棕榈沙漠画廊漫步 - 2023/2024 赛季

刊登在:画廊之旅

请浏览我们的冬季预展，了解我们正在加利福尼亚州棕榈沙漠举办的新展览。展品包括西斯莱、毕沙罗和弗里塞克等印象派大师，毕加索和奥基弗等现代派开创者，以及印第安纳、德库宁、里希特等战后和当代创作者。

我们很高兴地宣布位于棕榈沙漠波托拉大道 45188 号的分店的冬季营业时间：周一至周六 9:00 - 5:00。

目前在希瑟-詹姆斯棕榈沙漠展出的艺术作品

<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

<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

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

<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>

韦恩·蒂博

<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

<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

<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）

<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

<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

<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

<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

<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

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

<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

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

<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

<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

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

<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

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

韦恩·蒂博

<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

<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>

OLGA DE AMARAL

<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

<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>

PAUL SIGNAC

<div><font face=Lato size=3 color=black>Hans Hofmann's <em>The Zoo</em> (1944) brims with playful energy, its abstract forms suggesting a whimsical exploration of animalistic shapes and gestures. Dominated by a vivid blue field punctuated by bold strokes of red, green, and yellow, the formal elements and composition provide a lively interplay of color. While the title invites the viewer to seek out zoo-like references, the forms are ambiguous yet evocative: sweeping red arcs might suggest the curve of a tail, while the triangular green shape evokes the profile of an enclosure or a cage. The painting captures not the literal essence of a zoo but the dynamism and movement one might associate with such a space.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Heavily influenced by Surrealist automatism and the biomorphic forms of Joan Miró, the organic shapes and bold colors seem to pulse with life, blurring the boundary between abstraction and figuration. Yet, unlike Miró's delicate dreamscapes, Hofmann's brushwork carries a muscular energy, grounding the composition in his signature gestural style.</font></div><br><br><div><font face=Lato size=3 color=black><em>The Zoo</em> reflects Hofmann's ability to balance spontaneity with deliberate compositional choices. The result is a vibrant, joy-filled work that celebrates the world's visual complexity and the boundless creative freedom of abstraction during this pivotal phase of his career.</font></div>

汉斯·霍夫曼

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

<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

<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

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

HERB ALPERT

<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

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

<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

<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

<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

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

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

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

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

<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

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

<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

<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

<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

<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

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

<div><font face=Lato size=3 color=black><em>Girl in White (Seated Figure)</em> from 1896 is an elegant example of Frank Bensons gift for intimate portraiture, rendered with a refined palette and a masterful command of light and texture. The painting was originally a personal gift from Benson to his friend and fellow American artist Frederick P. Vinton, remaining in the Vinton family before later entering the distinguished collection of Paul Magriel, a renowned collector and scholar of American art. This early provenance underscores the works longstanding appreciation among artists and connoisseurs alike.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>The portrait relates closely to similar half-figure studies held in major institutional collections, including the Museum of Fine Arts Boston, the Farnsworth Art Museum, and the National Gallery of Art in Washington, D.C., all of which highlight Bensons importance within the American Impressionist tradition. In this work, the sitter is shown in profile against a simple, reduced background that allows the subtleties of color and drapery to command full attention. The warm, luminous modeling of the skin and the delicate, gossamer like fabric of the dress are heightened by Benson's economical use of tone, creating a sense of quiet focus and graceful restraint.</font></div><br><br><div> </div><br><br><div><font face=Lato size=3 color=black>Together, these qualities reveal the depth of Bensons skill during the 1890s and affirm <em>Girl in White (Seated Figure)</em> as a beautifully preserved and emotionally resonant example of his portrait practice.</font></div>

弗兰克·韦斯顿·本森

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

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

<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

<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

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.

中文

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

<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

<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>

简·彼得森

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

<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>

PIET MONDRIAN

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

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

<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>

ALSON CLARK

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

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

威廉·温特

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

威廉·温特 - 《追忆》 - 布面油画 - 24 x 36 英寸

威廉·温特

<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

<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>

简·彼得森

<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>

约翰·马林

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

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

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

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

<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>

朱尔·谢雷

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

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

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

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）

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

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

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

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

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

鲁尔-弗雷德里克-赫克曼

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

让·贝罗

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

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

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

艾伟伟

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

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

琼-曼海姆(JEAN MANNHEIM)

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