Christie's Private Collection of Mary and Alan Hobart 19 November 2024

 

Sir William Orpen’s The Thinker hanging in the Hobarts’ dining room at Farm Street

 Christie’s is proud to present the Private Collection of Mary and Alan Hobart, founders of Pyms Gallery and leading figures in the promotion of Irish art in Britain, to be auctioned on 19 November 2024 at Christie’s in London.

Over nearly five decades, the Hobarts played a pivotal role in shaping the international art market, working closely with institutions such as the National Gallery of Ireland, and influencing both public and private collections. Their pioneering efforts brought attention to Modern Irish art and helped elevate the profiles of lesser-known and female artists globally.

The Hobarts’ expertly curated private collection, drawn from their homes at Farm Street in Mayfair, London, and Cap Ferrat, France, stands as a testament to their remarkable legacy. The sale includes works by leading Modern Irish artists such as Sir William Orpen, Jack Butler Yeats, Mary Swanzy, William Scott, Sean Scully, Grace Henry, Gerard Dillon, in dialogue with renowned twentieth century British artists, including Bridget Riley, Augustus John, Patrick Heron, Walter Sickert, Elisabeth Frink, Robert Colquhoun, John Banting, Prunella Clough, Christopher Wood, John Tunnard and many others. The collection also features carefully chosen pieces of furniture, decorative arts and design, as well as the modern art reference library that the Hobarts lived alongside.

Embodying the spirit of Pyms Gallery, established in 1974 in London, the collection showcases the Hobarts' connoisseurship and their efforts to reclaim artists for Ireland, including those who had been subsumed under British or Scottish schools. While many of the paintings they handled have now become well known as part of prominent public collections, others were retained by the Hobarts for their own collection and will be publicly displayed for the first time in many years.

Another defining aspect of the Hobarts' legacy was their commitment to championing female artists who had been historically underrepresented in the art world. The collection at Farm Street included remarkable works by trailblazing artists such as Dod Procter, Eileen Agar, Mary Swanzy and Rita Duffy.

Through seeking out these names and exhibiting their works at Pyms Gallery, the Hobarts helped to bring such artists into the spotlight, championing their significant contributions to the development of Modern art.

Elizabeth Comba, Head of Sale, Specialist, Private & Iconic Collections at Christie’s London: "It is a great honour for Christie's to be entrusted with the sale of Mary and Alan Hobart's private collection. Mary and Alan Hobart played a pivotal role in the art market, effectively establishing a new canon of Modern Irish art, with landmark exhibitions showcasing artists such as Sir William Orpen, Mary Swanzy and Jack Butler Yeats. Their extraordinary personal collection demonstrates how the Hobarts' sharp and instinctive eye also championed the work of so many other great modern artists and designers. We look forward to welcoming visitors to our London and Dublin views”.

For more information, please visit: https://www.christies.com/en/auction/the-private-collection-of-mary-and-alan-hobart-pioneers-of-modern-british-and-irish-art-22990-cks/

Gagosian ar Art Basel Paris,

Gagosian is participating in Art Basel Paris, at the Grand Palais, with a display of exceptional historic paintings, sculptures, and photographs extending into the gallery’s nearby location at 4 rue de Ponthieu. The twofold presentation showcases works by defining figures of modern and contemporary abstraction and representational art, in dialogue with new works by gallery artists.

Participating artists include Georg Baselitz, Amoako Boafo, Louise Bonnet, Christo, John Currin, Julie Curtiss, Willem de Kooning, Edmund de Waal, Roe Ethridge, Jadé Fadojutimi, Urs Fischer, Lucio Fontana, Helen Frankenthaler, Frank Gehry, Alberto Giacometti, Nan Goldin, Mark Grotjahn, Simon Hantaï, Romuald Hazoumè, Damien Hirst, Carsten Höller, Donald Judd, Jamian Juliano-Villani, Ewa Juszkiewicz, Y.Z. Kami, Yves Klein, Deana Lawson, Roy Lichtenstein, Peter Lindbergh, Man Ray, Brice Marden, Helen Marden, Joan Miró, Joan Mitchell, Takashi Murakami, Oscar Murillo, Bruce Nauman, Albert Oehlen, Giuseppe Penone, Pablo Picasso, Rudolf Polanszky, Jackson Pollock, Richard Prince, Nathaniel Mary Quinn, Gerhard Richter, Sterling Ruby, Ed Ruscha, Richard Serra, Setsuko, Rudolf Stingel, Sarah Sze, Tatiana Trouvé, Cy Twombly, Andy Warhol, Tom Wesselmann, Stanley Whitney, Jonas Wood, and Richard Wright.

Article

Fair Highlights

Yves Klein

Untitled Fire Color Painting (FC 28), 1962

Dry pigment and synthetic resin on burnt cardboard, mounted on wood

36 ¼ × 28 ¾ inches (92 × 73 cm)

Simon Hantaï

Meun, 1968

Oil on canvas

47 ½ × 41 ⅜ inches (120.5 × 105 cm)

The function of color is essentially linked to light, not to matter.

—Simon Hantaï

Joan Miró

Oiseau, 1950

Oil, gouache, ink, pastel, and charcoal on cardboard

23 ⅞ × 17 ⅜ inches (60.6 × 44.1 cm)

Jonas Wood

2 Picasso Pots with Fruit, 2024

Oil and acrylic on canvas

32 × 30 inches (81.3 × 76.2 cm)

Jonas Wood, 2 Picasso Pots with Fruit, 2024 (detail)

Pablo Picasso

Femme nue sur fond bleu, 1949

Oil on canvas

51 ¼ × 38 ¼ inches (130 × 97 cm)

Helen Frankenthaler

Shatter, 1953

Oil on unsized, unprimed canvas

48 ½ × 54 inches (123.2 × 137.2 cm)

The only rule is that there are no rules. Anything is possible. . . . It’s all about risks, deliberate risks.

—Helen Frankenthaler

Richard Prince

Portrait of Cindy Sherman, 1980

Ektacolor photograph

Framed: 19 × 22 ⅞ × ⅞ inches (48.3 × 58 × 2 cm)

Jamian Juliano-Villani

Julianna, 2024

Oil on canvas

91 ⅝ × 104 inches (232.7 × 264.2 cm)

Jamian Juliano-Villani, Julianna, 2024 (detail)

Tom Wesselmann

Smoker #20, 1975

Oil on canvas
71 ½ × 67 inches (181.6 × 170.2 cm)

Nan Goldin

Marble Quartet, 2013 (printed 2024)

Archival pigment print, in frame

48 ¼ × 60 ¼ × 2 ¼ inches (122.4 × 152.9 × 5.7 cm)

AP 1/2 + edition of 3

I think of Art Deco as Cubism for the home. It seems mathematical and intellectual rather than visceral, closer to my way of working.

—Roy Lichtenstein

Roy Lichtenstein

Modern Sculpture with Glass Wave, 1967

Brass and glass

91 × 26 × 27 inches (231.1 × 66 × 68.6 cm)

Edition 2/3

Christo

Empaquetage d’une femme (Projet pour le film fait à Londres et Düsseldorf), 1963

Graphite on paper

28 × 22 inches (71.1 × 55.9 cm)

Ed Ruscha, COUPE DE VILLE #1, 2023

Ed Ruscha

COUPE DE VILLE #1, 2023

Dry pigment and acrylic on paper

11 × 15 ⅛ inches (27.9 × 38.4 cm)

Cy Twombly

Untitled, 1971

Oil, pencil, and wax crayon on paper

22 ½ × 20 inches (57.2 × 50.8 cm)

Expressionism is a process. You look at reality and you let it move through you. I’ve always thought this is the ultimate way of making art.

—Rudolf Stingel

Rudolf Stingel

Untitled (Der Kranke), 2023

Oil and enamel on canvas

95 × 76 inches (241.3 × 193 cm)

Nathaniel Mary Quinn

Barbershop, 2024

Oil paint, oil pastel, and gouache on linen canvas over wood panel

20 × 16 inches (50.8 × 40.6 cm)

Jadé Fadojutimi, Untitled, 2024 (detail)

Jadé Fadojutimi

Untitled, 2024

Acrylic, oil, oil pastel, and oil stick on canvas

98 ½ × 68 ⅞ inches (250 × 175 cm)

Amoako Boafo

White Opera Gloves, 2024

Oil on canvas

67 ¾ × 67 ¾ inches (172 × 172 cm)

When I’m making paintings, I want the characters to be strong, I want them to be free, I want them to be independent, I want them to be unapologetic.

—Amoako Boafo

Louise Bonnet

Figure Holding Mandarins, 2024

Watercolor on paper

9 × 12 inches (22.9 × 30.5 cm)

Inquire 

Shannon’s Fine Art Auctioneers American Art October 24, 2024

 On Thursday, October 24, 2024 at 6:00PM ET Shannon’s Fine Art Auctioneers will present their annual fall Fine Art Auction. The sale will take place live online at shannons.com and bidding will be available by telephone, absentee, and through their website.

ALFRED THOMPSON BRICHER, American, 1837-1908, Morning at Narragansett-The Turn of the Tide, 1871, oil on canvas, signed and dated, 20 1/2 x 41 in., estimate $150,000-200,000

Shannon’s has become the leading auction house for American Art and this season proves their strength in attracting quality consignments in this genre. The firm secured fifteen paintings from a major private collection of American Art. Many of the paintings from this group are fresh-to-the-market having been in private hands for decades. The top lot from this collection is an exceptional Alfred Thompson Bricher, Morning at Narragansett – The Turn of the Tide dated 1871, estimated at $150,000-200,000. This masterful, Luminist painting depicts a mother with her two children enjoying a day at the beach, young boys playing in the gentle waves, and a couple walking in the sand. Shannon’s has sold over 100 paintings by A.T. Bricher and owner, Sandra Germain, noted this is “easily among the best work by Bricher I have ever seen”.

19th century American paintings are a strength of this collection. In addition to the Bricher, Shannon’s will offer a Thomas W. Whittredge, View of Newport Beach at $50,000-75,000; a Jasper Francis Cropsey, Greenwood Lake, at $50,000-75,000; and still-life paintings by Levi Wells Prentice and John F. Francis.

ERNEST LAWSON, Canadian / American, 1873-1939, Boat House, Winter, Harlem River, 1918, oil on canvas, signed and dated, 25 x 30 in., estimate $100,000-150,000

American Impressionism is led by an Ernest Lawson, Boat House, Winter, Harlem River, from 1918, estimated at $100,000-150,000. It was previously in the collection of the Saint Louis Art Museum and in private hands since 2010. Other fine examples of American Impressionism include paintings of New York City by Colin Campbell Cooper and Edmund Greacen.

A superb Arthur Wesley Dow, Verge of the Abyss, depicts a rare view of the Grand Canyon painted in 1911-1912. Estimated at $80,000-120,000 this work will undoubtedly attract interest from private collectors and museums alike. The collection includes other 20th century paintings by Dale Nichols and John Atherton.

FREDERICK CARL FRIESEKE, American, 1874-1939, The Rose Gown, 1915, oil on canvas, signed, 32 x 32 in., estimate $80,000-120,000

From an Important Midwestern Collection of American Impressionism, Shannon’s will offer Frederick Carl Frieseke, The Rose Gown from 1915 and estimated at $80,000–120,000. This impressive 32 x 32-inch painting depicts a woman in a rose-colored dress holding a posy. Shannon’s has attracted a following for Frieseke with recent sales of Lady Trying on a Hat for $450,000 (2023) and Dressing for $112,500 (2024).

A local-view of Woodbury, Connecticut titled "The Road that Leads to Home”, by Willard Leroy Metcalf, will be offered at an attractive estimate of $80,000-120,000. A delightful Edward Henry Potthast of Children at Play on the Beach will be offered at $60,000-80,000. This Midwestern collection features another Ernest Lawson titled Winter Scene descended in the family of the artist and estimated at $20,000-30,000.

EMILY MASON, American, 1932-2019, Three Musicians, 1988, oil on canvas, signed, 50 x 48 in., estimate $40,000-60,000

A collection of five paintings by Emily Mason will headline the Modernist offerings in this auction. Mason painted in New York City and taught at Hunter College for over 30 years. Shannon’s will offer Three Musicians, a 50 x 40-inch, oil painting from 1988 at $40,000-60,000 and "Sudden Morn", 1981-82, a 40 x 36-inch, oil painting from 1981-82 at $30,000-50,000 alongside three works on paper.

An in-person preview of all of the works featured in the auction will be on display weekdays on October 14-23 and on Saturday, October 19th. Shannon’s is one of the few auction houses still producing richly illustrated color catalogs to promote their offerings. The eagerly anticipated catalog will be available in early October. Contact the auction house or sign up for the mailing list online.

The fall auction at Shannon’s will feature roughly 200 paintings, drawings, prints, and sculpture. Consignments for the auction are invited through September 15th. To join the mailing list and for updates on the October 24, 2024 Fine Art Auction visit shannons.com or follow them on social media.

Grand Spectacle! Entertainment in Belle Époque Paris

https://www.wardmoretti.art/usr/library/documents/main/press-release_grand-spectacle-at-ward-moretti-london.pdf

Ward Moretti, London 

23 September – 1 November 2024 

Ward Moretti is delighted to announce the exhibition Grand Spectacle! Entertainment in Belle Époque Paris, which will be on display at the gallery in St James’s London from 23September to 1November 2024. The so-called ‘Belle Époque’ (1871-1914) was a remarkably optimistic and fertile period for the arts, industry and global influence of Paris. With the flourishing of the French capital's theatres, cabarets, salons, music halls and circuses, Belle Époque Paris had something to tempt denizens and visitors from every level of society. La Ville Lumière oQered a seemingly endless source of inspiration and became a global centre for the arts and entertainment. This golden age of French culture was captured by the period’s greatest artists, drawn to the vibrant and innovative atmosphere. The optimism of the era, ultimately cut short by the First World War, gave rise to new and significant artistic styles: Post-Impressionism, Orphism, Fauvism and Cubism, among many others. 

The works in this exhibition by the likes of Toulouse-Lautrec, Picasso and Van Dongen provide a glimpse into the fleeting and captivating spectacles of the city at that time. In a 1904 watercolour by Picasso, Wagnerian soprano Suzanne Bloch poses dramatically in a crimson cloak. The American modern dancer and choreographer Loie Fuller, captured in her famous Serpentine Dance by Toulouse-Lautrec (c. 1892), supported newly arrived talent, such as the Japanese dancer Sada Yacco, and may even have commissioned Picasso’s drawing of her for an advertising poster (c.1900). Picasso also sketched the Can-can dancer Jane Avril, a favourite muse of Toulouse-Lautrec, for the magazine Le Frou Frou (1901), while Degas recorded the cabaret performances of singer Emilie Bécat, and society sculptor Paul Troubetskoy paid tribute to celebrated ballerina Anna Pavlova (c. 1912). 

 Among the highlights of this exhibition are two spectacular paintings of Belle Époque performers by celebrated Fauve Kees van Dongen. Shocking and stridently coloured, Danseuse Bohémienne (c. 1907) captures the zeitgeist of the era in its imagined Orientalism, inspired by a sultry dancer named Anita who performed in Montmartre’s red-light district. Even more unusual is Van Dongen’s Modjesko soprano singer (1907), which takes as its subject Claudius Modjesko, the stage name of the American born Black entertainer Edward Claude Thompson. Modjesko, known for his fine soprano voice and performances in female guise, found an enthusiastic welcome in Paris’s creative, and in many ways open-minded, artistic milieu. 

Pablo Picasso, Femme au Châle Rouge (Suzanne Bloch), 1904, pen and ink with watercolour on paper, 17.1x 11.1 cm

Kees Van Dongen, Modjesko Soprano Singer, 1907, oil on paper with gouache highlights laid down on canvas

Henri De Toulouse-Lautrec, Au music- hall: La Loïe Fuller, c. 1892, thinned oil on paper laid down on board laid down on panel, 47 x 33 cmE

 

Wayne Thiebaud: Art Comes from Art

 Legion of Honor

March 22–August 17, 2025

“I believe very much in the tradition that art comes from art and nothing else.” —Wayne Thiebaud

“You can do art history backwards or forwards; you can take your choice. Progress is not part of it. Variation, yes, and extension and all that, but progress? Phew. I don’t know how you’d beat any of that stuff, even from the cave period.” —Wayne Thiebaud

Artist Wayne Thiebaud (American, 1920–2021) was a self-described art “thief” who openly appropriated and reinterpreted old and new European and American paintings, believing that art history is a repository of ideas that connects artists of the past, present, and future. Organized by the Fine Arts Museums of San Francisco (the “Fine Arts Museums”) with generous loans by the Wayne Thiebaud Foundation, the forthcoming Wayne Thiebaud: Art Comes from Art, will be the first exhibition to spotlight the artist’s extensive engagement with art history throughout his six-decade-long career, offering crucial insights into his creative process. 

Opening on March 22, 2025, at the Legion of Honor, the exhibition will present Thiebaud’s thoughtful reinterpretations of historical and contemporary masterworks—some on public view for the first time—alongside images of the original paintings that served as source material. A series of rare works from the artist's personal art collection, by artists from the past and present who informed Thiebaud’s subjects and signature style, will also be on view. 

Wayne Thiebaud is a significant part of the Legion of Honor 100, a yearlong centennial celebration of the historic San Francisco landmark museum and its collections. By installing Wayne Thiebaud at the Legion of Honor amid the museum’s permanent collection, the exhibition highlights the history of art that served as a rich resource for Thiebaud.

“As a self-identified ‘thief,’ who mined the work of his predecessors and contemporaries, Wayne Thiebaud’s practice was deeply rooted in his study of art history, but this aspect of his work has never been explored,” said Thomas P. Campbell, Director and CEO of the Fine Arts Museums of San Francisco. “Over the course of the next year, as we reflect upon the Legion of Honor’s legacy as a center of art historical research and inspiration, Wayne Thiebaud: Art Comes from Art couldn’t be more timely.”

The exhibition will present 60 of Thiebaud’s wide-ranging reinterpretations of old and new European and American artworks, spanning from 1957 to 2020, with multiple paintings inspired by the same artist displayed together. Reference images of the original artworks, and insights provided by Thiebaud about the artists he drew inspiration from, will be presented alongside his works to provide deeper insights into his creative process.

The exhibition also will include a salon-style gallery featuring about 30 of Thiebaud’s copies after other artists, spanning from Rembrandt van Rijn to Édouard Manet to Giorgio Morandi, as well as approximately 40 original artworks spanning from Jean-Auguste-Dominique Ingres to Henri Matisse to Joan Mitchell, which he acquired for his personal collection. Thiebaud’s copies were largely made from reproductions that offered him inspiration and insights for his paintings, while his art collection enabled him to own and study original works by some of his heroes in real life.

“Wayne Thiebaud’s engagement with art history’s ‘bureau of standards’ through the practice of appropriation and reinterpretation revealed his belief that the world of art transcended limiting definitions of time and place, as well as progress,” said Timothy Anglin Burgard, exhibition curator as well as Distinguished Senior Curator and Ednah Root Curator in Charge of American Art at the Fine Arts Museums. “Viewed from this perspective, the entire global history of art, encompassing every movement and style, was as accessible, relevant, and inspiring to Thiebaud as contemporary art.”

Three significant works from Thiebaud’s personal collection were generously given to the Fine Arts Museums by the Wayne Thiebaud Foundation ahead of the exhibition. Two of these objects—Joan Mitchell’s Untitled (ca. 1957) and Jean-Auguste-Dominique Ingres’s Mrs. Fleetwood Pellew (Harriet Frances Webster) (1817), will be on public view for the first time during Wayne Thiebaud: Art Comes from Art.

About the Artist

 Wayne Thiebaud was born in Mesa, Arizona, raised in Southern California, and spent most of his career in Northern California. He first gained acclaim in 1962 with paintings depicting a colorful and quintessentially American array of bakery, cafeteria, delicatessen cases, and counters garnished with delicious—or dubious—foods. In the ensuing decades, Thiebaud tackled new subjects including figure groups and portraits, tightly arranged cityscapes, expansive landscapes, and poignant performing clowns. His abstract representations of the real world not only upended the art world’s perception of realism, but also challenged viewers to decide whether his perfectly posted subjects were worthy of admiration, criticism, or both.

Thiebaud was an influential and admired art and art history professor at Sacramento Junior College (now Sacramento City College) and later at the University of California, Davis. His legacy as an artist, teacher, and mentor significantly influenced the evolution of American art in the post-WWII decades. 

Images

Wayne Thiebaud "Betty Jean Thiebaud and Book," 1965-1969 Oil on canvas, 36 x 30 in. (91.44 x 76.2 cm) Crocker Art Museum, gift of Mr. and Mrs. Wayne Thiebaud, 1969.21 © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "35 Cent Masterworks," 1970-1972 Oil on canvas; 36 x 24 in. (91.44 x 60.96 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Buffet," 1972-1975 Oil on canvas, 48 1/8 x 60 1/8 in. (122.2 x 152.7 cm) San Francisco Museum of Modern Art, Gift of Jon and Shanna Brooks © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Photograph: Katherine Du Tiel

Wayne Thiebaud (1920 - 2021) "Three Machines," 1963 Oil on canvas, 30 x 36 1/2 in. (76.2 x 92.7 cm) Fine Arts Museums of San Francisco, Museum purchase, Walter H. and Phyllis J. Shorenstein Foundation Fund, the Roscoe and Margaret Oakes Income Fund, with additional funds from Claire E. Flagg, the Museum Society Auxiliary, Mr. and Mrs. George R. Roberts, Mr. and Mrs. John N. Rosekrans, Jr., Mr. and Mrs. Robert Bransten, Mr. and Mrs. Steven MacGregor Read, and Bobbie and Mike Wilsey, from the Morgan Flagg Collection, 1993.18 © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph by Randy Dodson, courtesy of the Fine Arts Museums of San Francisco.

Wayne Thiebaud "Canyon Mountains," 2011-2012 Oil on canvas; 66 1/8 x 54 1/8 in. (167.96 x 137.48 cm) San Francisco Museum of Modern Art, Purchase, by exchange, through fractional gifts of Gretchen and John Berggruen and Madeleine Haas Russell, and gift of the Thiebaud family © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Katherine Du Tiel

Wayne Thiebaud "Tapestry Skirt," 1976, reworked 1982, 2003 Oil on canvas; 42 x 42 in. (106.68 x 106.68 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "The Art Historian (G.C.)," 1971 Oil on board; 25 1/4 x 37 1/8 in. (64.135 x 94.298 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Five Seated Figures," 1965 Oil on canvas; 60 x 72 in. (152.4 x 182.88 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Confections," 1962 Oil on canvas; 16 x 20 in. (40.64 x 50.8 cm) San Francisco Museum of Modern Art, Gift of Byron R. Meyer © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Katherine Du Tiel

Wayne Thiebaud "Display Cakes," 1963 Oil on canvas; 28 x 38 in. (71.12 x 96.52 cm) San Francisco Museum of Modern Art, Mrs. Manfred Bransten Special Fund purchase © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Don Ross, Katherine Du Tiel

Wayne Thiebaud "Girl with Pink Hat," 1973 Oil on canvas; 36 x 29 1/2 in. (91.44 x 74.93 cm) San Francisco Museum of Modern Art, Gift of Jeannette Powell

© Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY Photograph: Katherine Du Tiel

Wayne Thiebaud "A Sunday on La Grande Jatte" (after Georges Seurat), 2000 Oil on board, 6 11/16 x 11 3/8 in. (16.986 x 28.893 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Model for the Bar at the Folies Bergère," (after Edouard Manet) Oil on masonite Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Wayne Thiebaud "Supper at Emmaus," (after Rembrandt van Rijn) Oil on masonite; 15 13/16 x 14 3/16 in. (40.164 x 36.036 cm) Wayne Thiebaud Foundation

© Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

Willem de Kooning "Woman," ca. 1962-1963 Oil on paper mounted on board; 24 1/2 x 13 in. (62.23 x 33.02 cm) Wayne Thiebaud Foundation

Wayne Thiebaud "Bar-B-Qued Chickens," 1961 Oil on canvas; 19 x 24 in. (48.26 x 60.96 cm) Wayne Thiebaud Foundation © Wayne Thiebaud Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY © The Willem de Kooning Foundation/ Artists Rights Society (ARS), New York

https://photos.app.goo.gl/xtUsLp2K2BdV8ZYm9