Le Beau Temps, 1939
Oil on canvas
Smoke Came out of Her Ears, Fuses, Fizzled and Popped, 1976
Pastel on paper
22.75 x 28.625 inches
Glassy, 2006
Acrylic, printed paper collage and resin on panel
12 x 12 inches
Horizontal Lake Series, 1983
Oil on canvas
Signed and dated in oil on verso
Provenance: Janus Gallery, Los Angeles, CA tag on verso
Image: 36 x 72 inches
Framed: 37.75 x 74 inches
Krojib, 2001
Acrylic on canvas
Signed in ink on verso
Provenance: LA Louver, Venice, CA, tag on verso
Image: 96 x 60 inches
Crooked Just Like You, 2016
Acrylic on canvas
Signed and titled on verso
72 x 72 inches
Seductive Girl, Tahkt I-Sulyaman Vartiation II, Elvis and Campbells Soup, 1969 Acrylic on canvas combine, with original frame
Signed on verso
12 x 25 inches
Provenance: Acquired by the present and original owner from OK Harris Works of Art, New York, NY, in 1970.
Alternate cover of Rio (AIR studios demo) 2001,
and Japanese My Way Album 1982, 1982
Artwork used for Duran Duran’s Alternate Rio
(AIR studios demo) artwork on 2001 limited
edition remaster and Japanese My Way Album,
1982
Acrylic on canvas
Signed and dated on recto
36 x 35.5 inches
GRONK
(Born 1954)
La Tormenta, 1985
Acrylic on canvas
Signed on verso
90 x 60 inches
Exhibition history: 1986 Houston Museum of Art -
Hispanic Art in the United States: Thirty
Contemporary Painters and Sculptors; 1989
aforementioned exhibition then travelled to the
Brooklyn Museum of Art
The Jerry Lewis Family, 1962
Oil on canvas
Signed in oil on recto
Image: 45.5 x 53.5 inches; Framed: 54 x 61 inches
Torture Garden, 2013
Acrylic and gouache on linen
Signed and dated on verso
Image: 63.75 x 63.5 inches; Framed: 66 x 66 inches
Provenance: Mary Boone Gallery, New York, NY, tag on
verso
Etching and aquatint on Fabriano paper
Edition of 58
Signed and numbered in pencil on recto
Image: 54 x 58 inches
Provenance: Leslie Sacks Fine Art
"Untitled," 1979
Acrylic on paper
Signed and dated in pencil on verso
(Francis Archive SF79-1099)
Image: 19 x 29.5 inches; Framed: approximately 26 x 36.5 inches
Untitled, (Full of the grace..), 1988
Oil on canvas
Signed/dated verso, 48 x 30 in
1 Exhibited The Black Flag Years, 2025
5 Exhibited Reader Dearest, 1991-92
Andy Warhol, Artist, New York City, August 20, 1969, 1969/1975
Gelatin silver print
Edition of 10
60.7 x 48.7 inches
Apollo II Moon Shot, Cape Kennedy
Gelatin silver print
Signed by artist on verso
Image: 11 x 14 inches
Framed: 16.5 x 20.5 inches
Jean-Michel Basquiat, 1982
Unique Polacolor ER print
Warhol copyright credit blindstamp on recto (in white margin); Annotated FA05.00017 in pencil on verso and POLACOLOR E21417 in ink on verso Provenance: Includes an original Fahey Klein Gallery, Los Angeles, CA Letter of Provenance
Image: 4.25 x 3.375 inches
Framed: 14.25 x 12 inches
Clearing Winter Storm, Yosemite National Park, California, 1938/1977
Gelatin silver print
Signed on mount in pencil; Carmel studio stamp on verso;
Titled and dated in ink on verso
Image: 15.5 x 19.5 inches
Framed: 29.75 x 33.25 inches
Pierre Koenig, Case Study House #22 Los Angeles, CA, 1960/Printed Later
Photographic print on Resin Coated Paper
Artist proof
Signed and dated in white ink on recto
Provenance: Acquired directly from the artist
Image: 19.5 x 15.5 inches
Framed: 29.5 x 25 inches
Crystal, 2007
Chromogenic print
From the numbered edition of 7
Signed on verso
Image: 35.5 x 47 inches
Framed: 37.5 x 49.25 inches
Models in the Windows, 1960/Printed Later
C-Print
AP edition of 4 aside from the numbered edition 25
Signed and editioned in ink on recto
Image: 23.5 x 23.875 inches;
Framed: 35.25 x 35 inches
Crossroads Store, Alabama, 1937/Printed Later
Gelatin silver print
Annotations on verso
Unsigned
Image: 9.75 x 13.5 inches; Sheet: 10.125 x 14 inches; Framed: 16.5 x 20.5 inches
Provenance: From the Estate of Blossom and Ben Norman, Los Angeles, CA
Condition: pinholes in corners, .5 inch tear on lower right hand corner, handling creases, rubbing and discoloration on verso
Jackie, 2007
C-print
From the numbered edition of 5
Image: 46.5 x 49.25 inches; Framed: 49.375 x 46.25 inches
Published as INSTANT WARHOL in June 1974 Playboy. The Art includes a Four (4) part SET of Separately Framed Polaroid Photo Collages, along with copies of the 1974 Playboy to Warhol Photo Assignment, a copy of the 1974 Playboy Check to Andy Warhol and an original letter from Playboy explaining the Warhol Art. Also included for the Art Provenance are other receipts, and the Original Playboy Magazines (1974 and 1990) that included the Art.
Also included is a copy of the 1974 Embossed Self Photo of Andy Warhol in a mirror, that Warhol shot for Playboy, of himself with a Polaroid Camera, published in both 1974 and again in 1990.
featured in an exhibition at the Andy Warhol Museum, Pittsburgh, PA.
Gelatin Silver Print
Signed in ink on mount recto. Stamped, titled and numbered in ink on mount verso
10 x 8 inches
CZ and Max on the beach, Truro, MA, 1976
Cibachrome print, flush-mounted on board
From the numbered of 25
Signed, titled, dated, and numbered in ink (flush mount verso); credited, titled, and dated
Provenance: Jablonka Galerie, Lindenstraße, Germany
Image: 38.375 x 24.625 in; Framed: 41 x 28 in
Mick Jagger, 1975
Screenprint
Numbered 98/250 Signed and numbered in pencil on recto; Signed by Mick Jagger in pencil on recto
Cat. Rais: Feldman & Schellmann, II.147
Image: 43.6 x 28.9 inches; Framed
Note: Framed in clear, sealed plexiglass box
Defend Capitalism, 2006
Screenprint
111/500 Numbered in pencil on recto;
From the Barely Legal exhibition; Modern Multiples stamp on recto; POW stamp on recto Printed by Modern Multiples
Image: 18.5 x 26 inches
Sheet: 22.5 x 30 inches
Framed: 38 x 30.5 inches
Mao Tse-Tung (F.S.-II 93), 1972
Screenprint on Beckett High White paper
From the AP edition of 50 aside the edition of 250
Signed and numbered in ink on verso; Copyright stamp on verso Printed by Styria Studio, Inc., New York, NY; Published by Castelli Graphics and Multiples, Inc., New York, NY Illustrated in: Andy Warhol Prints, A Catalogue Raisonne 1962-1987, Feldman/Schellmann, pg. 82
Image: 36 x 36 inches
Framed: 43.5 x 43.5 inches
Andy Warhol Campbell’s Soup II (New England Clam)
Color screenprint
From the numbered edition of 250
Signed in ink on verso with edition number with rubber stamp
Printed by Salvatore Silkscreen Co, Inc., New York; Published by Factory Additions, New York
Image: 31.5 x 18.5 inches;
Sheet: 35 x 23 inches;
Framed: 42 x 28 inches
Guitar Series (Pink, Green, Yellow, Red, Blue, Orange), 2005
Complete suite of six 3-layer, 5 color screen print constructions,
mounted to sinter and hand cut in the original Gemini G.E.L. frames
Edition of 45
*all works have the same edition number
Each signed, numbered and dated in white ink on recto
Published by Gemini G.E.L
Landscape with Poet , 1996
Lithograph and screen print on Lanaquarelle watercolor
From the numbered edition of 60
Signed and numbered on recto
Image: 83.5 x 30 inches; Sheet: 90 x 36 inches;
Framed: 94 x 40 inches
Burning Standard From Pictures of Cars (After Ruscha), 2008
Chromogenic print
Edition of 6 plus 4 AP’s
Sheet: 35.5 x 67 inches; Framed: 43 x 74.5
inches
Untitled (SFE-080), 1992
Etching, aquatint and drypoint
From the edition of 75
Signed and numbered in pencil on recto
Image: 19 x 28.5 inches; Sheet: 27.5 x 37 inches;
Framed: 35 x 44.5 inches
Paradise of Ash, 1981
Lithograph on John Koller paper in two panels
From the numbered edition of 43
Signed and numbered in pencil on recto
Sheet: 46 x 32 inches, each; Framed: 51 x 71.5 inches
Andy Mouse An Homage to Andy Warhol, 1986
Silkscreen
From the numbered edition of 30
Signed by Keith Haring & Andy Warhol in pencil on recto; Numbered in pencil on recto; Printer chop mark on recto
Printed by Rupert Jasen Smith; Published by George Mulder Fine Art
Sheet: 38 x 38 inches; Framed: 45.5 x 45.5 inches
Made in California, 1971
Lithograph
From the numbered edition of 100
Initialed, dated and numbered in pencil on recto
Published by Grunewald Graphic Arts Foundation, University of California, Los Angeles; Printed by Cirrus Editions, Los Angeles; Engberg & Walker, 52
Sheet: 20 x 28 inches; Framed: 31.25 x 38.75 inches
Lithograph
From the numbered edition of 150
Signed and numbered in pencil on recto
Published by Edition Kung, Tokyo, printed by Pierre Chave, Venice.
Image: 14.5 x 19.375 inches; Sheet: 19.875 x 24.875 inches; Framed: 32.5 x 37.5 inches
Oxford, Beverly, Western, 1999
Diptych lithograph on Rives BFK paper
From the numbered edition of 20
Signed, dated and numbered on recto
Published by Hamilton Press, Venice, CA
Provenance: Private Collection
Sheet: 27 x 74.5 inches; Framed: 29.5 x 76.75 inches
"Special Class," 2007
Acrylic, latex and spray paint on wood
This work predates the 2013 collaboration with Banksy, which features a similar composition and style
Provenance: Deitch projects tag on verso
Image: 78.75 x 64.5 inches
Sinjerli Variations, 1977
Lithographs
From the numbered edition of 100
Signed, numbered, dated on recto
Each Image: 31 x 41 inches
Each Framed: 33 ¼ x 43 inches
Two paintings: Green Lamp, from Paintings Series, 1984
Woodcut, lithograph, screenprint and collage in colors, on Arches 88 paper
Artist proof outside the numbered edition of 60
Signed, dated, numbered in pencil on recto
Published by Gemini G.E.L., Los Angeles, with their blindstamps on recto
Image: 35.375 x 49.75 inches
Sheet: 38.625 x 53 inches
Untitled, 1988
Aquatint in 20 colors
From the numbered edition of 22
Signed and numbered in pencil on recto
Leslie Sacks Fine Art gallery tag on verso
Image: 53.5 x 22.5 inches
Framed: 59 x 26.25 inches
The End, 1991
Lithograph on Rivers BFK
From the numbered edition of 50
Signed, dated, numbered in pencil on recto
Printed by Hamilton Press, Venice, CA
Published by the artist
Literature: Engberg 206
Image: 26 x 36 ½ inches
Framed: 34 ¼ x 45 inches
Triptych, 1983
Lithograph/velin Arches (triptych)
From the numbered edition of 180
Signed and numbered on recto
Each Image: 29 x 21 inches
Each Framed: 38 x 29 1/2 inches
Before the mirror from Mirrors of the Mind, 1975
Lithograph and silkscreen with embossing Numbered
AP 9/30 from an edition of 100
Signed and numbered in pencil on recto Published by Multiples, Inc. Catalogue Raisonne 135, Corlett
Street Meets Avenue, 2000
Lithograph
From the Metro Plots series Lithograph Numbered 88/100 Signed, numbered and dated in pencil on recto Published by Eyestorm; Printed by Hamilton Press
Image: 25.5 x 34 inches; Framed: 35.25 x 43 inches
Hollywood (E. 7), 1968
Screenprint on white paper, cut edges
Numbered 14/100 Signed, numbered and dated on recto Published by Artist; Printed by Artist Print Run: yellow, orange, purple, mauve (split fountain)
Image: 17.5 x 44.44 inches; Framed: 22.75 x 51 inches
Untitled, (I stole my sister’s boyfriend..), 1984
Original artwork used for Sonic Youthss album "Goo" in 1990
Ink on paper
Signed and dated in ink on verso
Sheet: 10.5 x 8.5 inches
Framed: 13.25 x 11.375 inches
No Title (or thrust through), 1987
Ink on Paper
Signed and dated in ink on verso
Image: 16.5 x 9.75 inches; Sheet: 17.625 x 11.25 inches
Chalk on construction paper
Image: 44.75 x 30 inches
Framed: 52.25 x 37.25 inches
Provenance: Claire Joseph
Raymond Pettibon
(1957)
Untitled (My Purpose in Life), 1987
Ink on paper
Signed/dated on verso
Exhibited in Robert Berman Gallery "Dearest Reader" (1991)
Exhibited in the Gem Museum of Contemporary Art
Exhibited in the New Museum, ‘A Pen of All Work’, 2017
Literature: illustrated in 'SONIC YOUTH etc.: SENSATIONAL FIX', 2008, pg. annotated, pg. 704
Illustrated in Raymond Pettibon: Plots Laid Thick, 2002, pg. 404, annotated, pg. 441
illustrated and annotated in 'A Pen of All Works: Raymond Pettibon,' Phaidon and the New Museum, 2017, pg. 245
Tag on verso
Image: 24 x 18 inches
Framed: 33 x 28.5 inches
Sling Shot Lit #8 (Black State) (GEMINI 41.165), 1985
Lithograph/screeprint and assemblage with sailcloth, mylar, wooden lightbox, fluorescent light fixture, aluminum, moveable window shade system and plexiglas bars
Edition of 25
Signature and date incised into metal plate on lower left corner of frame
Prints: 76 x 53 inches, each; Lightbox Frame: 84.5 x 56 x 12.5 inches
Published by Gemini G.E.L., Los Angeles, CA
Condition: surface scuffs and scuffs along edges of lightbox frame; cracked rotating chain component
Alexander Calder
Study for Homage to Jerusalem, 1976
Unique
Man Ray once referred to California as a "beautiful prison," and indeed the decade he spent in Los Angeles--the subject of a fine exhibition co-organized by Track 16 and Robert Berman Gallery--was a strange one. It was marked on the one hand by anxiety (Man Ray spent much of the early 1940s repainting the masterpieces he left behind as he fled war-ravaged Paris).
On the other, it was marked by a grudging acceptance of his self-willed anonymity in this, the land of show biz (the catalog Man Ray designed for his last show here, in 1948 at the William Copley Gallery, was titled "To Be Continued Unnoticed").
The exhibition is filled with works produced before and after his stay in the United States--some of them major, more of them less so--as well as drawings, photographs, objects, chess sets, letters and other ephemera produced during and related to his time here. It attempts to create a fresh context for understanding the life and work of one of the premier Surrealists while also proposing a centrality for Southern California within the canon of modernism, specifically Surrealism.
Indeed, Man Ray wryly noted that there was "more Surrealism rampant in Hollywood than all the Surrealists could invent in a lifetime." Yet to judge from this exhibition, California didn't necessarily inspire him in that direction. While Dali took the opportunity to collaborate with the movie industry--lampooning it in the same breath--Man Ray turned inward here; thus, the most interesting developments for him were personal.
It was in L.A., for example, that he met Juliet Browner, who was to become his wife and muse for the remainder of his life. He also formed bonds with the writer Henry Miller, the collector and art world figure Gloria de Herrera, and the artist Knud Merrild, whose work was to be an inspiration for the artist's later "natural paintings."
On this count, then, what becomes most interesting here are the letters, homages, memorabilia, literary endeavors and photographs. These include a tiny painting of a butterfly made for De Herrera; a wonderfully cynical book of drawings called "Alphabets for Adults"; a snapshot of Juliet stretched out like an odalisque on a couch in Man Ray's Vine Street studio; and a photo of the artist and Marcel Duchamp sitting beneath a Parisian street sign, "Rue de la Vieille Lanterne," which just happened to have been taken on a Hollywood stage set.
"Mythologie Moderne II," 1969
Lithograph
Probably a trial proof before the numbered edition of 175
Signed in pencil on recto
From the Estate of Man Ray with the Man Ray Estate stamp and numbering on verso
Sheet: 25.5 x 18.5 inches; Framed: 30.75 x 24 inches
The Merry Wives of Windsor, 1972
Lithograph in colors on woven paper
Initialed, signed "EA" on recto
Image: 20.25 x 16.25 inches
Framed: 30 x 23 inches
Untitled, 1944
Watercolor on paper
Signed and dated on recto
Image: 16 x 13 1/2 inches
Framed: 24 1/2 x 21 1/2 inches
Alice Prin, Kik i, c. 1924
Vintage gelatin silver print
Signed in pencil on verso
Photographer's stamp on verso
Provenance: From the collection of Dr. Stanley Kogan
Image: 10.75 x 8.5 in
Frame: 19.125 x 15.125 in
Pour Eluard, 1971
Color pochoir Numbered 'E.A.' (Artist Proof)
Signed and annotated “EA” in pencil on recto
Image: 32 x 23.5 inches; Framed: 34 x 28.5 inches
Julie, 1970
Lithograph
Numbered 76/100 Signed and numbered in pencil on recto Image: 18.5 x 14.75 inches; Sheet: 25.75 x 19 inches; Framed: 31.7 x 25 inches
Untitled (Julie), 1942
Gelatin silver print
Provenance: Directly from the Man Ray Trust; Exhibited in Man Ray Paris-LA at Track 16 Gallery/Robert Berman Gallery, pg. 25 in the catalogue
Image: 8 x 7 inches; Framed: 20 x 18 inches
La Vierge, 1955
Lithograph
Artist Proof (Epreuve d'Artist) Initialed and annotated “E.A.” in pencil on recto sheet; Man Ray Trust Archive stamp on verso Illustrated in: Man Ray Opera Graphica, Vol. I, pg. 104, #55
Image: 12 x 10 inches; Sheet: 22 x 17 inches; Framed: 21.5 x 20 inches
Print C (Les Anatomes), 1970
Aquatint
Numbered 10/25 Signed and annotated “X/XXV” in pencil on recto sheet Illustrated in Man Ray Opera Graphica, Vol. I, pg. 134
Image: 16.75 x 12.25 inches; Sheet: 26 x 20 inches; Framed: 29 x 24 inches
Poire d'Erik Satie (A. 45), 1969
Lithograph
Signed, initialed and annotated “Love to Joey-Juliet Many Ray” in pencil on recto Provenance: From the estate of Juliet Man Ray; Estate stamp on verso
Image: 18 x 11 .5 inches; Sheet: 23.5 x 16.5 inches; Framed: 32 x 25 inches
Track 16 Gallery and Robert Berman Gallery, Santa Monica, California, solo show ["Concrete and Buckshot. William S. Burroughs Paintings 1987-1996"][18 July – 6 October, 1996]
Track 16 Gallery and Robert Berman Gallery, Santa Monica, California, solo show ["Concrete and Buckshot. William S. Burroughs Paintings 1987-1996"][18 July – 6 October, 1996]
William S. Burroughs
Untitled, 1993
Oil on canvas
William S. Burroughs
Untitled, 1993
Oil on canvas
William S. Burroughs
Resurrection, 1992
Oh My God, 2006
Spray paint and household paint on metal
51 x 36 inches
PROVENANCE/NOTATION: Signed on recto; Includes Lazarides Gallery, London, England receipts and COA; Exhibited in Barely Legal exhibition in Los Angeles, CA, September 2006.
ILLUSTRATED: Banksy Wall and Piece: Now with 10% More Crap, Published by Random House UK, 2006
