棕榈沙漠画廊演练2022

刊登在:画廊之旅

目前在希瑟-詹姆斯棕榈沙漠展出的艺术作品

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

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

不难理解罗伯特-印第安纳的四个字母的辉煌的两行排列是如何在1960年代帮助赋予一个运动的。它的起源来自于对宗教的深刻感受以及朋友和导师埃尔斯沃斯-凯利，他的硬朗风格和感性的、不加修饰的色彩给人留下了深刻的印象。但正如印第安纳所感叹的那样，这是一个偶然的时刻，当 "爱咬了我！"设计来到他面前，敏锐而集中。当然，印第安纳把这个设计放在了许多地方，然后这个标志就开始到处出现了。这个信息，最好是用雕塑来传达，矗立在世界各地的城市，并被翻译成多种语言，其中最重要的是它的意大利语版本，"Amor"，其偶然的 "O "也向右倾斜。但是，这个版本没有被 "L "的脚踢到，而是给上面的 "A "带来了一种漂亮的舞台摇摆效果。它给人一种新的，但同样深刻的，关于爱和它的情绪化的印象。 无论是哪种情况，"爱 "的倾斜 "O "都给原本稳定的设计带来了不稳定性，这是印第安纳对 "与这个词相关的往往是空洞的感伤，隐喻着不求回报的渴望和失望，而不是神圣的感情"（Robert Indiana's Best: A Mini Retrospective, New York Times, May 24, 2018）的深刻的投射。当然，重复有一个讨厌的习惯，就是削弱我们对简单和开创性设计的天才的欣赏。印第安纳在晚年感叹道："这是一个了不起的想法，但也是一个可怕的错误。它变得太流行了。而有些人并不喜欢流行"。但是我们，这个充满分歧和陷入动荡的世界的居民，感谢你。"爱》和它的许多版本强烈地提醒我们爱的能力，而这是我们对更美好的未来最好的永恒的希望。

罗伯特·印第安纳

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

欧文·诺曼

JAMES ROSENQUIST - 对戈登·马塔·克拉克的虚荣不公平 - 画布上的油画 - 62 3/4 x 43 x 2 3/4 in.

詹姆斯·罗森奎斯特

梅尔-拉莫斯 - 下楼梯的裸体 #2 - 布面油画 - 70 x 52 1/8 英寸。

梅尔·拉莫斯

Larry Rivers is considered by many to be the father of the Pop Art movement. In Rivers's 1980 work "Beyond Camel," we see a slightly out of focus Camel Cigarette pack, an item from consumer culture Rivers has appropriated to create a critique of commoditization and consumer culture. Rivers would have certainly been aware of the work of Stuart Davis and his 1921 painting, "Lucky Strike," depicting a flattened pack of cigarettes. Rivers interprets his subject with a Pop Art perspective; however, the imagery is almost larger than life, and the brand image is presented as a subject unto itself. <br><br>In 2002, a retrospective of Rivers's work was held at the Corcoran Gallery of Art in Washington, D.C.

拉里·里弗斯

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。

吉姆·丁

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

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

HERB ALPERT

赫伯-艾伯特的许多青铜雕塑的工艺曲折和曲线以及流动性和运动感被描述为类似于 "铸造的冷冻烟雾"。他们被称为 "精神图腾"，这个称呼对《自由》特别贴切，这是一个高耸的17英尺的青铜雕塑，是艾伯特对美国本土价值观和与自然和谐相处的信念的致敬。充满了鸟类的参考，当艾伯特坐在巴西伊帕内玛的海滩上，被一群毫不费力地漂浮在气流中的鸟儿所吸引时，他想到了《自由》的想法。自由》的铸件已被献给马里布市，并被放置在太平洋海岸高速公路东兰布拉-维斯塔路的交叉口旁。

HERB ALPERT

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

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。

马克·奎因

在赫伯-艾伯特的许多青铜铸造的、经过丝光处理的精神图腾中，很少有 "勇士 "这种独特的男性感觉。顶端有一个下降的锯齿状的皇冠，它可以很容易地指代猛禽的头顶和平原印第安酋长的头饰，"勇士 "这个标题是一个恰当的描述，涉及到力量、勇气和牢不可破的精神等属性。 与亨利-摩尔的作品一样，这些联想部分取决于负空间，以创造这个强大的雕塑的动态和强烈印象。

HERB ALPERT

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

约瑟夫-斯特拉 - 卧姿裸体 - 布面油画 - 50 x 52 1/2 英寸。

JOSEPH STELLA

IRVING NORMAN - 告别 - 画布上的油画 - 90 x 100 in.

欧文·诺曼

埃德·鲁沙是美国最杰出的艺术家之一，部分归功于他对美国符号以及语言与艺术之间关系的探索。《末日》是艺术家在20世纪90年代和2000年代使用的电影主题，出现在绘画、版画和绘画中，尤其是1991年现代艺术博物馆的大型绘画。在谈到时间的流逝和过时时，Ruscha 使用了过时的字体和在电影中使用文本的古老电影传统。短暂的概念被词本身、结束和媒介本身的本质所增强;在20世纪60年代开发时，全息图的激光技术被认为是未来派，随着图像的变化，图像也会产生一种无常的感觉。虽然变化中的文字和图像有先天运动，但这些全息图也代表一个句号——一个在时间上冻结的短暂时刻。

埃德·鲁沙

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.

VALERIE JAUDON

Yaacov Agam is widely considered to be one of the most important Israeli artists of our time. Agam's art often utilizes optical illusions and visual trickery to create his desired visual effect. The artist has successfully worked across different media, including works on canvas, sculpture, drawing, and printmaking. <br><br>"Galaxy Noon" (2013) was purchased by the current owner directly from the artist at his Paris studio. Agams work can be found in countless museum collections worldwide, including the Guggenheim Museum and the Metropolitan Museum of Art, in New York.

YAACOV AGAM

IRVING NORMAN - 图腾 - 画布上的油画 - 72 x 110 in.

欧文·诺曼

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

托姆·韦塞尔曼

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

德博拉·巴特菲尔德

HERB ALPERT - Inspired - 青铜 - 100 x 20 x 12 in.

HERB ALPERT

HERB ALPERT - 音乐会大师 - 青铜 - 93 x 14 in.

HERB ALPERT

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.

中文

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

查克-克洛斯-自画像--4张玻璃全息图套装--14 x 11英寸，每张。

恰克关闭

FRANCIS CELENTANO - 椭圆形动感画 - 石质上的丙烯酸 - 48 x 48 x 6 1/2 in.

弗朗西斯·塞伦塔诺

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.

中文

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

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

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

JAE KON PARK - 无标题 - 画布上的油画 - 44 1/4 x 64 in.

JAE KON PARK

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

JAE KON PARK

JAE KON PARK - 无标题 - 画布上的油画 - 38 1/4 x 51 1/2

JAE KON PARK

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

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

JAE KON PARK

库米 SUGAI - 3 Heures D'Aprrés Midi - 帆布上的丙烯酸 - 24 x 19 3/4 in.

库米·苏盖

HERB ALPERT - 反平衡 - 青铜 - 28 x 28 in.

HERB ALPERT

HERB ALPERT - 人性 - 青铜 - 44 x 10 x 7 in.

HERB ALPERT

JAE KON PARK - 无标题 - 画布上的油画 - 35 x 33 7/8 in.

JAE KON PARK

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

艾伟伟

MERION ESTES - 独奏桑巴 - 布面丙烯 - 70 1/4 x 71 1/2 in.

MERION ESTES

ROSS BLECKNER - 无题 - 油画纸上 - 37 1/2 x 24 3/4 in.

罗斯·布莱克纳

HERB ALPERT - 金色的梦 - 丙烯酸在画布上 - 48 x 72英寸。

HERB ALPERT

HERB ALPERT - 咒语 - 丙烯酸画布 - 72 x 48 英寸。

HERB ALPERT

HERB ALPERT - 无声的雪 - 布面丙烯 - 72 x 48 in.

HERB ALPERT

HERB ALPERT - 轻声细语 - 丙烯酸画布 - 48 x 72 英寸。

HERB ALPERT

HERB ALPERT - Falling for You - 丙烯酸画布 - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Now Hear This - 丙烯酸画布 - 48 x 72 in.

HERB ALPERT

HERB ALPERT - Jive Talk - 布面丙烯 - 48 x 72 in.

HERB ALPERT

HERB ALPERT - 逆风 - 布面丙烯 - 48 x 72 英寸。

HERB ALPERT

HERB ALPERT - 寂静的春天 - 丙烯酸画布 - 48 x 72 英寸。

HERB ALPERT

ANDY WARHOL - Carolina Herrera - Polaroid, Polacolor - 4 1/4 x 3/8 in.

安迪·沃霍尔

安迪-沃霍尔 - 安迪-沃霍尔 - 银胶版画 - 10 x 8 in.

安迪·沃霍尔

JAE KON PARK - 无标题 - 画布上的油画 - 24 x 28 3/4 in.

JAE KON PARK

JAE KON PARK - 无标题 - 画布上的油画 - 24 x 28 3/4 in.

JAE KON PARK

LAWRENCE SCHILLER - 玛丽莲-梦露（坐在泳池边上），"必须付出的东西" - 存档颜料打印 - 48 x 60 英寸。

拉森·席勒

LOUISE BOURGEOIS - 无题 - 玻璃全息图（23组中的单个全息图） - 10 3/4 x 13 3/4 in.

路易丝·布尔吉瓦

ANDY WARHOL - George - Polaroid, Polacolor - 4 1/4 x 3 3/8 in.

安迪·沃霍尔

LAWRENCE SCHILLER - 保罗-纽曼在电影《酷手卢克》中 - 银胶照片 - 14 x 11 in.

拉森·席勒

HERB ALPERT - 巴西的月亮 - 布面丙烯 - 36 x 72 in.

HERB ALPERT

HERB ALPERT - Brasilian Mist - 布面丙烯 - 36 x 72 in.

HERB ALPERT

HERB ALPERT - 隔离 - 丙烯酸在画布上 - 36 x 60英寸。

HERB ALPERT

HERB ALPERT - 断裂的记忆 - 丙烯酸在画布上 - 60 x 36 in.

HERB ALPERT

HERB ALPERT - 只是一个梦的距离 - 丙烯酸在画布上 - 60 x 36 in.

HERB ALPERT

HERB ALPERT - 观察者 - 布面丙烯 - 60 x 36 in.

HERB ALPERT

MICAELA AMATO - 喀麦隆女孩 - 铸造玻璃 - 16 x 12 x 10 1/2 in.

米凯拉·阿马托

约翰-巴尔代萨里 - 前排（瓦伦丁） - 17色丝网印刷 - 37 3/4 x 33 3/4英寸。

约翰-巴尔德萨里

拉伦斯·席勒 - 克林特·伊斯特伍德 - 复古银明胶照片 - 11 x 14 in.

拉森·席勒

HERB ALPERT - Up Up and Away - 丙烯酸画布 - 48 x 36 in.

HERB ALPERT

HERB ALPERT - 调制 - 丙烯酸在画布上 - 48 x 36英寸。

HERB ALPERT

HERB ALPERT - 第一次出现 - 丙烯酸画布 - 48 x 36英寸。

HERB ALPERT

HERB ALPERT - 夜晚的蓝调 - 丙烯酸画布 - 48 x 36 英寸。

HERB ALPERT

HERB ALPERT - 现代人 - 丙烯酸画布 - 48 x 36 英寸。

HERB ALPERT

HELMUT NEWTON - 剧院门口的裸体 - 宝丽来 - 3/8 x 4 1/4 in.

赫尔穆特·牛顿

HELMUT NEWTON - Y.S.L. Fur, Av.Marceau, in the Salon - Polaroid - 3/8 X 4 1/4 in.

赫尔穆特·牛顿

LAWRENCE SCHILLER - 《无题》 - 卤化银显色剂 - 40 x 30 in.

拉森·席勒

LAWRENCE SCHILLER - 杰克逊五人组 - 颜料印刷品 - 16 x 20 英寸。

拉森·席勒

LAWRENCE SCHILLER - 李-哈维-奥斯瓦尔德，德克萨斯州达拉斯，1963年11月22日 - 银胶版画 - 16 x 20英寸。

拉森·席勒

LAWRENCE SCHILLER - 奥斯瓦尔德的枪，达拉斯警察站，达拉斯得克萨斯州，1963年11月23日 - 银明胶打印 - 16 x 20 in。

拉森·席勒

JOSEF ALBERS - 配方：关节 - 丝网印刷 - 左侧：10 x 12 3/8 in. ea.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方： 铰接 - 丝网印刷 - 10 x 13 in. ea.

约塞夫·阿尔伯斯

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

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

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方： 铰接 - 丝网印刷 - 12 x 14 5/8 in. ea.

约塞夫·阿尔伯斯

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

约塞夫·阿尔伯斯

罗伦斯-李 - 飞行在那里 - 印度 纸上墨水，石墨，茶渍，钢笔和水彩 - 32 x 32英寸。

劳伦斯·李

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 8 1/4 x 17 in.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 12 1/4 x 12 1/4 in.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 12 7/8 x 15 3/4 in.

约塞夫·阿尔伯斯

JOSEF ALBERS - 配方：铰接 - 丝网印刷 - 10 x 12 7/8 in.

约塞夫·阿尔伯斯

乔治·奥尔特曼 - 十件作品 X 十位画家 - 丝网印刷 - 24 x 20 in.

乔治·奥尔特曼

谢泼德FAIREY - 弗雷多 - 纸上的丝网印 - 24 x 18 in.

谢泼德·费尔伊

LAWRENCE SCHILLER - 马丁·路德·金 - 色谱印刷 - 16 x 20 in.

拉森·席勒

谢泼德·费尔伊 - 桑尼 - 纸上丝网印 - 24 x 18 in.

谢泼德·费尔伊