Water Street, San Francisco #1231
A black and white drawing of a large embellished vase that holds various friuts. Signed and dated by the artist at the lower right.
Water Street, San Francisco #1635
A rough but crowded black and white sketch of three men sitting at a table who appear to be playing a cards. Two men in the upper right corner appear to be fighting while a man at the left of the sketch turns to watch. Another man at the upper left sits at a table alone. Signed, dated and titled by the artist at the lower right.
A monochromatic serigraph embellished wirh bronze and red coloring with gold leaf of a large ship with several smaller ships in the background. At lower right corner, a man has his back toward the viewer and appears to be rowing away from the ship. At the upper left, a large bird flies away from the ships while the sun illuminates from behind its wings. Titled by the artist at the lower left, "4th ed." appears in the center, and signed by the artist at the lower right.
A black and white depiction of an awkard looking dove with its wings outstreched and a rod piercing its chest. Signed and titled by the artist at the lower left. The words, "1st ed." appears at the lower center. Signed again by the artist at the lower right.
A black and white depiction of two wrestlers one of which is wearing a mask and is willingly suppressing his opponent. Signed and titled by the artist at the lower left. Edition statement at the lower center. Signed again by the artist at the lower right.
A black and white depiction of a city with iceskaters in silhouette; buildings and trees in background lined with snow. Signed by the artist twice at the lower right. Titled at the lower left. The words "lino. ed. 50" appear at the center.
A black and white linocut print depicting a bare and warped oak tree extending across the entire print. Titled by the artist at the lower left; signed by the artist at the lower right. Artist's initials also appear at the lower right. The words, "2nd ed." appear at the bottom center.
The Time is Out of Joint #2505 from the Wordplay series
A black and white linocut print of the words: "The time is out of joint: cursed spite that ever I was born to see it right!" The words are surrounded by clouds of smoke and the sun and moon. Signed and dated by the artist at the lower right. Titled at the lower left.
Maestros #2167 from the Mexican series
A black and white image of three men building a wall. Signed and dated by the artist twice, once at the lower left and again at the lower right. Titled at the lower right.
Finally the Rains #2507 from the Wordplay series
A black and white linocut with the words, "Finally the rain came to the hills. The cows, grasses, flowers, and weeds. All _ all rejoiced!! Ranchers of course were plenty busy. OH NO_ DOING _ _ _ HUSBANDRY! _ MEANWHILE, MUSHROOMS PORTEND ALL!!!" Thoughout the print there are depictions of mushrooms. Signed and dated by the artist twice, both at the lower right. Titled at the lower left.
How Very Nice #2540 from the Wordplay series
The black and white linocut is divided vertically with each side decorated with undulating curves and words including "How very nice". Signed and dated by the artist twice at the lower right. Titled by the artist at the lower left.
Diabolical Machine #33 from the Communist Manifesto Centenary
A black and white depiction of three large grotesque men turning the crank of a machine that is meant to squeeze water out of towels; in this image the presumably wealthy men squeeze out all the money from the poorer working class who are represented by a man and woman. This is symbolized by the artist depiction of money ($) throughout the work. Signed and dated by the artist twice, once at the lower left and again at the lower right. Numbered "#33" by the artist at the lower left.
Image of a naked female with a antelope sniffing her pubic area; blue image set against a bright green square at TC.
Given by Marilyn Arnold Palley and Reese Palley in honor of Marta Palley, Class of 2008.
Image of a naked female with an ocelot grabbing at her pubic area; pink and red stippled background
The Virgin (19th C. reproduction)
Martin Puryear: October 14 -December 10, 1989, 20th Bienal Internacial de S Paulo
Framed exhibition poster detailing Martin Puryear who is represented by Margo Leavin, Los Angeles. Poster highlights the S Paulo Bienal and includes an image of a work by the artist dating from 1988.
Capital City Drawings (Abidjan, Cote D'Ivoire)
Buckminster Fuller/Spaceship Earth
This Recipe, beloved and despised, continues regardless
Large multi-colored lithograph; centralized image of black figure cut-outs; blue and green ground. Signed and dated at lower left.
Rimbaud dans Paris [Rimbaud in Paris]
Ernest Pignon-Ernest is celebrated for his life-size, silk-screened prints that are routinely scattered throughout European cities, wheat pasted onto buildings and sidewalks as well as other public areas. Pignon-Ernest primarily focuses on giving a human face to social problems, such as the plight of illegal immigrants or the toll AIDS is wreaking in Africa but he has also done a series on poets. This poster shows one of the artists most well known and early silkscreen prints in situ, titled Rimbaud dans Paris [Rimbaud in Paris] (1978) based on a drawing the artist made of the poet Arthur Rimbaud. From ages 16 to 19, Rimbaud contributed a small but highly influential body of poetry in the latter half of the 19th century which helped established the Symbolist literary movement. One of his most well-known poems, Une Saison en Enfer [A Season in Hell] (1873) was the first to use free verse and included references to his scandalous affair with a married man. Though lauded within contemporary literary circles, Rimbaud stopped writing poetry altogether at 19 and lead a peripatetic existence traveling as far as Africa to work as a trader. Pignon-Ernest sees his Rimbaud figure which he describes as half adventurer, half hobo, as a subtle critique of French politicians. At the time the artist made this work the Socialist Party had co-opted Rimbauds phrase and goal to Change Life and yet Pignon-Ernest had seen very little change as France was in the midst of an economic recession and many were suffering. It irritated Pignon-Ernest to have the poets words used for political propaganda when Rimbaud was a renegade in the way he wrote and lived his life. By placing the figure of the poet throughout the city, Pignon-Ernest makes clear that Rimbaud belongs to the people and his defiant, rebellious streak resides in all. To really change life one must, like Rimbaud, seize the opportunity for oneself and not leave it to politicians.
Image of a bullfight in an arena including a matador and a picador on horse standing over a fallen bull.
Sketch-like image depicting a face set against tan ground.
tonal landscape with mountains, land and water in foreground
Color lithograph on wove paper of a seated young man dressed in a purple suit; lower left, name Bosie; lower right, edition statement 42/45, MA IRA initials and date.
10 x 9 1/8 in image; 17 3/4 x 16 in matte
Image depicts 3 figures being hit, falling, and running away from a grenade expolosion.
Drawing from the architect's experience of a grenade exploding near Lille, 1916
Drawing of men working in a factory melting down product and pouring into molds.
Oil pastel and oil paint on Saunders paper
Light fixture upper center lights hallway, light conveyed in gestural strokes
Museum Purchase with funds provided by the Wallis Foundation
American, Philadelphia, 4 July, 1860 - 23 April, 1926, NYC
Gift of Mr. and Mrs. Donald W. Harrah in memory of his father, Harold T. Harrah
Gift of Daryl R. Landon in memory of Burr Wallen
Head of a Girl (to Don Bear, X-Mas 1948)
American, Marshall, CO 1910 - 1989 Santa Barbara
Untitled (slaughtered lambs with butcher block)
Ink drawing of a butcher block flanked by two hanging lamb carcasses at left and right. Signed at lower center
Gift of Cheri Peake, Channing Peake Estate
Drawing in pencil; centralized image of cow calfing; signed and dated at lower right; estate stamp, reverse, lower right.
Graphite drawing of a male torso; figure appears to be covering his forehead and eyes with his left hand.
Gift of Marc Selwyn Fine Art, Beverly Hills
watercolor, graphite, photo collage on rag paper
Diabolical Blue Finger August 4, 1970
Graphite, chalk, marker and watercolor on paper
Multi media drawing of a large centralized white form being intercepted by a hand with a blue finger; gallery label on reverse.
Collage of mixed media on paper; color photographs and color spectrum in center; lower right, signed and dated by the artist.
System of Iconography-Plug, Mouse, Good Humor, Lipstick, Switches
Color lithograph of a plug, mouse, Good Humor Bar, lipstick and switches superimposed onto a grid. Signed at lower right; edition statement at lower left; title, date and copyright on reverse.
O'HARA, James Frederick
Orange colored lithograph of a hunting scene with various figures and animals intermingling with one another.
Evening Glow, University of California at Santa Barbara
Watercolor image of an unidentified site at the University of California, Santa Barbara. Several trees obscure a sprawling building and smaller structure. Artist signature at lower right.
Sumi-ink drawing of Ojai with dense foliage in foreground; rolling hills in background. Signed, dated and artist's stamp at lower right with a notation of Eve at lower right.
Sumi-ink drawing of Ojai with shrubbery; rolling hills in background; signed, dated and artist's stamp at lower right.
Sumi-ink drawing of Ojai with a view of the mountains; signed and dated with artist's stamp at lower right.
b. 1964 Switzerland, lives and works in New York City
drypoint, softground etching on John Koller handmade paper
Black and white abstract. From Xingu Lost Worlds, series of 14 prints, plus title page
Anna from Tim Came Home From the War and Isn't Timmy Anymore
Mixed media image of "Anna" which is part of Tim Came Home From the War and Isn't Timmy Anymore, a confrontational narrative about the horrors of war and the struggles endured by soldiers upon return from battle. This narrative was created using Nortons signature technique: a combination of expressive, photo-realistically drawn faces and hands with swaths and swirls of wallpaper collage.
Human Companionship, Human Drain from Performing Arts Portfolio
from Performing Arts Portfolio (1981), series of 8 color lithographs
A line drawing of a complex form, possibly in motion. Signed and dated by the artist.
Gift from the estate of Beverly Horowitz
Several white and black forms floating in space. Signed and dated by artist.
A drawing of sculptural forms with an asymmetrical balance. Signed and dated by the artist at the lower right.