1960s period, a formative decade that has recently been celebrated in the major exhibition "Lynne Drexler: Color Notes" at the Farnsworth Art Museum (May 4, 2024 – January 12, 2025). The canvas is entirely covered in dense layers of short, repetitive brushstrokes rendered in vivid greens, reds, and oranges. These strokes coalesce into an array of circles, rhombuses, and rectangles, forming a “sporadic” yet remarkably harmonious mosaic that activates the entire surface of the painting. </div><br><br><div> </div><br><br><div>In this work, color takes precedence over form, with Drexler using chromatic intensity to create rhythm and structure. Her technique resonates with Hans Hofmann’s influential “push-pull” theory, in which color relationships generate spatial depth and tension without relying on traditional perspective. At the same time, the gestural vigor and improvisational quality of the brushwork reflect the influence of her teacher Robert Motherwell, who encouraged expressive freedom and emotional immediacy. </div><br><br><div> </div><br><br><div>"Sporadic Spring" captures Drexler’s synthesis of discipline and spontaneity, revealing how she forged a distinct voice within the New York School while anticipating the lyrical abstraction that would define her mature style. </div>

琳恩-马普-德雷克斯勒

零星的春天

40 x 29 1/2 英寸

画布上的油画

吉姆·戴恩 - 《手与脚》 - 彩绘青铜 - 83 x 32 x 32 英寸

83 x 32 x 32 英寸

<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

DAVID SMITH - 无题 - 布面油画 - 12 x 16 in.

大卫·史密斯

画布上的油画

DAVID SMITH - 无题 - 布面油画 - 12 x 15 3/4 英寸。

大卫·史密斯

12 x 15 3/4 英寸。

画布上的油画

Under the Tang China experienced a period of great cultural flowering, remarkable for its achievements across all areas of the arts and sciences. The tolerance of the Tang Imperial Court to outside influence and the free movement along the East- West trade route known as the Silk Road saw major urban centres become thriving cosmopolitan cities, with the Chinese capital, Chang’an (modern Xian) expanding to reach a population of over one million.<br><br>In keeping with centuries of tradition, funerary rites remained very important. A separate government department existed with responsibility for overseeing the manufacture of funerary wares. Officially there were limits on the number of grave goods and restrictions on the size of the objects which could accompany the deceased, according to rank – the highest ranked officials were meant to have a maximum of 90 figurines, no more than 30cm tall while members of the Imperial family were allowed several hundred up to about one meter tall. However, these rules were frequently broken. The deceased’s relatives believed they could improve their ancestor’s status in the afterlife by providing mingqi in excess of necessity, thereby ensuring their own good fortune. Tang Dynasty figurative ceramics share particular characteristics. The forms are animated and life-like, the subject matter covers all aspects of social and ritual life and the scale of the figures was reasonably small with the exception of some magnificent larger works commissioned for the tombs of the elite. Figures of courtiers and entertainers, polo players and the exotic travelers who now regularly arrived in the Chinese cities with their great pack camels became common place, illustrating the cosmopolitan nature of the times. The variety of forms tells us that craftsmen had scope for individual innovation and were not controlled by rules regarding particular styles. Now the funerary wares spoke not only of power and military strength, but also of the sophistication and intellectual achievements of the deceased.

三彩琉璃马配剪毛毯

唐朝（公元618-907年）

29 1/2 x 33 x 12 in.

<div><font face=Lato size=3 color=black><em>Afternoon</em> is a rare early painting by George Inness, created when the artist was only twenty one and actively shaping the foundations of his career. Although largely self-taught, Inness was immersed in a transformative period during the mid-eighteen forties, studying at the National Academy of Design in New York where he closely observed the work of Hudson River School painters such as Thomas Cole and Asher Durand. This moment marked his first public exhibitions at the Academy in 1844, followed by the opening of his own studio in 1848, placing <em>Afternoon</em> squarely within the formative years in which his artistic voice began to emerge.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The painting also reflects the subtle influence of French landscaper Regis Francois Gignoux, under whom the young Inness studied before making his first trip to Europe in 1851. This early training helped shape the atmospheric sensitivity and poetic naturalism that would later define his mature style.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black><em>Afternoon</em> carries distinguished provenance, having passed through the collections of several important nineteenth and early twentieth century New Yorkers, including politician Cornelius Gardiner, financier and philanthropist Emerson McMillian, and later the philanthropist Agnes Ladson Dana. This lineage, combined with the paintings exceptional early date, makes it an especially significant example from the beginning of Innesss enduring contribution to American landscape painting.</font></div>

乔治·英尼斯

34 1/2 x 49 1/4 英寸

画布上的油画

<div>Andrew Wyeth’s "Quart and a Half" (1961) belongs to a deeply personal sequence of works inspired by a single day he and his wife, Betsy, spent picking blueberries in a field as a storm gathered. That afternoon became the genesis for one of Wyeth’s most iconic tempera paintings, "Distant Thunder" (1961), which depicts Betsy reclining in the grass with their dog, suffused with a charged stillness before the storm. A preparatory watercolor, "Blueberries, Study for Distant Thunder" (1961, Farnsworth Art Museum), further traces the theme. "Quart and a Half" marks the haunting aftermath, shifting focus from figure to still life: a blueberry carton and tin cup sit abandoned in the grass, their utilitarian presence transformed into emblems of memory and absence. </div><br><br><div> </div><br><br><div>The composition is stripped to essentials—a high horizon line, a darkened field, and the luminous carton and cup catching the eye. The disturbed grass, delicately rendered in intricate strokes, becomes a subtle index of Betsy’s earlier presence, now vanished. That empty imprint became the emotional core of the painting, an emblem of transience. As an early still life, the work reveals Wyeth’s ability to invest the simplest objects with profound emotional resonance, extending the still-life tradition, long associated with mortality and the ephemeral nature of life, into a meditation on the quiet echoes of lived experience. Executed in watercolor, the painting also highlights Wyeth’s balance of spontaneity and restraint, the flickering grasses animated with immediacy yet anchored by a deliberate compositional rigor. </div><br><br><div> </div><br><br><div>"Quart and a Half" also holds distinguished exhibition history. It was featured in the traveling retrospective "Andrew Wyeth: Temperas, Watercolors, Dry Brush, Drawings 1938 into 1966", shown at the Philadelphia Museum of Art, the Baltimore Museum of Art, and the Whitney Museum of American Art (1966–67). Earlier, the work was chosen as the cover image for the catalogue of the 1963 University of Arizona Art Gallery exhibition, underscoring its importance within Wyeth’s oeuvre. Together with "Distant Thunder" and its study, this watercolor transforms a shared picnic into an enduring meditation on memory, impermanence, and the poetry of everyday life. </div>

安德鲁·怀斯

21 x 29 1/4 英寸

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

201 x 48 x 48 in.

Mel Ramos is best known for his paintings of superheroes and female nudes juxtaposed with pop culture imagery. Many of the subjects in his paintings emerge from iconic brands or cultural touchstones like Chiquita bananas, M&M bags, or Snickers. In these works, visual delight is combined with suggested edible and commercial indulgence.<br><br>Leta and the Hill Myna diverges from some of Ramos’ other nudes. Here Ramos depicts his wife, whom he spoke of as his greatest muse. Like his works depicting superheroes, Leta and the Hill Myna is imbued with mythos and lore. Myna birds are native to South Asia where some are taught to speak, often to recite religious. Furthermore, playing on his wife’s name and the avian theme, Ramos is referencing the famous tale of Leda and the Swan in which Zeus embodies a bird to rape Leda. The story has been reinterpreted throughout history, including by great artists such as Paul Cezanne, Cy Twombly and Fernando Botero. With this depiction, Ramos places himself in that same art historical lineage.

梅尔·拉莫斯

莱塔和山麦纳

画布上的油画

<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

36根铍铜棒，以黄铜为基材并镀银

北卡罗来纳州怀斯 - 缅因州克莱德港 - 帆布油画 - 35 x 39 in.

北卡罗来纳州

缅因州克莱德港

约1922年 / 1924年

画布上的油画

大卫·特尼尔斯二世——《圣乔治节庆》（乡村庆典）——布面油画——33 x 22 3/4 英寸

大卫·特尼尔斯二世

圣乔治节庆（乡村节日）

1650年代中期

33 x 22 3/4 英寸

画布上的油画

N.C. 韦斯 - 《派尔的谷仓》 - 布面油画 - 25 1/4 x 30 1/4 英寸

北卡罗来纳州

派尔的谷仓

25 1/4 x 30 1/4 英寸

画布上的油画

理查德-塞拉--布列塔尼角水平反转第 16 号--石版画-蜡笔画，两张手工纸--19 3/4 x 55 7/8 英寸。

理查德·塞拉

布列塔尼角第 16 号水平反转展台

19 3/4 x 55 7/8 英寸

两张手工纸上的石版蜡笔画

<div>Camille Pissarro’s<em> Paysage avec batteuse à Montfoucault </em>(c. 1875) is an exceptionally vivid pastel that unites the artist’s keen observation of rural life with the Impressionists’ fascination for light, atmosphere, and immediacy. Executed at a moment when Pissarro was deeply engaged with agrarian subjects, the composition centers on a working landscape—haystacks and farm structures set against dense foliage—where a solitary figure anchors the scene in lived experience. The motif is quintessentially Impressionist: an unembellished view of the modern, “seen” world, and a fleeting moment of real life recorded with speed and sensitivity. </div><br><br><div> </div><br><br><div>Pastel, with its directness and chromatic intensity, proved uniquely efficient for Impressionist artists seeking to capture transient light effects and faithful likenesses without the slower procedures of oil. Here, Pissarro exploits the medium’s strengths brilliantly. Soft, powdery passages dissolve edges into atmosphere, while firmer, painterly strokes build structure and texture across the hay, timber, and ground. The surface retains a remarkable freshness, with color that remains luminous and varied—cool blues and greens offset by warm straw, ochres, and sunlit highlights—allowing the viewer to experience the work’s original spontaneity. </div><br><br><div> </div><br><br><div>This work’s significance is underscored by its recent exhibition history: it was shown in 2020 at the J. Paul Getty Museum in<em> Powder and Light: Pastels in Late Nineteenth Century</em>, a focused exploration of how artists of the period embraced pastel as both experimental and modern. Beautifully preserved,<em> Paysage avec batteuse à Montfoucault </em>offers a direct encounter with Pissarro’s touch—each stroke visible, each tonal shift purposeful—capturing the countryside not as an ideal, but as a place of work, weather, and changing light. </div>

卡米尔·皮萨罗

蒙特福柯的 "打手 "之路

10 3/8 x 14 3/4 英寸。

纸上粉笔画，铺在木板上

<div><font face=Lato size=3 color=black><em>Houghton Farms (Girls Strolling in an Orchard)</em> belongs to a pivotal moment in Winslow Homers career, created during the late 1870s as he transitioned from the wartime subjects that first brought him acclaim to the watercolor medium and domestic pastoral themes that would secure his place in the American canon. This period marked Homers sustained engagement with Houghton Farm in Mountainville in the Hudson Valley, where he spent extended time with his childhood friend and patron Lawson Valentine. Over these visits Homer produced approximately fifty watercolors, forming one of the most important bodies of early work in the medium. The significance of this output was later celebrated in the 2009 exhibition at Syracuse Art Galleries, <em>Winslow Homers Empire State: Houghton Farm and Beyond</em>.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>This watercolor is included in the artists catalogue raisonne and relates closely to other early examples from Houghton Farm, including <em>Fresh Air</em> from 1878 in the collection of the Brooklyn Museum. Its serene orchard scene, rendered with a soft and muted palette, reflects the themes of nostalgia, calm, and peace that define Homer's Restoration period. The transparency of the watercolor medium allows Homer to create a delicate, atmospheric impression of a misty morning, animated by touches of bright color in the figures dress patterns, the bow on a hat, a headwrap, and the bluebird perched on a branch.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The continued importance of Homer's watercolor practice is affirmed by the current exhibition at the Museum of Fine Arts Boston, <em>Of Light and Air: Winslow Homer in Watercolor</em>, which underscores the enduring resonance of works from this transformative period. <em>Houghton Farms (Girls Strolling in an Orchard)</em> stands as a beautifully preserved example from the moment when Homer embraced watercolor as his primary mode of expression, illuminating the quiet lyricism that came to define his mature art.</font></div>

温斯洛荷马

霍顿农场（少女漫步果园）

9.5 x 13 英寸

纸上水彩和石墨

<div>Joseph Kleitsch’s <em>Studio Interior</em> (1918) is a compelling early work that reflects the artist’s academic-realist foundation and marks a pivotal moment just before his relocation from the Chicago to California. Painted shortly before this transition, the work reveals Kleitsch’s disciplined approach to composition and observation, shaped by his rigorous training in Budapest, Munich, and Paris. The scene depicts a quiet, lived-in studio space, where light enters through an open doorway to animate furniture, canvases, and everyday objects with a subdued yet attentive handling of color and tone. </div><br><br><div> </div><br><br><div>The interior is constructed with careful spatial logic and an emphasis on structure, underscoring Kleitsch’s preference for academic realism at this stage of his career. While in Chicago, his portrait and interior scenes were often distinguished by a “jeweled” palette—rich, saturated hues deployed with restraint—and that sensibility is evident here in the layered colors that enliven the otherwise low-keyed room. Subtle shifts in light guide the eye through the composition, balancing chromatic richness with solidity and calm. </div><br><br><div> </div><br><br><div>In the years leading up to his move west, Kleitsch was actively involved with Chicago’s artistic institutions, including the Palette and Chisel Club and the Art Institute of Chicago, situating him within a dynamic environment of evolving modern influences. During this time, Impressionist and Post-Impressionist works were increasingly visible in American exhibitions. While Kleitsch maintains a measured realism here, the Impressionist influence was incubating; he would later become renowned as a “master of gorgeous color” owing to the high-keyed vibrant palette of his California landscapes. </div><br><br><div> </div><br><br><div><em>Studio Interior</em> has been exhibited twice, both times in California, as part of exhibitions highlighting Kleitsch’s importance to the history of California art. Seen in retrospect, the painting offers a revealing glimpse of the artist’s roots before his later, more luminous California landscapes would come to define his legacy. </div><br><br><div> </div><br><br><div> </div>

约瑟夫·克莱奇

工作室内部

画布上的油画

<div>Andy Warhol’s <em>Grace Kelly</em> (1984) is a dazzling screenprint that immortalizes one of Hollywood’s most iconic stars, who later became Princess of Monaco. This impression, one of 30 artist’s proofs aside from the regular edition of 225, depicts Kelly with radiant canary yellow hair set against a turquoise ground. Her face, rendered through Warhol’s crisp silkscreened contours, is at once immediately recognizable and transformed into a bold graphic emblem. </div><br><br><div> </div><br><br><div>The image is based on a film still from<em> Fourteen Hours</em> (1951), Kelly’s screen debut, which Warhol reimagines through his signature Pop sensibility. By isolating and intensifying her features with vibrant color contrasts, he heightens both the glamour of the actress and the constructed nature of celebrity imagery. The turquoise background vibrates against Kelly’s luminous hair, underscoring Warhol’s mastery of color as a tool of both allure and abstraction. </div><br><br><div> </div><br><br><div>Created during a period when Warhol was revisiting the great icons of his earlier career, <em>Grace Kelly</em> encapsulates his fascination with beauty, fame, and cultural mythmaking. The work distills Kelly’s presence into a timeless symbol—simultaneously a celebration of her cinematic allure and a meditation on the transformation of star into legend. </div><br><br><div> </div><br><br><div> </div>

安迪·沃霍尔

格蕾丝-凯利

彩色丝网印刷

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

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

<div><font face=Lato size=3 color=black>Alexander Calder’s <em>Tornado in Space</em> (1932) is a rare drawing from the crucial moment when he was redefining his artistic language through abstraction and movement. Authenticated by the Calder Foundation (registration number A08417), the work is composed of bold, spiraling lines that circle and intersect in rhythmic trajectories. These orbit-like forms suggest both natural forces and mechanical precision, capturing the sensation of motion on a flat surface and foreshadowing the spatial dynamics of his earliest mobiles.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The drawing embodies Calder’s fascination with the invisible energies of the universe, transforming paper into a field of movement and space. The economy of line emphasizes gesture and rhythm rather than depiction, distilling his explorations into a graphic composition of striking clarity. This sheet belongs to a key group of works on paper from 1932, including <em>Space Tunnel</em> and <em>Movement in Space</em>, in which Calder experimented with drawing as a means of testing ideas that would later find expression in three-dimensional form.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The provenance further strengthens the importance of this work. <em>Tornado in Space </em>was acquired through Calder’s longtime New York dealer, Klaus Perl's of Perls Gallery, and has remained in the same private collection for over fifty years. Closely related works from this period are now housed in the Centre Pompidou, the National Gallery of Art, and the Museum of Modern Art, underscoring the rarity and art-historical resonance of this drawing.</font></div><br><br><div> </div><br><br><div>© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York</div>

亚历山大·卡尔德

太空中的龙卷风

30 1/2 x 22 1/2 in.

纸上的墨水

安德鲁·怀斯 - 《上游水坝》 - 纸本水彩画 - 13 1/2 x 19 1/2 英寸

安德鲁·怀斯

13 1/2 x 19 1/2 in.

作为1954年至1972年期间盛极一时的传奇性的五台艺术协会的成员，本永贞正在后原子超现实主义存在主义在日本艺术发展的最前沿出现。然而，他选择了一条不同的道路。他对战争造成的破坏视而不见，创作出新鲜、欢快、好玩的作品。1966年的《无题》是他的经典风格，与莫里斯-路易斯的所谓"面纱"绘画同时发展。它可能会让人联想到胆小的鸟儿明亮的梳子、眼睛和斑驳的羽毛，但任何这样的联想都可能是武断和无意的。相反，它是本永对日本传统的Tarashikomi（一种在颜料完全干透之前将画布以不同角度倾斜，让树脂和珐琅的混合物相互流动的技术）的前卫展示，非常成功。

萨达马萨·莫托纳加

16 x 12 1/2 in.

画布上的油画

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

<div>Camille Pissarro’s<em> Paysannes assises </em>(c. 1880) is a richly colored, large-scale pastel that distills the artist’s humanism and modernity into an intimate, everyday encounter. Two peasant women sit in quiet conversation, their bodies described with confident contour and softened planes of color that feel both immediate and tender. The warm tone of the paper becomes an active field, allowing passages of blue, green, and rose to breathe around the figures, while Pissarro’s unmistakably painterly strokes—alternately feathered and emphatic—give the scene texture, light, and lived presence. Bright yet restrained, the work is iconically Pissarro: direct, unsentimental, and deeply attentive to rural life. </div><br><br><div> </div><br><br><div>Often called the backbone of Impressionism, Pissarro was the movement’s most consistent, experimental, and unifying force. He was the only artist to exhibit in all eight Impressionist exhibitions from 1874 to 1886, and his generosity as a mentor shaped the next generation—Cézanne, Gauguin, Seurat, and Signac among them. In pastel, a medium prized for its speed and chromatic intensity, Pissarro found an especially apt vehicle for capturing fleeting effects and the immediacy of observation, without sacrificing structure or psychological nuance. </div><br><br><div> </div><br><br><div>The enduring importance of his work is underscored by recent museum attention, including the Denver Art Museum’s major exhibition positioning him as “the first Impressionist” (<em>The Honest Eye: Camille Pissarro's Impressionism</em>, October 26, 2025 – February 8, 2026), the first significant U.S. survey of the artist in four decades. <em>Paysannes assises</em> also resonates with closely related figure studies in major collections, such as examples at LACMA and The Morgan Library, affirming the centrality of these pastoral subjects within Pissarro’s practice and within Impressionism itself. </div>

卡米尔·皮萨罗

纸上蜡笔画

乔治-里基 - 方形空间搅动器 - 不锈钢动能雕塑 - 35 1/2 x 20 x 13 英寸。

用正方形搅动空间

35 1/2 x 20 x 13 英寸

不锈钢动感雕塑

<div><font face=Lato size=3 color=black>Executed in mixed media on paper, <em>The Indian</em> from 1944 showcases Hofmann’s ability to offer a powerful interplay between abstraction and figuration. Surrounded by an atmospheric expanse of deep blues and punctuated by vivid accents of red and yellow, the central form suggests the stylized head of a Native American. Shaped not by direct detailing techniques but subtractive reduction, Hofmann shaped the figure by enclosing it with dynamic strokes of the deep blue surround, punctuated by vivid reds and yellows, as if carving the form out of the surrounding space. This approach emphasizes the figure’s presence while allowing it to remain enigmatic, suspended within an atmospheric mélange of bold, gestural marks.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The tension between the central form and its vibrant background exemplifies Hofmann’s transition during the 1940s from Cubist rigor to more unrestricted, expressionistic techniques. <em>The Indian</em> captures the energy of this pivotal period, with its layered abstraction and symbolic undertones reflecting Hofmann’s ability to unite gestural spontaneity with deliberate compositional balance.</font></div>

汉斯·霍夫曼

纸上混合介质

耶佩·海因 - 《几何镜面VII》 - 铝、不锈钢及高抛光钢（超镜面） - 78 3/4 x 72 3/4 x 39 3/8 英寸

几何镜面VII

78 3/4 x 72 3/4 x 39 3/8 英寸

铝、不锈钢和高抛光钢（超镜面）

© 2023 Calder Foundation, New York / Artists Rights Society (ARS), New York<br>Two Crosses by Alexander Calder is a striking work on paper, blending transparent watercolor and gouache, showcasing his signature repertoire of shapes and symbols. At its heart lies a large, black 'X' on a fluid, grayish wash, and nearby, a smaller, opaque black cross overlapping a semi-opaque red ball, and to its left, a roundish transparent wash patch hosts a black crescent shape. Several spheres in black provide accompaniment, and the artist's favored primary colors, and at the lower margin, his charming undulating line. Calder's sparing use of watercolor allows the paper's white to showcase the forms and symbols, creating a dynamic, impactful artwork where simplicity and the interplay of transparent and opaque elements captivate the viewer.

亚历山大·卡尔德

两个十字架

21 1/8 x 29 1/2 in.

纸上的水粉和墨水

IRVING NORMAN - How Come - 布面油画 - 90 x 60 英寸。

画布上的油画

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

三个金字塔+蓝球

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

亚历山大-考尔德的作品《Rouge Mouille》（湿红）以红色圆圈为背景，一些圆圈像爆炸一样散开，营造出一种活力四射的膨胀感，另一些圆圈则向下延伸，犹如烟花表演的流线型轨迹。这个动画背景上点缀着许多不透明的圆球，以黑色为主，但也穿插着醒目的蓝色、红色和微妙的黄色球体。五颜六色的球体与爆炸性的红色相映成趣，捕捉到了焰火表演的震撼和壮观，将这幅画转化为这一令人眼花缭乱的庆祝活动的视觉隐喻。这幅艺术作品充满了兴奋和活力，以静态的媒介概括了烟花的短暂之美。

亚历山大·卡尔德

42 1/4 x 29 5/8 in.

纸上的水粉和墨水

Zigzag, Sun, and Crags, painted in 1972, recalls the early morning hour of June 9, 1922 when the young seafaring adventurer Sandy (Alexander) Calder was awakened on the deck of the H. F. Alexander by the intense beams of tropical sunlight that burst across the bow. He stood, squinting against the glare, then turned his head to the west and felt a sudden rush of sensations that brought to him a cosmic resonance he had never felt before. <br><br>“It was early one morning on a calm sea, off Guatemala, when over my couch — a coil of rope — I saw the beginning of a fiery red sunrise on one side and the moon looking like a silver coin on the other. Of the whole trip this impressed me most of all; it left me with a lasting sensation of the solar system.” <br><br>Zignag, Sun, and Crags is not a simple memento of that experience. It is an exhilarating work that celebrates Calder’s inimitable way of imparting the wonder of the natural world by amplifying our experience of it. If, as he might wish, it brings a sense of interconnectedness and belonging as it did to him along the coast of Guatemala as a young Merchant Marine, so much the better.

亚历山大·卡尔德

人字形的太阳和峭壁

29 1/2 x 43 in.

纸上的水粉和墨水

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

<div><font face=Lato size=3 color=black>Lee Krasner’s "<em>Water No. 5</em>" channels water's fluid, ever-changing energy into a luminous abstraction, demonstrating her deep sensitivity to the natural world and unparalleled skill in transforming it into art. As part of her "Water" series of some twenty works, "<em>No. 5"</em> reflects Krasner's fascination with the rhythms of nature, inspired by her life on Long Island's East End. Living along the shoreline, she experienced its tidal flows, reflective light, and the expansive motion of water—elements that found their way into this series' fluid brushstrokes and layered washes.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Cataloged as "gouache on paper," the patent transparency in works like “<em>Water No. 5</em>” suggests Krasner used traditional watercolor techniques to create the denser, opaque effects often associated with gouache. Artists can achieve such opacity in watercolor by increasing the pigment-to-water ratio, layering translucent washes for depth, or using pigments naturally prone to granulation and saturation. Krasner's choice of Howell paper, known for its medium-to-rough "tooth," also enhanced these effects, as its texture scatters light to give pigments a more solid appearance. These techniques demonstrate Krasner's mastery of her materials and her intuitive, practical approach to experimentation, allowing her to expand the expressive possibilities of watercolor without relying solely on gouache. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Krasner was not alone in finding inspiration in the Long Island landscape. Her neighbor, Willem de Kooning, similarly responded to the shoreline's vitality, translating its undulating rhythms into his work of the 1960s. For Krasner, however, the "Water" series lacks figurative references, resting solely on her ability to capture nature’s transformative energy through abstraction. With "<em>Water No. 5",</em> Krasner achieved a profound synthesis of technique and vision, merging the meditative power of her surroundings with the dynamic energy of her artistic practice, underscoring her position as a pioneering force in postwar American art.</font></div>

李·克拉斯纳

12 1/4 x 9 1/4 英寸

Howell 纸上的水粉画

<div><font face=Aptos size=3 color=black>Michael Corinne West’s story is a significant one. A prolific painter and poet at the forefront of the Abstract Expressionist movement, West is the artist least likely to be acknowledged as standing among the first generation with the core group of male artists. Placed in a confrontational role as one of the few women defying a male-dominated mythology, she shifted to gestural painting in the mid-1940s, often laying the canvases on the floor and working like Jackson Pollock. Her earliest work in black and white predates Franz Kline’s by several years. It included “<em>Black and White” </em>of 1947, which impressed Clement Greenberg, who was never inclined to dish a gratuitous compliment. Despite the changing tides of art and fashion, her devotion to mysticism, inner emotional states, and the subconscious as they relate to Abstract Expressionism continued unfazed and steady.  </font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>“<em>The Day After</em>,” painted in 1963, is West’s visceral, abstract response to a pivotal moment in American history — the assassination of President John F. Kennedy. The overlapping layers of saturated blood-red tones clashing with forceful strokes of black suggest the rupture in the national consciousness and evoke feelings of disruption and confusion, embodying the artist’s internalized grief. West transformed the event into a deeply personal expression of mourning, capturing the weight of a nation’s sorrow in a form that defies literal representation yet speaks volumes emotionally.  </font></div>

迈克尔·科林内·韦斯特

85 1/4 x 50 1/8 英寸

画布上的油画

亚历山大-考尔德（Alexander Calder）的水粉画作品 "Wigwam rouge et jaune "是对设计和色彩的生动探索。这幅画的构图以对角线格为主，对角线在顶点附近相交，呈现出一种动态平衡。考尔德用红色和黄色的菱形引入了奇思妙想的元素，为作品注入了童趣，营造出节日的气氛。右倾线条顶点的红色小球唤起了人们的奇思妙想，而左倾线条顶端的灰色小球则提供了对比和平衡。考尔德巧妙地将简洁和重要的设计元素融合在一起，使 Wigwam rouge et jaune 成为一种视觉享受。

亚历山大·卡尔德

红色和黄色的Wigwam

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

威廉-肯特里奇 - 波特系列。Carte L'Europe (Shower Woman) - 马海毛和丝绸刺绣挂毯 - 98 3/8 x 137 7/8 in.

威廉·肯特里奇

波特系列。Carte L'Europe (Shower Woman)

98 3/8 x 137 7/8 in.

马海毛和丝绸刺绣挂毯

<div><font face=Lato size=3 color=black><em>Dancing Girl</em> dates from 1881 to 1882, a dynamic and exploratory moment in William Merritt Chase’s career when he was actively engaging with European subjects and broadening the expressive range of American painting. The work is included in the Chase catalogue raisonne and reflects the artists fascination with Spanish themes, which many American painters of the period encountered firsthand while studying the masters in the Prado and absorbing the culture, costume, and movement of Spain. Although the painting was later mislabeled by an early owner as an Italian street scene, Chase was in Spain during the summer when this work was created, firmly situating it within his Spanish period.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The animated single figure captures a woman in motion, a subject that is notably rare within Chases oeuvre and distinct from the more contemplative female figures that dominate his most valuable works. His auction record painting, <em>I Think I Am Ready Now</em> from around 1883, shares the focus on a single female figure from the same period, underscoring the importance of this moment in his artistic development. The present work also relates closely to important institutional examples, including <em>Carmencita</em> from 1885 in the Metropolitan Museum of Art and <em>A Tambourine Player</em> in the Montclair Art Museum, both of which highlight Chases sustained interest in dancers and Spanish costume.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The painting was held on long term loan to the Museum of Fine Arts Boston from 1906 to 1922, affirming its early institutional recognition. Chase’s Spanish works should be viewed in dialogue with those of John Singer Sargent, whom he met in 1881 while Sargent was developing studies for <em>El Jaleo</em>, as both artists looked to Velázquez for inspiration. <em>Dancing Girl</em> stands as a spirited and uncommon example of Chase portraying a woman at play, capturing movement, rhythm, and cultural immediacy at the height of his European engagement.</font></div><br><br><div> </div>

威廉·梅里特·蔡斯

26 x 15.5 英寸

画布上的油画

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

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

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

画布上的油画

ALEXANDER CALDER - 米奇老鼠 - 水粉和水墨纸 - 30 x 43 3/8 英寸。

亚历山大·卡尔德

30 x 43 3/8英寸

纸上的水粉和墨水

Jim Dine 是一位美国流行歌手，他的作品以具有童趣的物体来沉思，以找到一种普遍和怀旧的语言。迪恩的长袍是他漫长而辉煌的职业生涯中最广为人知的形象之一。它们于1964年秋天首次在西德尼·贾尼斯画廊展出——就是这样一个例子。双银点罗伯斯是一个大型的混合媒体组合。这项工作以银点执行 - 一种利用一块银作为绘图仪器在一个特别准备好的地面上的技术，通过它氧化了几个月，形成温暖的棕色色调。两个连接的画布以木块代替头部应位于何处，以及一个悬挂的木质元素，可响应气流。

双银点罗伯斯

53 1/2 x 96 in.

银点和丙烯酸在艺术家的画框2连接画布，木材，刀和字符串

ALEXANDER CALDER - 方向 - 纸上水粉和墨水 - 29 1/2 x 43 1/4 英寸。

亚历山大·卡尔德

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

ALEXANDER CALDER - 森林 - 纸上水粉和墨水 - 43 x 29 1/4 in.

亚历山大·卡尔德

43 x 29 1/4 英寸。

纸上的水粉和墨水

ALEXANDER CALDER - 红色的花瓣，蓝色的月亮 - 纸上水粉和墨水 - 29 1/2 x 43 1/4 英寸。

亚历山大·卡尔德

红色的花瓣，蓝色的月亮

29 1/2 x 43 1/4 in.

纸上的水粉和墨水

夏尔·约瑟夫·弗雷德里克·苏拉克鲁瓦 - 午后茶会 - 油画布面 - 34 x 25 3/4 英寸

查尔斯·约瑟夫·弗雷德里克·苏拉克鲁瓦

34 x 25 3/4 英寸

画布上的油画

$<div><font face=Lato size=3>Maurice de Vlaminck’s <em>Le Viaduc de Saint-Germain-en-Laye</em> (circa 1910-1911), an arresting oil on canvas framed in ornate gold, captures the industrial elegance of a viaduct west of Paris. This work, set to be included in the forthcoming catalogue raisonné by the Wildenstein Plattner Institute, reflects Vlaminck’s fascination with the Saint-Germain area. Known for painting its urban landscapes and Seine-side scenes, he infused this particular scene with angular Cubist elements gaining traction in early 20th-century art. The viaduct, built in the 1880s to carry the Paris-Saint-Germain railway line, looms with golden arches against a turbulent gray sky, its unyielding structure juxtaposed with the fractured rooflines of quaint village houses. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Vlaminck’s bold brushstrokes and muted palette create a textured, almost sculptural effect, with trees and rooftops rendered in dynamic, faceted shapes. The overcast sky enhances the scene’s ambient intensity, while the viaduct’s arches dominate, symbolizing modernity amid rural charm. This work exemplifies his early Fauvist roots evolving into Cubist influences, showcasing a pioneering style. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>A resident of the region, Vlaminck frequently depicted its evolving landscape, blending tradition with innovation. "Le Viaduc de Saint-Germain-en-Laye" offers collectors a rare glimpse into his transformative period. Its striking composition and historical context make it a compelling addition to any collection, celebrating Vlaminck’s contribution to modern art’s development. </font></div>$

MAURICE DE VLAMINCK

Le Viaduc de Saint-Germain-en-Laye

26 x 32 x 1 英寸

画布上的油画

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

30 x 43 3/8英寸

纸上的水粉和墨水

ALEXANDER CALDER - 椭圆形的螺旋 - 纸上水粉和墨水 - 43 1/4 x 29 1/2 英寸。

亚历山大·卡尔德

椭圆形的螺旋

43 1/4 x 29 1/2 英寸。

纸上的水粉和墨水

<div><font face=HelveticaNeue size=3 color="#191919">Jules Olitski’s <em>Beauty of Eve</em> (1989) exemplifies the artist’s signature “mitt” paintings, where color field abstraction, gesture, and texture converge into a richly tactile surface. Thick layers of acrylic are applied with expressive movement using unconventional tools such as mitts, brooms, and squeegees to explore the physical depth and material presence of paint. <em>Beauty of Eve</em> captures the height of this experimentation.</font></div><br><br><div> </div><br><br><div><font face=HelveticaNeue size=3 color="#191919">Olitski received major recognition at the Metropolitan Museum of Art in 1969, where he became the first living artist given a solo exhibition at the museum. His work is represented in many major permanent and public collections, including The Boston Museum of Fine Arts, Boston, MA; The Art Institute of Chicago, Chicago, IL; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Museum of Fine Arts, Houston, TX; Tate Modern, London, UK; Toledo Museum of Art, Toledo, OH; The Metropolitan Museum of Art; The Museum of Modern Art; The Solomon R. Guggenheim Museum; and The Whitney Museum of American Art, New York</font></div>

朱尔斯·奥利茨基

42 1/2 x 55 3/4 in.

水和油基丙烯酸画布

<div><font face=Lato size=3>Leon Polk Smith’s "Constellation Blue Violet Green Red" (1968) is a striking example of the artist’s radical exploration of form and color in postwar abstraction. Executed in acrylic on canvas, the work consists of four rounded-square panels arranged in a diamond formation. Each panel bears a crisp division of color: black at the outer edge, paired with one of four luminous hues—blue, violet, green, and red—creating a rhythmic interplay of symmetry and variation. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Smith was a central figure in the development of hard-edge painting and geometric abstraction, aligned with contemporaries such as Ellsworth Kelly and Carmen Herrera. His "Constellation" series, begun in the 1960s, was groundbreaking for its use of multiple shaped canvases installed directly on the wall, eschewing traditional frames in favor of compositions that expand dynamically into surrounding space. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>While Smith was highly prolific in both works on paper and monumental single-panel paintings, multi-panel "Constellation" works remain less common within his oeuvre. Today, his paintings are represented in major institutions including The Museum of Modern Art, the Whitney Museum of American Art, and the Brooklyn Museum. In "Constellation Blue Violet Green Red", the clarity of Smith’s vision is on full display—color and geometry united in a constellation that feels both precise and expansive, disciplined yet alive with visual energy. </font></div>

利昂·波尔克·史密斯

星座蓝紫绿红

36 x 36 1/4 英寸

画布上的丙烯酸

<div><font face=Calibri size=3 color=black>Richard Prince's "<em>Untitled</em>" from 2009 is a provocative and multilayered piece that engages with the themes of censorship, appropriation, and the boundaries of art. Prince uses a photographic montage of naked, intertwined bodies—imagery that evokes the explicit nature of an orgy and obscures its tawdry nature with a pattern of pink, egg-shaped acrylic elements covering much of the underlying image. The placement of these shapes is seemingly arbitrary, yet they play a crucial role in how the viewer perceives the piece. This obscuring overlay can be interpreted as a visual metaphor for censorship, alluding to how society imposes restrictions on what is deemed acceptable for public consumption. By covering parts of the bodies, Prince draws attention to the act of censorship itself rather than merely the content being censored. The viewer is left to imagine what lies beneath, heightening the sense of curiosity and the taboo.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>Prince's work often critiques mass media and the commercialization of culture, and this piece is no exception. By altering found images, he questions the ownership and authorship of visual culture. The "censorship" elements in this work might also reference the commodification of sex and how the media sanitizes or obscures the raw, human aspects of such imagery to make it more palatable for the public.</font></div><br><br><div> </div><br><br><div><font face=Calibri size=3 color=black>In "<em>Untitled</em>," Prince challenges viewers to confront their perceptions of morality, art, and the power dynamics inherent in censorship. The work serves as a commentary on how images are manipulated and controlled in society, pushing the boundaries of what is considered art and what is considered obscene. Through this layered approach, Prince continues his exploration of the intersections between art, culture, and societal norms.</font></div>

理查德·普林斯

无题（检查员粉红色绘画）

35 1/2 x 30 英寸

喷墨板上的丙烯

"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

<div>"Untitled”, a rare and intimate mixed media on paper piece by Anni Albers, was a personal gift to its owner, Katherine Weber, wife of Albers Foundation president Nicholas Fox Weber, presented during a visit in Connecticut. Never offered for sale, this artwork stands apart from Albers’ renowned textile creations, showcasing her versatility as an abstract artist. Created with a delicate interplay of pencil, ink, and watercolor, the composition features geometric shapes and subtle color gradients that dance across the surface, reflecting her inventive exploration of form and texture. This piece, likely from her later career, highlights her shift toward printmaking and drawing after 1963, moving beyond the pictorial weavings of the 1950s. </div><br><br><div> </div><br><br><div>Born in Berlin and trained at the Bauhaus in the 1920s, where she later taught, Albers pioneered avant-garde textile designs blending functionality with bold abstractions. Her time at Black Mountain College and trips to Mexico exposed her to pre-Columbian art, influencing her use of forgotten techniques and abstract motifs, as seen in simplified and intuitive form in our work. Its intimate scale and personal provenance lend it a unique charm, contrasting with her larger public commissions. This piece offers a window into the experimental spirit that marks Albers’ legacy within 20th-century art and design. </div>

安尼-阿尔伯斯

4 x 15 1/2 英寸

纸上毛毡笔

ALEXANDER CALDER - 轨迹 - 水粉和墨水在纸上 - 29 3/8 x 41 1/8 英寸。

亚历山大·卡尔德

29 3/8 x 41 1/8 in.

纸上的水粉和墨水

"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

IRVING NORMAN - 流浪者 - 布面油画 - 90 x 30 in.

画布上的油画

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

43 3/8 x 30 in.

纸上的水粉和墨水

N.C. 韦斯——《黄色齿轮船的航行》——布面油画——40 x 30 x 1 英寸

北卡罗来纳州

《黄帆船的航行》

40 x 30 x 1 英寸

画布上的油画

HARRY BERTOIA - Untitled (Sounding Sculpture) - 铍铜和青铜，木质底座 - 36 1/2 x 8 x 8 英寸。

哈里·贝托亚

无题（发声雕塑）

36 1/2 x 8 x 8 英寸

铍铜和青铜，木质底座

HARRY BERTOIA - 柳树雕塑 - 不锈钢 - 61 1/2 x 39 x 39 英寸。

哈里·贝托亚

61 1/2 x 39 x 39 英寸

弗兰克·韦斯顿·本森

白衣少女（坐姿）

画布上的油画

© 2023年考尔德基金会，纽约/艺术家权利协会（ARS），纽约

亚历山大·卡尔德

30 3/4 x 22 1/2 in.

纸上的水粉和墨水

IRVING NORMAN - Snapshots - 布面油画 - 40 x 90 英寸。

画布上的油画

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.

<div><font face=Aptos size=3 color=black>María Blanchard, born in 1881, initially emerged as a committed Cubist painter, heavily influenced by her friendships with Juan Gris and other avant-garde figures. Her work in the 1910s showcased rigorous geometric abstraction, yet by the early 1920s, she began to transition toward a more figurative style. This shift aligned her with the “<em>Retour à l'ordre”</em> movement, in which many artists returned to more classical forms after the upheavals of war and early avant-garde experimentation. Blanchard's increasing focus on emotional depth and human subjects became a defining feature of these later works, culminating in pieces like "<em>Fillette à la pomme</em>."</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's Cubist roots, prominent in the angular treatment of the hands and apple, are softened throughout the girl's modest attire, suggesting a spiritual or religious significance. The model's pious countenance and the muted palette of browns, grays, and blues further reinforce that the painting continues a thread of religious themes, as seen in Picasso's early masterwork, "<em>The First Communion</em>," and Blanchard's own "<em>Girl at her First Communion</em>." The apple held in hand introduces layers of symbolism, often representing knowledge, innocence, or temptation, an association that suggests an emotional transition, bridging childhood and deeper awareness.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard's ability to fuse Cubist form with symbolic narrative and emotional complexity makes this painting a poignant reflection of her evolution as an artist. She humanizes the rigid forms of Cubism while imbuing her subjects with depth and inner life.</font></div>

玛利亚-布兰查德

Fillette à la pomme

28 1/4 x 23 5/8 英寸

画布上的油画

<div><font face=Aptos size=3 color=black>Born in 1881, the same year as fellow Spaniard Pablo Picasso, María Blanchard carved her distinct path within modernist art, blending Cubist influences with emotional depth. <em>"La Comida" </em>demonstrates Blanchard's evolution towards a more figurative style while retaining explicit Cubist references. This shift aligns her work with the “<em>Retour à l'ordre”</em> movement, a tendency many fellow artists embraced at the time. Thematically, “<em>La  Comida</em>” recalls van Gogh's early works, particularly "<em>The Potato Eaters</em>" (1885), in both palette and subject matter. Like van Gogh, Blanchard draws attention to the simplicity of rural life, using muted tones of browns, reds, and ochres to convey the grounded, almost austere nature of the figures around the table.</font></div><br><br><div> </div><br><br><div><font face=Aptos size=3 color=black>Blanchard’s work after 1921 progressively bridged the gap between the rigid forms of early Cubism and a more emotive, personal representation of her subjects. Geometric rigors are present, but the scene's naturalistic light and volumetric composition echo Cézanne's influence. The sharp brushstrokes and angular figures evoke a sense of protection, reflecting Blanchard's intention to shield the inner spirit of her characters from the gaze of others. Yet, her sensitive portrayal invites viewers to connect emotionally with her work, engendering a sense of intimacy and quiet communion. Despite the somber palette, there is a subtle warmth, with the figures' inner spirit shielded from judgment, much like those in van Gogh's painting. Yet in synthesizing elements of Cubism, Blanchard added emotional complexity to the rural themes van Gogh explored, making her contribution distinct yet reflective of earlier artistic traditions.</font></div>

玛利亚-布兰查德

21 1/2 x 28 3/4 英寸

画布上的油画

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

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

玛丽·菲利克斯·希波利特-卢卡斯 - 《莎乐美》 - 油画布面 - 77 x 38 1/8 英寸

玛丽·菲利克斯·希波利特-卢卡斯

77 x 38 1/8 英寸

画布上的油画

<div><font face=Lato size=3 color="#191919"><em>The Road to the Harbor, Gloucester, Massachusetts</em> is a vibrant and characteristically bold example of Jane Peterson’s celebrated views of the Massachusetts coast, a subject that remains among the most sought after in her work. Previously held in the collection of the artist and her estate, the painting reflects the period when Peterson was producing her finest New England scenes, distilling the atmosphere and color of Gloucester with a confident and expressive hand. Gloucester was one of her most beloved subjects, and comparable paintings of the area have exceeded expectations at auction, often more than doubling their high estimates, underscoring both the desirability of the theme and the competitive value of the present work.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">This large canvas captures a quiet coastal afternoon, with a dirt road leading toward Gloucester Harbor as suggested by the title. Peterson uses saturated colors and broad, lively brushstrokes to animate the scene, from the touches of blue on the rooftops to the shifting interplay of blue and grey in the retreating sky that suggests a moment just after rainfall. The painting relates closely to other Gloucester works in major museum collections, including <em>Old Road, Gloucester</em> at the Virginia Museum of Fine Arts.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">Peterson was known for choosing subjects beyond the conventional expectations for women artists of her time, favoring street scenes, travel, public life, and even wartime experience. <em>The Road to the Harbor, Gloucester, Massachusetts </em>embodies this outward looking spirit, revealing her ability to transform everyday coastal paths into scenes of vivid immediacy and enduring charm.</font></div>

通往海港之路，马萨诸塞州格洛斯特市

约1915-1918年

24 x 30 1/4 英寸

画布上的油画

<div>Maurice de Vlaminck’s <em>Bouquet de Pivoines dans un Vase Bleu</em> (1913–14) is a prime-period still life that channels the artist’s Fauvist audacity into an image of exuberant, painterly force. A dense spray of peonies—painted as spiraling bursts of pinks, reds, and creamy whites—pushes outward from a deep blue vase, its rounded form anchoring the composition. With vigorous, directional brushstrokes, Vlaminck animates petals and foliage into a rhythmic surge, turning a traditional tabletop motif into a study of movement, texture, and chromatic intensity. </div><br><br><div> </div><br><br><div>As one of the core founders of Fauvism, Vlaminck was celebrated for his radical, non-naturalistic use of color, and this work retains that avant-garde approach. Cool blues and sea-greens collide with hot, saturated reds, while the background drapery and angled planes are simplified into sweeping passages that heighten contrast and speed. The paint surface remains boldly worked, emphasizing the physicality of oil on canvas and the immediacy of the artist’s hand. A prominent signature reinforces the picture’s assertive presence and its sense of completed statement. </div><br><br><div> </div><br><br><div>The painting will be included in the forthcoming critical catalogue of Maurice de Vlaminck’s works, currently being prepared by Maïté Vallès-Bled and Godeliève de Vlaminck under the auspices of the Wildenstein Institute. Renewed international attention to Vlaminck’s achievements—including a recent retrospective at Museum Barberini in Potsdam, the first in nearly a century—has reaffirmed his vital role in the development of modern painting. <em>Bouquet de Pivoines dans un Vase Bleu </em>captures that legacy: unapologetically modern and powered by color as expression. </div>

MAURICE DE VLAMINCK

蓝花瓶中的牡丹花束

25又3/4英寸×21又1/2英寸

画布上的油画

理查德·塔特尔是美国一位具有开创性的后极简主义艺术家。塔特尔的作品具有概念性和冥想性，跨越了雕塑、绘画和诗歌的界限，经常挑战观众。1973年，艺术家职业生涯的关键时期无题（布和绘画作品#2），唤起了他职业生涯的早期极简主义，同时向基于物质的概念艺术迈进。在作品中，他向马塞尔·杜尚的现成作品致敬。纺织品，就像这件作品一样，在他的作品中扮演着重要的角色，并成为集中表现、参与和意义的场所。

理查德·塔特尔

无题（布与颜料作品 2 号）

15 1/2 x 16 in.

帆布上的绳子和油

Irving Norman was born in 1906 in Vilna, then part of the Russian Empire, now Lithuania. Norman's immigration to New York City in 1923 was short-lived, as he would return to Europe to fight as part of the Abraham Lincoln battalion against the Spanish dictator Francisco Franco. After the War, Norman would eventually settle in Half Moon Bay, California, where he embarked on a prolific studio practice. <br><br>Norman's work portrays the horrors of war and his firsthand knowledge of totalitarian dictatorships. Norman's work has been described as "Social Surrealism," and his grand scenes are immediate and arresting. The large-scale works of Norman truly capture the power of his lived experiences; they are as much a visual record as they are a warning for the future, intended to inspire change.

69 1/2 x 39 1/2 英寸。

画布上的油画

大卫·特尼尔斯二世——《房屋前的工匠》——木板油画——10 3/4 x 15 1/2 英寸

大卫·特尼尔斯二世

房屋前的工匠们

10 3/4 x 15 1/2 英寸

面板上的油

<div>Joanna Pousette-Dart’s 3 Part Variation No. 11 (2017) is composed of three stacked, curvilinear canvases—forms that resemble canoe hulls or slices of a circle—rising in scale from bottom to top. Each panel has its own restrained palette of blues, yellows, and grays, distinct yet resonant with the others. The proportions and curves echo from one to the next, yet no two forms are alike. </div><br><br><div> </div><br><br><div>Within each panel, broad areas of flat color are bisected by rounded shapes whose outer contours align with the painting’s edge. Layered over these are linear arabesque-like structures that visually rhyme—but never directly repeat—the panels’ curves, creating a dynamic interplay between inner drawing and outer shape. The result is both lyrical and precise, a composition where subtle variations generate a complex harmony. </div><br><br><div> </div><br><br><div>The beauty of 3 Part Variation No. 11 lies in these relationships: how forms mirror, diverge, and converge across the three canvases. The effect is meditative, like a visual equation that is at once architectural and deeply personal. </div>

乔安娜·普塞特-达特

三部变奏曲第十一号

76又3/4英寸 × 91又1/2英寸 × 1又1/12英寸

丙烯、帆布、木板

威廉·梅里特·蔡斯 - 艺术家阿尔伯特·贝克·温泽尔肖像 - 油画布面 - 20 x 16 英寸

威廉·梅里特·蔡斯

艺术家阿尔伯特·贝克·温泽尔肖像

画布上的油画

<div>"House in the Countryside," a rare early oil on canvas by Piet Mondrian circa 1898, offers a window into the artist’s pre-abstraction period, likely executed "en plein air." This intimate painting, one of approximately 47 works from this phase across various media, showcases Mondrian’s early dedication to capturing the essence of place. The composition features a modest house set within the landscape, rendered with soft, earthy tones and a delicate interplay of light and shadow, reflecting his youthful passion for naturalistic depiction. Unlike his later abstract works, which began after he turned 40 following the 1911 Picasso exhibition that inspired his Cubist turn, these early pieces reveal a confident realism that laid the groundwork for his iconic style. </div><br><br><div> </div><br><br><div>The works from this period, prior to Mondrian’s shift toward coastal scenes, boats, and floral subjects, highlight his penchant for landscape, a theme that subtly persisted in his later abstractions, particularly those inspired by the grid-like layout of New York City, such as "Broadway Boogie Woogie" (1942-43) and “New York City I” (1942). With early landscapes offering a more accessible price point yet holding immense academic importance, they attract museums and savvy, thoughtful collectors. Comparable works reside in The Metropolitan Museum of Art, The Cleveland Museum of Art, and The Art Institute of Chicago.  This piece stands as a rare testament to Mondrian’s evolving genius and the foundational role of landscape in his oeuvre. The painting’s most recent owner is Nicholas Fox Weber, the distinguished art historian, scholar, and president of the Josef Albers Foundation. </div>

8 1/4 x 11 3/4 英寸。

布面油画，铺在木板上

内森-奥利维拉经常与加利福尼亚湾区的具象画家联系在一起，但实际上，他的作品透露出他对威廉-德库宁、阿尔贝托-贾科梅蒂和弗朗西斯-培根的兴趣。这些影响是《从地毯上走下来的裸体》的显著特点。这幅画是奥利维拉 30 岁出头时画的，正是这种画奠定了他早期的声誉，他以即兴的风格描绘了令人魂牵梦萦的孤立人物。奥利维拉晚期的作品反映了德库宁关于绘画视觉记忆的挑战和创造具有微弱存在感的人物形象的有影响力的评论，然而，强烈的地平线为这幅风景画奠定了基础，使人物形象比往常更有肉体存在感。

内森·奥利维拉

从地毯上走下的裸体

画布上的油画

FRANCIS CELENTANO - 起伏单位 - 帆布上的丙烯酸 - 36 x 90 in.

弗朗西斯·塞伦塔诺

画布上的丙烯酸

约瑟夫·斯特拉（Joseph Stella）受到他的家乡意大利和收养美国的影响，在具有惊人多样性和独创性的艺术作品中研究了各种非凡的风格和媒介。1911 年，斯特拉驾驭了野兽派、立体主义和未来主义潮流的前卫浪潮，但他是唯一一位与意大利古典大师们日常生活的美国现代主义者。“斜倚裸体”的姿势和处理方式与斯特拉在 1920 年代绘制的一系列作品有关，这些作品描绘了神话或幻想来源的诱人女性，例如“丽达和天鹅”和 Ondine，一个来自 19 世纪流行的浪漫德国童话故事的美丽水仙女。1930 年代创作的《斜倚的裸体》没有花卉或象征主义意象，而是更恰当地反映了那个发人深省的时代。

50 x 52 1/2 in.

画布上的油画

<div>Franco-Del No. 1 & No. 3, a striking 2006 acrylic on canvas triptych by Ed Moses, measures 79 1/2 x 110 1/2 inches and exemplifies the artist's innovative approach to abstraction. This expansive work is composed of three distinct yet harmoniously integrated panels, each contributing to a dynamic visual narrative. The left panel features a bold expanse of deep pine green, and the solid black of the center panel adds further depth. These two panels rhythmically set up the rightmost panel, which bursts with vigorous, sweeping strokes of gray, black, and white. The textured, almost sculptural brushwork suggests movement and depth, its gestural energy punctuated by two vertical black lines and a subtle green accent, adding structural tension further enhanced by the rust orange border. </div><br><br><div> </div><br><br><div>Moses, known for his experimental techniques, employs acrylic to achieve a rich, tactile surface that invites close inspection. The work’s large scale amplifies its emotional impact, enveloping the viewer in a meditative yet forceful dialogue between order and chaos. Created in 2006, this piece reflects Moses’ late-career mastery, blending spontaneity with deliberate composition.  </div>

Franco-Del 1 号和 3 号

79 1/2 x 110 1/2 in.

画布上的丙烯酸

阿尔弗雷德·汤普森·布里彻 - 埃索普斯溪 - 油画布面油画 - 20 x 40 英寸

阿尔弗雷德·汤普森·布里彻

埃索普斯溪

画布上的油画

塔达苏克（塔达斯基）库瓦亚马 - B-139 - 帆布上的丙烯酸 - 47 x 47 in.

塔达苏克(塔达斯基) 库瓦亚马

画布上的丙烯酸

理查德-迪本科恩曾经解释说："所有的绘画都是从一种情绪开始的，从与事物或人的关系开始的，从一个完整的视觉印象开始的。"迪本科恩因其在湾区具象艺术运动中的决定性作用而闻名，与战后主导纽约市的抽象艺术相对立，迪本科恩经常在具象和抽象之间摇摆不定。1952年，他在厄巴纳的伊利诺伊大学担任了一个学年的教职。在那里，他向建筑系的学生教授初级绘画，并将他家的一间卧室作为工作室使用。1952-53年的这段时期，即所谓的乌尔巴纳系列，是迪本科恩风格发展中的一个富有成效的关键时期。他通过抽象对具象的创新探索就是从这些关键的早年开始的，并将在他60年代末至80年代广为人知的海洋公园系列中得到充分实现。

理查德·迪本科恩

无题（厄巴纳系列）

13 7/8 x 11 in.

纸上的墨水

<div>Alson Clark’s <em>Autumn, St. Lawrence River</em> (1916) is a celebration of seasonal color and painterly assurance, created during a highly productive summer spent along the St. Lawrence River. Painted at a moment of peak confidence, the work follows closely on the artist’s major success at the Panama–Pacific International Exposition, where Clark filled an entire exhibition room with his paintings—an achievement that firmly established his reputation and momentum at this stage of his career. </div><br><br><div> </div><br><br><div>The composition unfolds across a gently rolling landscape animated by the brilliance of early autumn. Trees blaze with saturated yellows, oranges, and soft reds, their foliage rendered in broken, impressionistic strokes against a clear, luminous blue sky. Clark’s confident handling of paint allows color to carry form, creating a sense of depth through overlapping passages. Small grazing cattle dot the hillside, providing scale and a quiet note of pastoral life that anchors the composition without interrupting its chromatic rhythm. </div><br><br><div> </div><br><br><div>Clark was celebrated for his ability to fuse American landscape painting with lessons drawn from European Impressionism, and this work exemplifies that synthesis. The surface remains lively and tactile, with visible brushwork that conveys movement and atmosphere while maintaining compositional harmony. <em>Autumn, St. Lawrence River </em>reflects not only the artist’s mastery of color and light, but also the assured vision of a painter fully at ease with his subject, transforming a specific place and moment into a timeless expression of seasonal abundance. </div>

秋日，圣劳伦斯河

IRVING NORMAN - 人与时间 - 布面油画 - 58 x 30 英寸。

画布上的油画

<div><font face=Lato size=3 color=black>Painted in 1954, this "Untitled" canvas exemplifies Ray Parker’s early engagement with Abstract Expressionism, a moment when he was forging a language of bold color and gestural immediacy. Parker worked directly on unstretched canvas, building the composition through broad, saturated brushstrokes that retain a sense of spontaneity and improvisation. The edges of form remain fluid, emphasizing the immediacy of his process. </font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Although Parker would later become best known for his “Simple Paintings,” these early works are both rare and foundational, bridging the raw energy of Abstract Expressionism with the clarity of form that defined his mature style. With fewer than 310 works recorded at auction and very few from the 1950s, canvases of this scale and date seldom appear on the market. A related early abstraction, "Untitled" (1956), is in the collection of the Whitney Museum of American Art. "Untitled" (1954) represents a significant example of Parker’s innovative contribution to postwar American painting. </font></div>

52又1/4英寸 × 56英寸 × 1英寸

画布上的油画

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

画布上的油画

作为在1954年至1972年期间蓬勃发展的传奇性的古泰艺术协会的成员，本永贞正是在后原子超现实主义存在主义在日本艺术发展的最前沿出现的。然而他选择了一条不同的道路。他对战争造成的破坏置之不理，创作了新鲜、欢快、俏皮的作品。1969年的《无题》是他的经典风格，与莫里斯-路易斯所谓的 "面纱 "绘画同时发展。这幅作品出色地展示了元永对日本传统的Tarashikomi的前卫表现--这种技术包括将画布以不同的角度倾斜，使树脂和珐琅的混合物在油漆完全干燥之前就相互流动。

萨达马萨·莫托纳加

14 1/2 x 20 in.

丙烯酸在板上与棉布

纳坦奥利维拉 - 无标题 - 画布上的油画 - 84 X 63 in.

内森·奥利维拉

画布上的油画

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.<br><br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

玛丽·科罗斯

帆布上的丙烯酸和钻石粉

<div><font face=Lato size=3>"Study for Three Sisters," a 1954 mixed media drawing by Balthus, offers an intimate glimpse into the artist’s preliminary creative process. Executed in pencil with subtle blue watercolor accents, this sketch captures two figures—a reclining woman and a seated child—arranged with a spontaneous yet deliberate energy on a couch. The loose, expressive lines and minimal detailing reveal the immediacy and personality of the subjects, contrasting with the more formal and structured compositions of his final paintings. As a study for the major work "Three Sisters" within a series of significant canvases by the same name, it provides a window into Balthus’ evolution, showcasing how he refined his subjects over time and approached their portrayal with careful consideration. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>Balthus, like many avant-garde artists of the early 20th century such as Paul Gauguin, Edvard Munch, and Pablo Picasso, saw children as vessels of raw, unformed spirit, untouched by societal constraints, and viewed adolescent themes as a potent source of psychological depth and uninhibited expression. This perspective infuses the drawing with a tender yet enigmatic quality. The provenance includes Nicholas Fox Weber, the acclaimed Balthus biographer, adding historical weight to the piece. A related "sister drawing" is held in the Art Institute of Chicago’s permanent collection, further affirming its significance. This work not only highlights Balthus’ mastery of mixed media but also serves as a compelling study of youth and intimacy, inviting viewers to explore the artist’s thoughtful development of his iconic themes. </font></div>

三姐妹研究

莱昂·奥古斯丁·勒米特 - 《挤奶女工》 - 油画布面 - 28 x 33 1/4 英寸

莱昂·奥古斯丁·勒尔米特

28 x 33 1/4 英寸

画布上的油画

杰米·纳雷斯——《世事如此》的诠释——布面油画——66 x 84 x 1 1/4 英寸

杰米·纳雷斯

《世事如此》的解读

66 x 84 x 1 1/4 英寸

画布上的油画

威廉·温特 - 《追忆》 - 布面油画 - 24 x 36 英寸

画布上的油画

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.

马克斯·佩莱尼

普西赫·阿莫尔

51 1/4 x 127 in.

画布上的油画

<div>Maurice de Vlaminck’s<em> Fleurs dans un vase</em> (1910-11) is a prime-period still life that channels the artist’s Fauvist sensibilites into an image of exuberant, painterly force. A dynamic spray of blooms in vibrant reds, yellows, and whites flourishes from a dark vase, in a stark contrast of forms and color, creating an almost sculptural effect. With vigorous, directional brushstrokes, Vlaminck animates petals and foliage into a rhythmic surge, turning a traditional tabletop motif into a study of movement, texture, and intensity.</div><br><br><div> </div><br><br><div>As one of the core founders of Fauvism, Vlaminck was celebrated for his radical, non-naturalistic use of color, and this work retains that avant-garde approach. Cool blues and greys against saturated oranges, and the faceted planes of the backgroud heighten contrast and create a dynamic composition.  The paint surface remains boldly worked, emphasizing the physicality of oil on canvas and the immediacy of the artist’s hand.</div><br><br><div> </div><br><br><div>The painting is accompanied by a certificate of authenticity by the Wildenstein Institute for the catalogue of Maurice de Vlaminck’s works. Renewed international attention to Vlaminck’s achievements, including a recent retrospective at Museum Barberini in Potsdam - the first in nearly a century -has reaffirmed his vital role in the development of modern painting.<em> Fleurs dans un vase </em>captures that legacy: unapologetically modern and powered by color as expression. </div>

MAURICE DE VLAMINCK

花瓶里的花

21又1/4英寸×15英寸

画布上的油画

M. 伊芙琳·麦考密克 - 华盛顿酒店 - 油画布面 - 30 x 40 英寸

M·伊芙琳·麦考密克

华盛顿酒店

画布上的油画

<div><font face=Lato size=3 color="#191919"><em>Figures Along a Venetian Canal, Summer </em>is a vibrant and characteristically bold example of Jane Peterson’s Venetian canal scenes, a subject that represents one of the most collected and widely recognized motifs within her body of work and is one she returned to repeatedly during her European travels. Peterson is known for combining academic draftsmanship with bold color and loose, expressive brushwork. Her work reflects the visual influence of Impressionism, Fauvism, and Art Nouveau. Previously held in the collection of the artist and her estate, this painting is a beautiful example of these influences and of her signature style.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">The medium and smaller format of this canvas was chosen for portability during Peterson’s travels and captures a serene moment with figures moving along the canals, approaching a bridge. Peterson uses saturated colors and broad, lively brushstrokes to animate the scene, as well as use of light to bring the scene to life and create a distinct mood. The painting relates closely to other Venetian scenes in major museum collections, including <em>St. Mark's in Venice</em>, circa 1920 in the permanent collection of The Norton Museum of Art.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">Peterson was known for choosing subjects beyond the conventional expectations for women artists of her time, favoring street scenes, travel, public life, and even wartime experience. <em>Figures Along a Venetian Canal, Summer </em>embodies this outward looking spirit, revealing her ability to transform everyday scenes into moments of vivid immediacy and enduring charm.</font></div>

威尼斯运河畔的剪影，夏日

25 1/2 x 18 1/8 英寸

纸本油画（画布上）

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

画布上的丙烯酸

辽朝，又称契丹帝国，是中国北方的一个帝国，统治着满洲、蒙古和中国北方部分地区。它是由契丹人耶律氏在唐朝末年建立的，尽管其第一任统治者耶律阿保机直到 916 年才宣布其国号。1125 年，辽帝国被金朝女真人所灭。然而，由耶律大石领导的残余势力于 1125-1220 年建立了西（西）辽王朝，又称喀喇汗国。

辽代，公元 907-1125 年

22 1/2 x 10 x 8 1/4 英寸

Op Art evolved as an alternative trend in painting to the abstract expressionist movement of the 1950s. The genesis of the movement was in the 1960s, when artists such as Victor Vasarely, Bridget Riley, and Richard Anuszkiewicz embraced a more structured and geometric approach to their painting, often using visual tricks to create a sense of movement. While the artistic and spiritual predecessors to OP Art, such as Josef Albers (!888-1976), utilized a softer and more subdued approach, the Op Artists were using bold, large-scale works with variable dimensions to create their visual statement. <br><br>A student of Albers, Richard Anuszkiewicz, used enamel and acrylic paint on wood in such a way to create his uncompromising and exact compositions. A great sense of action can be felt in the present work, "Translumina". The sister piece to "Translumina," "Translumina II" (1986), is in the permanent collection of the Albright-Knox Art Gallery, Buffalo.

里查德·阿努斯齐维奇

特兰卢米纳

木材上的丙烯酸

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

<div>John Marin’s "Sea Movement, Maine" (1937) exemplifies his dynamic approach to watercolor, a medium he transformed into one of the most expressive vehicles of early American modernism. Painted during his mature period, the work captures the restless energy of the Maine coast—a subject Marin returned to repeatedly as a source of inspiration. Quick, gestural strokes convey the surging sea and jagged rocks, while washes of deep blue, gray, and black evoke both immediacy and atmosphere. Marin’s hallmark ability to fuse abstraction with observation is evident here: the composition is at once faithful to the rhythms of the natural world and liberated in its expressive freedom. </div><br><br><div> </div><br><br><div>The significance of this work is underscored by its inclusion in Sheldon Reich’s 1970 catalogue raisonné (no. 37.19) and its exhibition history in two museum shows, affirming its place within Marin’s celebrated body of Maine seascapes. "Sea Movement, Maine" stands as a vivid testament to the artist’s lifelong pursuit of translating nature’s vitality into painterly form. </div>

海之动，缅因州

15.5 x 20.5 英寸

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

<div><font face=Lato size=3>Andy Warhol’s <em>Campbell’s Soup I: Vegetable Soup</em> (1968) is part of his first screenprint portfolio dedicated to the iconic soup cans, produced in an edition of 250 with additional artist’s proofs. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3>The speed with which the art world embraced Warhol was remarkable: in July 1962, his thirty-two <em>Campbell’s Soup Cans</em> paintings debuted at the Ferus Gallery in Los Angeles, quickly cementing his reputation. Those early canvases, among his last hand-painted works, appeared almost mechanically produced, but Warhol soon abandoned the brush in favor of silkscreen, a commercial process that allowed for both endless repetition and striking variations of his chosen subjects. </font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3><em>Vegetable Soup</em> was one of the original thirty-two varieties and remains a pop culture phenomenon, continually reappearing on everything from plates and mugs to t-shirts, neckties, and even surfboards. Warhol’s transformation of an everyday supermarket staple into an enduring icon underscores his genius for elevating the ordinary into the realm of high art. With its crisp outlines and industrial precision, <em>Vegetable Soup</em> embodies the artist’s most radical contribution: the merging of consumer culture with fine art. </font></div>

安迪·沃霍尔

牛肉汤蔬菜

<div>Andy Warhol’s <em>Mao</em> (1972) is one of the artist’s most iconic and provocative screenprints, reflecting his fascination with the intersection of political power and celebrity culture. This impression, numbered 244/250, comes from the regular edition of 250, in addition to 50 artist’s proofs. Warhol based the image on the widely circulated official portrait of Chairman Mao Zedong, a figure whose likeness was omnipresent in China during the Cultural Revolution. By reimagining the image through his vivid Pop palette, Warhol transformed a symbol of political authority into a mass-produced cultural icon. </div><br><br><div> </div><br><br><div>In this version, Mao’s face is rendered in a striking deep blue, offset by a green shirt and set against a turquoise background. The bold chromatic choices infuse the portrait with both drama and irony, destabilizing the original propagandistic authority of the image. Warhol further heightens this tension by juxtaposing flat, mechanical silkscreen layers with painterly flourishes, blurring the line between mass production and individual expression. </div><br><br><div> </div><br><br><div>The <em>Mao </em>series marked a new chapter in Warhol’s career in the 1970s, shifting from Hollywood stars to figures of global influence. Today, these works are regarded as essential statements on the nature of power, fame, and the pervasive reach of the image in contemporary culture. </div>

安迪·沃霍尔

彩色丝网印刷

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

新合成》第 15 期

画布上的丙烯酸

卡尔·安德烈是一位美国艺术家，曾帮助先锋极简主义雕塑，是著名艺术家安娜·门迪埃塔的丈夫。这是20世纪60年代早期的经典文本，是典型的他的诗歌，通过从源文本中选择单个单词，然后根据简单和不言自明的标准在页面上排序，在这种情况下，这是按字母顺序排列的。清单。飞行员查尔斯·林德伯格深深迷住了卡尔·安德烈，他回到他的诗歌来源。这部作品的结构化重复，如他著名的雕塑，反映了在20世纪60年代和70年代出现的极简主义和后极简主义，包括同为混凝土诗人克里斯托弗·诺尔斯。

卡尔·安德烈

查尔斯·林德伯格的五百项条款

纸上的墨水

ARNE HIERSOUX - Mem Sahib - 丙烯酸和画布上的纸张 - 70 1/2 x 120 1/2 in.

ARNE 希尔苏克斯

梅姆·萨希卜

70 1/2 x 120 1/2 in.

画布上的丙烯酸和纸张

SETH KAUFMAN - Lignum Spire - 青铜，带绿色铜锈 - 103 1/2 x 22 x 17 英寸。

塞特·考夫曼

103 1/2 x 22 x 17 英寸。

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.

列昂尼德 LAMM - 国家电源 - 画布上的油画 - 68 3/8 x 66 x 1 in.

列昂尼德·拉姆

68 3/8 x 66 x 1 in.

画布上的油画

<div>Untitled, a large-scale diptych by Ed Moses, created with acrylic on canvas, showcases his experimental flair and abstract mastery. Measuring 84 x 126 inches, the work comprises two panels that together form a vibrant, chaotic composition. Both panels feature deep green backgrounds adorned with dynamic swirls, circular motifs, and jagged patches of mottled white and black, creating a textured, almost graffiti-like effect. The interplay of overlapping shapes and spontaneous brushwork invites viewers into a layered visual journey. </div><br><br><div> </div><br><br><div>Moses, a pioneering artist among the first generation showcased at L.A.’s legendary Ferus Gallery in 1957, brings a rich legacy to this early 2000s piece. His innovative use of acrylic allows for a tactile surface that blends controlled chaos with expressive freedom, and the large scale of the diptych envelops the viewer with this carefully-balanced visual energy. This work exemplifies his boundary-pushing aesthetic, and stands as a powerful testament to Moses’ contribution to contemporary art. </div>

南博小组一、二

画布上的丙烯酸

查克-克洛斯（Chuck Close）的四件玻璃全息图套装是他对自画像的持久探索和对创新艺术媒介的兴趣的迷人交集。自画像一直是克洛斯作品的基石，使他能够深入探讨人类身份的复杂性和艺术创作的过程。全息图随着观众的位置而变化，创造出一种动态体验，与克洛斯的像素化作品遥相呼应，但又增加了实体存在感。全息图》展示了艺术家不断发展其艺术语言的决心，巧妙地将传统肖像画与现代技术进步相结合，不断挑战和重新定义视觉表现的界限。

14 x 11 in. ea.

一套4个玻璃全息图

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

HERB ALPERT - 海啸 - 帆布上的丙烯酸 - 72 x 120 in.

画布上的丙烯酸

KHMER - 男性躯干 - 砂岩 - 24 x 9 x 5 英寸。

24 x 9 x 5 英寸

中国--道教木雕人物--涂漆木雕--47 x 20 x 19 英寸。

道教木雕像

47 x 20 x 19 英寸。

漆面和涂漆的木材

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

<div>Jules Chéret’s <em>Portrait</em> is a lively pastel chalk on canvas that reveals the painterly sensibility behind the artist best known as the master of Belle Époque poster art. In this composition, two female figures emerge from a whirlwind of color and light, their forms dissolving into strokes of turquoise, rose, and gold. The surface vibrates with movement, recalling the theatrical energy and fleeting glamour that defined fin-de-siècle Paris. Softly modeled yet animated by sweeping gestures, the figures seem caught mid-performance—at once intimate and exuberant. </div><br><br><div> </div><br><br><div>Though widely celebrated for his advertising posters, Chéret was deeply influenced by the Rococo masters, particularly Jean-Honoré Fragonard and Antoine Watteau. Their spirit of elegance, sensuality, and decorative flourish permeates this work, where lightness of touch and chromatic brilliance take precedence over strict realism. These same qualities made his vivid lithographic posters for the Eldorado, the Olympia, the Folies Bergère, the Théâtre de l’Opéra, the Alcazar d’Été, and the Moulin Rouge iconic emblems of Parisian modern life. </div><br><br><div> </div><br><br><div>Chéret’s success in poster design helped launch a new generation of artists, including Charles Gesmar and Henri de Toulouse-Lautrec, solidifying the poster as a legitimate artistic medium. While he achieved recognition as a painter, it was his advertising imagery—initially undertaken to earn a living but later pursued with conviction—that secured his legacy. Honored with a posthumous exhibition at the Salon d’Automne in 1933, Chéret’s works are now held in major institutions including The Museum of Modern Art, the Musée d’Orsay, the Hermitage Museum, and the Art Institute of Chicago, affirming his enduring place in the history of modern art. </div>

30.5 x 18.5 英寸

N.C. 韦斯——《木匠们正在修缮哈伯德桥》——石墨、木炭和水彩——27 1/2 x 20 1/8 英寸

北卡罗来纳州

木匠们正在修缮哈伯德桥

27 1/2 x 20 1/8 英寸

石墨、炭笔和水彩

EDGAR ALWIN PAYNE - Sotto Marino 的威尼斯船 - 布面油画 - 23 3/8 x 26 1/4 英寸。

埃德加·阿尔温·佩恩

索托马利诺的威尼斯游船

23 3/8 x 26 1/4 英寸

画布上的油画

卡尔-本杰明（Karl Benjamin）和他的同行洛瑟-费特森（Lorser Feitelson）、弗雷德里克-哈默斯利（Frederick Hammersley）以及约翰-麦克劳克林（John McLaughlin）在美国抽象艺术史上占有独特的地位。他们以精确的几何形式和强调平面感的简洁边缘著称，是 20 世纪 50 年代末崛起的加州硬边画家。与埃尔斯沃思-凯利（Ellsworth Kelly）等人不同的是，他们的作品反映出一种明亮、清晰的色调，暗示着加利福尼亚的自然和建筑环境，而不是东海岸更多的城市和工业影响。此外，与东海岸竞争激烈的艺术界相比，加利福尼亚的艺术家群体相对较小且关系密切，他们具有合作和共同探索的意识，从而促成了一场具有鲜明个性的凝聚运动。

卡尔·本杰明

画布上的油画

FIONA RAE - 无题（黄、红+棕） - 布面油画 - 72 x 78 英寸。

无题(黄、红+棕)

画布上的油画

ARNE HIERSOUX - 无标题 - 丙烯酸和画布上的纸张 - 71 x 94 in.

ARNE 希尔苏克斯

画布上的丙烯酸和纸张

JAE KON PARK - 无标题 - 画布上的油画 - 51 1/4 x 64 in.

51 1/4 x 64 in.

画布上的油画

罗伯特·纳特金 - 阿波罗 XL - 帆布上的丙烯酸 - 88 x 116 1/4 in.

罗伯特·纳特金

88 x 116 1/4 in.

画布上的丙烯酸

TIM HAWKINSON - Tusk - 铁板上的132个果冻模具 - 16 x 14 1/2 x 8 in.

蒂姆·霍金森

16 x 14 1/2 x 8 in.

132铁板上的果冻模具

ARNE HIERSOUX - Yonder 思科 - 丙烯酸和画布上的纸张 - 59 x 93 3/4 in.

ARNE 希尔苏克斯

59 x 93 3/4 in.

画布上的丙烯酸和纸张

保罗·詹金斯 - 《黑安纳德姆现象》 - 丙烯与油画颜料布面 - 51 x 51 英寸

保罗·詹金斯

与黑色Anadem的现象

帆布上的丙烯酸和油

JAE KON PARK - 无标题 - 画布上的油画 - 44 1/4 x 57 3/8 in.

44 1/4 x 57 3/8 in.

画布上的油画

LÉON AUGUSTIN LHERMITTE - Laveuses, le soir - 纸上粉彩，铺在画布上 - 17 1/2 x 13 3/4 英寸。

莱昂-奥古斯丁-埃尔米特

Laveuses, le soir

17 1/2 x 13 3/4 英寸

纸上粉彩，铺在画布上

<div><font face="Times New Roman" size=3 color="#0E101A">Frank Tenney Johnson began his career as an illustrator for <em>Field and Stream</em> Magazine in 1904. Johnson lived in New York City from 1904 until 1920; however, he traveled to the great American West to gather source material for his studio work. </font></div><br><br><div> </div><br><br><div><font face="Times New Roman" size=3 color="#0E101A">Johnson's 1912 trip to the Montana Blackfoot Reservation with Charles Russell was a pivotal moment for the artist; after this trip, he settled in Colorado for many years. After a brief return to California, the artist spent many years in his new studio in Cody, Wyoming.  </font></div><br><br><div> </div><br><br><div><font face="Times New Roman" size=3 color="#0E101A">Works from this period gained Johnson the titles the "Master of American Moonlight Painting" and "Master Painter of the Old West." The painting "Scouting" shows an idyllic native scene; Johnson's firsthand studies and experiences with Native people were a recurrent theme in his work.  </font></div>

弗兰克-滕尼-约翰逊

13 1/2 x 17 英寸

画布上的油画

弗兰克·斯特拉（《之后》） - 大都会艺术博物馆藏 - 油画，造型画板 - 82 x 82 x 3 3/4 英寸

弗兰克·斯特拉（续篇）

大都会艺术博物馆

82 x 82 x 3又3/4英寸

油画，木板

马克西米利安·吕斯 - 《花园中的时装秀》，吉索尔，1897年 - 油画板 - 12又3/4 x 16又1/4英寸

马克米利安·卢斯

花园中的时装，吉索尔，1897年

12又3/4英寸×16又1/4英寸

面板上的油

The Arts and Crafts Movement in Great Britain and the corresponding ripples that made their way across the Atlantic Ocean were felt in the work of Jesse Arms Botke (1883-1971). Botke was born in Chicago, Illinois but found her home in California, where she had a successful career working first in Carmel and later in Southern California. <br><br>Rich textures, extensive use of gold leaf, and highly stylized birds would become synonymous with Botke's mature work as she established herself as one of the West Coast’s leading decorative mural painters of the 20th century.<br><br>"The White Peacock" (1922) shows an idyllic landscape with Botke's signature bird subject matter; the white peacock and cockatoos were among her favorite aviary subjects. Her work today can be found in countless museum collections, including the Art Institute, Chicago.

杰西·阿姆斯·博特克

白孔雀》（The White Peacock

画布上的油画

HASSEL SMITH - 眼球到眼球 - 画布上的油画 - 46 x 46 in.

哈塞尔·史密斯

眼球到眼球

画布上的油画

HASSEL SMITH - 9000 和 9 夜 - 画布上的丙烯酸和石墨 - 68 x 68 1/8 in.

哈塞尔·史密斯

68 x 68 1/8 in.

画布上的丙烯酸和石墨

威廉·特洛菲鲁斯·布朗 - 马与游泳者在沙滩上 - 帆布上的丙烯酸 - 36 x 48 in。

威廉·德菲鲁斯·布朗

马与游泳者在海滩

画布上的丙烯酸

从 20 世纪 50 年代末到 60 年代中期，雷-帕克早期对色域绘画的贡献以其鲜活、清新的特质脱颖而出。帕克在用石膏粉预处理过的大画布上，用生猛的笔触排列出两个或更多粗犷的色块。这些色块的色彩饱和而微妙，展现出一种独特的活力。虽然帕克的构图可能会让人联想到罗斯科的作品，但坚实有力的色彩表现方式却使其与众不同。帕克的作品保持了纽约画派的宏大规模和活力，但又与抽象表现主义不同，他摒弃了抽象表现主义常有的强烈情感，接受了抽象表现主义运动的愿景，没有典型的悲怆。

30 1/8 x 23 1/4 英寸

画布上的油画

OLAF WIEGHORST - 阿帕奇 - 布面油画 - 20 x 24 in.

画布上的油画

JAE KON PARK - 无标题 - 画布上的油画 - 45 3/4 x 35 1/2 in.

45 3/4 x 35 1/2 in.

画布上的油画

NATHAN OLIVEIRA - 第5号石碑 - 布面油画 - 66 x 54 1/8 英寸。

内森·奥利维拉

66 x 54 1/8 英寸。

画布上的油画

JAE KON PARK - 无标题 - 画布上的油画 - 34 x 43 1/4 in..

34 x 43 1/4 in.

画布上的油画

JAE KON PARK - 无标题 - 画布上的油画 - 36 x 45 1/2 in.

36 x 45 1/2 in.

画布上的油画

托马斯-诺兹科夫斯基出生于1944年，他创作了一些小幅的、色调丰富的画作，反映了抽象表现主义者和包豪斯难民的二元影响，他曾在库珀联盟学习。他使用小画笔，他的处理方式包括刮擦和擦掉颜料，这些都会在作品中得到体现。他开发了一个独特的，广泛的词汇，在不同的配色方案和广泛的联想中部署生物形态般的几何形式：瓷砖地板，细胞群，建筑和外太空。这些作品往往是从他自己的记忆和经验中提炼出来的。诺兹科夫斯基评论这幅具体的画作（《无题》，1994年）时说，这幅画反映了他对文艺复兴时期卡松多雷胸板上所画的神话场景的迷恋。他说这是这个系列三四幅15"x30"的画中最好的一幅。诺兹科夫斯基多年来一直由佩斯画廊处理。他于2019年去世。

THOMAS NOZKOWSKI

油彩、麻布、板面

汤姆·韦塞尔曼 - 金发薇薇安 - 手工纸上Mixografia®印刷 - 40 1/2 x 40 1/2 英寸

托姆·韦塞尔曼

金发碧眼的薇薇安

40 1/2 x 40 1/2 英寸

Mixografia®手工纸印刷品

猫王心碎旅馆

亚克力、油性墨水与钻石粉丝网印刷于亚麻布

弗朗西斯科·托利多 - 无标题 - 纸上混合介质 - 8 x 10 1/4 in.

弗朗西斯科·托莱多

纸上混合介质

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.

利诺·塔利亚皮特拉

13 x 11 x 3 in.

亨利-莫尔--皇帝的头像--青铜，带棕色铜锈--6 3/4 x 8 1/4 x 4 1/2 英寸。

皇帝的头颅

6 3/4 x 8 1/4 x 4 1/2 in.

青铜与棕色帕蒂娜

Cylindrical offering posts, ai tos, are erected as offerings to distant ancestors. This post has two faces and represents the first ancestral pair. The people of Belu, also called Tetum, recognize three types of offering pole; ai tos, for distant progenitors, sometimes described as gods; foho, for intermediary beings; and lor, for the recently deported.<br><br>Many offerings are brought to the ai tos. When a carving is first finished, rice and a pig are sacrificed. Later, to inaugurate the post there are massive offerings from the village. At regular intervals the post is dressed in fine clothing, even an artificial beard, and food is brought to the ancestor, bei.

提供职位 - Aitos

43 1/2 x 11 x 12 英寸

This well preserved bell is one of the largest known bronzes from the Southeast Asian Bronze Age, generally named after the Dongson site in North Vietnam. The swirling band design is finely and crisply cast. Dongson bronze drums were also reported in South China, Thailand, Laos, West Malaysia, and Indonesia and as Far East as Western Iranian Java. <br><br>The Dong Son culture is a Bronze age culture including all of southeast Asia and into the Indo-Malaya Archipelago from about 1000 to 1 BC. Centered on the Red River Valley of Vietnam, the Dong Son were sophisticated agriculturalists, raising rice and buffalo. Dong Son probably arose from local Neolithic cultures, such as Phung Nguyen and Dong Dau phases. Dong Son is identified with the Van Lang ruling dynasty, the first ruling dynasty of Vietnam. By the second century BC, impacts from the Han Dynasty in China were being felt and according to historic records, the Dong Son were absorbed into the Han Dynasty territory.

东森文化（公元前 1000 年-公元 200 年）

22 1/2 x 12 x 10 英寸

玛丽莲-明特 - 《下班后》 - 色素印刷品 - 85 1/2 x 55 3/4 英寸。

玛丽莲-明特

85 1/2 x 55 3/4 英寸。

CHUCK CLOSE - Kate - 存档颜料打印 - 32 x 24 英寸。

档案颜料印刷

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

安迪-沃霍尔--《影子》（选自《神话》）--纸上印有钻石粉的彩色丝网版画--37 1/2 x 37 1/2英寸。

安迪·沃霍尔

37 1/2 x 37 1/2 in.

丽莎·尤斯卡维奇——《黑兔系列》：乳爱、臀爱、口交之爱——纸本炭笔画，共3幅——每幅24.5 x 19.5英寸

丽莎·尤斯卡维奇

《黑兔系列》：乳爱、臀爱、口交爱

每幅 24 1/2 x 19 1/2 英寸

纸本炭笔画，共3幅

肯尼思·诺兰 - 风82-23 - 手工纸上涂漆的单型 - 86 1/2 x 31 3/8 in.

肯尼思·诺兰

86 1/2 x 31 3/8 in.

手工纸上涂漆的单型

让-弗朗索瓦·拉斐利 - 风景 - 粉彩画于纸板 - 17又5/8 x 23又1/2 英寸

让-弗朗索瓦·拉斐利

17又5/8英寸×23又1/2英寸

粉彩画于纸板上

汤姆·韦塞尔曼 - 《金发女郎与金鱼静物》 - 手工纸上Mixografia®印刷 - 33 1/4 x 38 3/4 英寸

托姆·韦塞尔曼

静物画：金发女郎与金鱼

33又1/4英寸×38又3/4英寸

Mixografia®手工纸印刷品

安迪·沃霍尔——《电椅》——彩色丝网印刷于编织纸上——35 1/4 x 47 3/4 英寸

安迪·沃霍尔

35 1/4 x 47 3/4 英寸

编织纸上的彩色丝网印刷

<div><font face=Lato size=3 color="#191919">Robert Indiana’s <em>Heliotherapy</em> reimagines his iconic <em>LOVE</em> motif through a vision of renewal and optimism. Created in 1995, the title refers to sunlight as a source of healing, reflecting Indiana’s desire late in life to revisit his 1960s antiwar symbol with a message of hope and compassion. He enriched the original reds, greens, and blues with radiant bands of yellow, transforming his emblem of love into one of light, warmth, and restoration.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color="#191919">The composition echoes Indiana’s celebrated 1965 <em>LOVE</em> Christmas card for the Museum of Modern Art, the image that made him a household name. With its vivid palette and spiritual depth, <em>Heliotherapy</em> stands as a late reflection on love as both universal and curative. Comparable works are held in the collections of the Museum of Modern Art and the Smithsonian American Art Museum, underscoring the enduring legacy of Indiana’s most iconic image.</font></div>

罗伯特·印第安纳

日光疗法之爱

37 x 37 1/2 英寸

彩色丝网印刷

RUEHL FREDERICK HECKMAN - Santa Barbara Mission - 布面油画 - 36 x 30 in.

鲁尔-弗雷德里克-赫克曼

圣巴巴拉教堂

画布上的油画

让·贝罗 - 《巴黎女郎》 - 油画布面 - 13 3/4 x 9 5/8 英寸

13又3/4英寸×9又5/8英寸

画布上的油画

阿尔弗雷德·史蒂文斯 - 《鉴赏家》 - 油画板 - 8又7/8 x 6又7/8 英寸

阿尔弗雷德·史蒂文斯

8又7/8英寸×6又7/8英寸

面板上的油

乔治·勒芒 - 《勒芒夫人与孩子们在花园里》，1900年 - 油画纸与粉彩画，粘贴于画板上 - 9 x 12 英寸

勒芒夫人与孩子们在花园里，1900年

纸上油画与粉彩，粘贴于画板上

埃德加·阿尔温·佩恩 - 内华达山脉 - 油画布 - 9又3/4 x 13又1/2英寸

埃德加·阿尔温·佩恩

内华达山脉

9又3/4英寸×13又1/2英寸

画布上的油画

汤姆·韦塞尔曼 - 黄色郁金香下的日落裸体 - 手工纸上的Mixografia®印刷品 - 37 3/4 x 41 3/4 英寸

托姆·韦塞尔曼

黄郁金香下的落日裸体

37又3/4英寸 × 41又3/4英寸

Mixografia®手工纸印刷品

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.

IRVING NORMAN - 条纹 - 铅笔和彩色铅笔在纸上 - 30 x 20 in.

纸上的铅笔和彩色铅笔

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。

罗素·杨 - 《玛丽莲巨星》 - 丙烯、珐琅、丝网印刷及钻石粉于亚麻布上 - 70 x 54.5 英寸

玛丽莲·超级巨星

70 x 54 1/2 英寸

丙烯、珐琅、丝网印刷与钻石粉于帆布上粉尘于亚麻布上

<div><font face=Lato size=3 color=black>Wayne Thiebaud’s <em>Breakfast</em>, from an edition of 50, demonstrates the artist’s signature blend of Pop-inflected realism and painterly intimacy. Executed in colored drypoint, the work captures the simple subject of a morning meal with a remarkable freshness: hatching lines soften and blur the composition, creating a pastel-like effect that distinguishes it from the crispness of commercial print design. Though slightly faded, the impression retains the playful chromatic sensibility and softly modeled shadowing that became hallmarks of Thiebaud’s style.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Since the early 1960s, Thiebaud has been celebrated for his depictions of food—cakes, pies, gumball machines, and diner counters—rendered not as literal meals but as cultural icons, at once nostalgic and idealized. In <em>Breakfast</em>, the modest meal is transformed into a subject of contemplation and delight, celebrating the pleasures of everyday American life while evoking memory and desire. The combination of precision and informality speaks to Thiebaud’s ability to merge the immediacy of drawing with the enduring resonance of painting.</font></div><br><br><div><font face=Lato size=3> </font></div><br><br><div><font face=Lato size=3 color=black>Institutional recognition of the work’s importance is reflected in its inclusion within the National Gallery of Art, Washington, affirming its role within Thiebaud’s larger project of elevating common objects into images of enduring cultural significance.</font></div>

18 x 23 5/8 英寸

彩色蚀刻和干点

萨姆-弗朗西斯 - 无题（黑白构图） - 纸上丙烯 - 23 3/4 x 17 3/4 英寸。

萨姆·弗朗西斯

无题（黑白构图

23 3/4 x 17 3/4 in.

纸上丙烯酸

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

费尔南多·坎诺瓦斯 - 索多姆 • 戈莫拉 - 帆布上的丙烯酸 - 63 5/8 x 51 1/4 in.

费尔南多·坎诺瓦斯

索多姆 → 戈莫拉

63 5/8 x 51 1/4 in.

画布上的丙烯酸

JEAN MANNHEIM - Turquoise Creek - 板上油画 - 20 x 24 英寸。

琼-曼海姆(JEAN MANNHEIM)

卡米耶·毕沙罗 - 劳作田间的两位工人 - 纸上铅笔画 - 6 1/4 x 11 1/4 英寸

卡米尔·皮萨罗

工场里的两个工人

6又1/4英寸×11又1/4英寸

纸上的铅笔

汉娜·威尔克 - 佛蒙特州 - 橡皮泥橡皮和明信片，装裱于彩绘面板上，置于有机玻璃盒中 - 15 1/2 x 17 1/2 英寸

汉娜·威尔克

15.5 x 17.5 英寸

揉捏橡皮和明信片，装裱于彩绘面板上，置于有机玻璃盒中

罗素·杨 - 《叩响天堂之门》 - 丙烯颜料、油性颜料、珐琅手绘丝网印刷于亚麻布 - 74 x 55 英寸

叩响天堂之门

丙烯颜料、油性颜料、珐琅手曳丝网印刷于亚麻布

罗素·杨 - 米克·贾格尔（《同情魔鬼》） - 丙烯、油性墨水、丝网印刷，亚麻布上镶嵌钻石粉 - 62 x 48 英寸

米克·贾格尔（《同情恶魔》）

丙烯、油性墨水、丝网印刷，配钻石粉，亚麻布

SAUL KAMINER - La Peluquera - 油画 - 63 1/4 x 51 1/4 in.

63 1/4 x 51 1/4 in.

画布上的油画

PAUL GRIMM - 根深蒂固的沉默 - 板上油画 - 20 x 24 in.

根深蒂固的沉默

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.

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

费利佩·卡斯塔纳达

穆耶尔·佩南多斯

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

FELIPE CASTANEDA - Mujer Hincada - 黑玛瑙 - 15 3/4 x 8 1/2 x 9 in

费利佩·卡斯塔纳达

穆耶尔·欣卡达

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

JACK ROTH - Untitled - acrylic on canvas - 18 x 30 1/8 in.

18 x 30 1/8 英寸

画布上的丙烯酸

ELLSWORTH KELLY - 《无题》（选自 "8 by Eight "作品集，以庆祝 "临时当代"） - 拱形纸石版画 - 28 3/4 x 40 3/4 英寸。

埃尔斯沃思·凯利

无题》，（选自 "八人八面 "作品集，以庆祝 "临时当代 "的诞生）

28 3/4 x 40 3/4 英寸

拱形纸石版画

ALEX KATZ - Vivien - 博物馆木板上的丝网印刷 - 39 x 41 英寸。

亚历克斯·卡茨

馆板丝网印刷

罗素·杨 - 披头士狂热 - 亚克力、油性墨水与钻石粉丝网印刷于亚麻布 - 36 x 60 英寸

亚克力、油性墨水与钻石粉丝网印刷于亚麻布

豪尔赫·帕尔多 - 无题 - 手工纸上混合版画®双联画，22K金 - 51 1/4 x 55 3/4 x 4 1/2 英寸

豪尔赫·帕尔多

51又1/4英寸 × 55又3/4英寸 × 4又1/2英寸

Mixografía®双联画作，手工纸印制，22K金饰

肯尼斯诺兰 - 对角条纹 VI-21 - 手工纸 - 48 x 33 1/2 in.

肯尼思·诺兰

对角条纹 VI-21

48 x 33 1/2 in.

罗素·杨 - 《玛丽莲·欲望现场》 - 丙烯颜料、珐琅漆与钻石粉丝网印刷于亚麻布 - 62 x 48 英寸

玛丽莲·欲望现场

丙烯颜料、珐琅漆与钻石粉丝网印刷亚麻布

路易·瓦尔塔 - 树荫小径 - 油画布面 - 7又5/8 x 9又1/2英寸

7又5/8英寸×9又1/2英寸

画布上的油画

让·贝罗 - 圣菲利普-杜鲁尔附近的星期天 - 纸本墨笔 - 10 3/4 x 15 5/8 英寸

圣菲利普杜鲁尔附近的星期天圣菲利普杜鲁尔附近圣菲利普杜鲁尔附近

10又3/4英寸×15又5/8英寸

纸上的墨水

ERIC JON HOLSWADE - 白色花 - 闪光上的油 - 60 x 55 in.

埃里克·琼·霍尔斯瓦德

闪光上的油

詹姆斯·麦克杜格尔·哈特 - 《风景》1884年 - 油画布面 - 17 x 24 1/8 英寸

詹姆斯·麦克杜格尔·哈特

17 x 24 1/8 英寸

画布上的油画

罗素·杨 - 伊丽莎白·泰勒肖像 - 亚麻布丝网印刷 - 62 x 48 英寸

伊丽莎白·泰勒肖像

亚麻布丝网印刷

罗素·杨 - 科特·柯本 - 亚克力颜料、珐琅与钻石粉丝网印刷于亚麻布 - 62 x 48 英寸

库尔特·柯本

丙烯颜料、珐琅与钻石粉丝网印刷于亚麻布

罗素·杨 - 布兰多自行车 - 亚麻布丝网印刷 - 62 x 48 英寸

布兰多自行车

亚麻布丝网印刷

这里展示的字是长寿字，中文读 "寿"，日文读 "幸"。寿字的优雅，尤其是以草书形式描绘时，使其成为纺织品、陶瓷、漆器和许多其他媒介上的流行装饰图案。这里的文字是用金线编织而成的，周围环绕着菊花，菊花具有保健作用，因此也是长寿的象征。这样的福草很可能是作为生日礼物的封面而制作的。

明治时期（1868-1912）

Here, a Noh actor in full costume and mask is crossing the wing of a Noh stage. The stage is flanked by pine trees, and pines are also a motif on his kimono. Typically a pine tree is painted on the back wall of Noh stages to represent the tree through which this theatrical form was, by legend, passed down from heaven to mankind. In Japanese culture, the evergreen pine has come to be an important symbol of longevity and steadfastness.<br><br>The practice of laying fukusa over presents placed on wooden or lacquer trays became wide spread during the Edo period, (17th to 19th century). What begun as a functional practice to protect gifts from the elements, took on a decorative life of its own. Well-to-do families owned large numbers of fukusa and often commissioned famous artists of the<br>time to design exclusively for them. The drawings were then created by such techniques as tie-dying, stenciling, slit embroidery, tapestry, painting with embroidery and combinations of all methods. Each time a fukusa was required, it was chosen not only for the occasion but also for the season, the gift itself, and the status of the donor and the recipient. Fukusa were also part of the brides’ trousseau and could be given on the occasion of a wedding. Fukusa were made of square or oblong pieces of silk, lined and often embellished with tassels, and sometimes bearing the monogram or family crest on the reverse. Etiquette decreed that the fukusa were not usually to be considered part of the gift itself and were to be returned covering a token gift or an acknowledgement of the gift. However, some recipients such as bureaucrats, who accepted gifts from people currying favors, elected to keep the fukusa along with the gifts they covered, thus adding to their own store of gift covers.

明治时期（1868-1912）

27.5 x 25 英寸

金线绣与丝线绣

ANDRE KERTESZ - 讽刺性的舞者 - 明胶银印刷品 - 9 1/2 x 7 5/8英寸

讽刺性的舞者

1926年，约1979年印刷

9 1/2 x 7 5/8英寸

这款覆袈裟用于盛放名为"贝桶"的八角容器，内置传统贝壳游戏"贝合"所需的配对贝壳。该游戏始于12世纪左右，最初由宫廷女性玩耍，她们竞相配对180对贝壳——这些贝壳内侧绘有文学或诗歌主题图案。至江户时代，此游戏与婚礼产生关联，其图案本身亦象征着婚姻美满。此幅覆袱布很可能曾用于包裹婚礼赠礼。

盒子与猜猜看游戏

明治时期（1868-1912）

26.5 x 25.5 英寸

RAY PARKER - Untitled - watercolor - 18 7/8 x 29 7/8 英寸。

18 7/8 x 29 7/8 英寸

ELLSWORTH KELLY - Red Curve (Black State) - 彩色石版画 - 10 x 7 1/2 英寸。

埃尔斯沃思·凯利

红色曲线（黑州）

10 x 7 1/2 英寸

彩色石版图

诺曼·罗克韦尔 - 艺术评论家 - 纸上的拼文 - 30 1/2 x 27 1/2

诺曼·罗克韦尔

艺术评论家

30 1/2 x 27 1/2

纸上的拼字

WILLIAM WEGMAN - Armed Chair - 彩色照片版画 - 49 3/4 x 37 1/2 in.

威廉·韦格曼

49 3/4 x 37 1/2 in.

彩色照片石版图

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 12 x 11 3/4 in. ea.

约塞夫·阿尔伯斯

配方：关节

12 x 11 3/4 in.

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 9 1/8 x 13 7/8 in. ea.

约塞夫·阿尔伯斯

配方：关节

9 1/8 x 13 7/8 in.

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 11 5/8 x 12 3/4 in. ea.

约塞夫·阿尔伯斯

配方：关节

11 5/8 x 12 3/4 in.

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 左侧：10 x 17 1/2 in. 右侧：6 x 10 1/2 in.

约塞夫·阿尔伯斯

配方：关节

左：10 x 17 1/2 in. 右侧： 6 x 10 1/2 in.

罗素·杨 - 《逍遥骑士》 - 帆布丝网印刷 - 27 x 37 英寸

丝网印刷于帆布

LAWRENCE SCHILLER - 《结束的一天》，玛丽莲-梦露，"必须要付出的东西" - 银胶版画 - 20 x 24 英寸。

一天结束时，玛丽莲-梦露，"必须要付出一些东西"

银色明胶印花

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