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Art Under $100,000

July 25, 2024 – January 31, 2025

Palm Desert, CA

Art-for-every-collector

“I wore my Tanguy earrings and one made by Calder in order to show my impartiality between Surrealist and abstract art.” – Peggy Guggenheim

Explore incredible works by some of the most important artists. Our selection below is a diverse mix of unique paintings, one-of-a-kind works on paper, limited edition prints, and eye-catching sculptures. You will find a bounty of possibilities for yourself or as a gift. Whether an Old Master painting, Pop Art print, Modern work on paper, or Contemporary sculpture, there’s a delightful acquisition for everyone in our selection.

Find works by artists from Ansel Adams to Andy Warhol, artworks from photographs to Abstract Expressionist paintings, and periods from antiquity to today.

Can’t find what you are looking for? Reach out to us and we’d be happy to find the right piece for you.

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SELECTION OF ARTWORK

It is remarkable the speed with which the art world embraced Andy Warhol after July 1962 when his paintings of thirty-six paintings of Campbell's Soup Cans were displayed at The Ferus Gallery in Los Angeles. Among his last hand-painted works, Warhol soon discovered silkscreen, the medium with which he is most closely associated. Whereas the handcrafted soup-can paintings look mechanically produced, the silkscreen was a mechanical and commercial process that enabled Warhol to produce unlimited precise repetitions and variations of key subjects. As one of the 32 original varieties, Vegetable remains a pop culture phenomenon, turning up on everything from plates and mugs to neckties, t-shirts, and surfboards.

Campbell's Soup I: Vegetable Soup

40 x 28 1/2 in.

screenprint on paper

Edition: 198/250

Wayne Thiebaud is widely admired as a painter. Yet his ability as a draftsman is equally compelling and particularly evident in lithography, an autographic medium celebrated for documenting an artist's every gesture. As Paint Cans fully demonstrates, lithography also provides the freedom to layer texturally and with colors to achieve a canny representation of an artist's articulated intentions. In composition, "Paint Cans" displays Thiebaud's keen sense of order, deriving from an emphasis on focal points and directional lines that demonstrate the unique ways he can highlight a grouping of everyday items. It is yet another work that amazes the viewer with his highly detailed technique and skills.

38 3/4 x 29 1/8 in.

lithograph in colors on wove paper

Edition: 13/100

The essential and dramatic declaration “Let there be light” of Genesis is not so far removed from Mary Corse’s recollection of the moment in 1968 when the late afternoon sun electrified the reflective road markings of Malibu as she drove east. In an instant, the glowing asphalt markings provided the oracle she needed to realize she could ‘put light in the painting and not just make a picture of light’. Using the same glass microbeads utilized by road maintenance services, she layers and embeds the prismatic material in bands and geometric configurations creating nuanced glimmering abstract fields which shift as the viewer moves in relationship to the work. Move to one side and dimness brightens to light. Walk back and forth and you might feel a rippling effect from its shimmering, prismatic effects.
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<br>A photographic image of a Mary Corse microsphere painting is not only a dull representation, but it also misses the point – it is experience dependent art that requires participation to ‘be’. Of course, “Untitled” (1975) defies that one-point static perspective and instead, depends upon a real time, interactive art experience which heightens awareness of the body in space as the viewer experiences shifts of retinal stimulation, sensation and feeling. It is a rare bird. Unusually petite at two-foot square, its design, geometry and color belie her earlier revelation that led to a devotion to her usual reductive palette. Instead, it is a bold statement in sequined color, its center field bounded at the corners by a sparkling red stepped motif that separates it from its starry night sky corner spandrels. It may not include a star motif, but it has the glamour and presence that belongs along Hollywood’s Walk of Fame.

acrylic and diamond dust on canvas

CHARLES ARNOLDI - Sticky Wicket - acrylic, modeling paste and sticks on plywood - 44 1/4 x 91 x 3 in.

CHARLES ARNOLDI

44 1/4 x 91 x 3 in.

acrylic, modeling paste and sticks on plywood

CARLOS LUNA - La Mia (1225 OC) - oil on canvas - 47 x 58 in.

La Mia (1225 OC)

<div><font face=Calibri size=3 color=black>Trace a line from Alexander Calder to the kinetic achievements of George Rickey, and it is clear both are engineers of beauty. Their creations are feats of invention and artistry that honor our experience of them. The present Rickey sculpture "Eight Lines II – Sketch for Twenty-Four Lines" exemplifies the artist's intentions to bridge the gap between engineering precision and artistic expression, offering a mesmerizing display of motion and balance. Measuring 57 inches by 54 inches by 54 inches, the arms of this sculpture move within spherical parameters deliberately yet unpredictably, responding to the slightest movement of air. This intricate dance of elements, driven by natural forces, transforms the sculpture into a dynamic interplay of mechanical precision and organic fluidity.</font></div>
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<br><div><font face=Calibri size=3 color=black>A generation removed from Calder, Rickey came of age during World War II and widespread devastation. Ironically, yet without apology, Rickey honed his skills in precision and complex mechanical systems due to his military experience as a design technician focusing on the maintenance and instruction of aircraft gun turrets. These skills, of course, would later serve him well in fashioning his kinetic sculptures. With that in mind, the precise engineering and organic movement inherent in a Rickey kinetic sculpture symbolizes a bridge between destruction and renewal and serves as a testament to the resilience and innovative spirit of the post-war ethos.</font></div>
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<br><div><font face=Calibri size=3 color=black>With its radiating arms extending in multiple directions, "Eight Lines II – Sketch for Twenty-Four Lines" captures the essence of Rickey's meticulous design and engineering prowess. A design full of complexities, each arm, crafted from sleek stainless steel, moves gracefully, reflecting light and creating an ever-changing visual experience. This attention to detail highlights Rickey's skill in making connections that allow fluid movement while maintaining structural integrity.</font></div>

Eight Lines II---Sketch for Twenty Four Lines

57 3/4 x 54 x 54 in.

stainless steel

ANSEL ADAMS - Moon and Half Dome, Yosemite, CA - silver gelatin print - 19 x 14 1/2 in.

Moon and Half Dome, Yosemite, CA

1960, printed 1970

19 x 14 1/2 in.

silver gelatin print

Op Art evolved as an alternative trend in painting to the abstract expressionist movement of the 1950s. The genesis of the movement was in the 1960s, when artists such as Victor Vasarely, Bridget Riley, and Richard Anuszkiewicz embraced a more structured and geometric approach to their painting, often using visual tricks to create a sense of movement. While the artistic and spiritual predecessors to OP Art, such as Josef Albers (!888-1976), utilized a softer and more subdued approach, the Op Artists were using bold, large-scale works with variable dimensions to create their visual statement.
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<br>A student of Albers, Richard Anuszkiewicz, used enamel and acrylic paint on wood in such a way to create his uncompromising and exact compositions. A great sense of action can be felt in the present work, "Translumina". The sister piece to "Translumina," "Translumina II" (1986), is in the permanent collection of the Albright-Knox Art Gallery, Buffalo.

RICHARD ANUSZKIEWICZ

acrylic on wood

EDGAR ALWIN PAYNE - Venetian Boats at Sotto Marino - oil on panel - 23 3/8 x 26 1/4 in.

EDGAR ALWIN PAYNE

Venetian Boats at Sotto Marino

23 3/8 x 26 1/4 in.

<div><font size=3 color=black>Harry Bertoia's “Sonambient” sculptures are renowned for their meditative qualities, inviting viewers into a serene and contemplative state. Among the five “Sonambients” in our exhibition, even this most petite sculpture stands out with its remarkable sonic capabilities. This work, with its 64 tines, each capped with long, slender finials, produces a high-timbered sonority that is surprisingly robust. The delicate yet powerful sound offers an auditory experience that encourages reflection and heightened awareness.</font></div>
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<br><div><font size=3 color=black>A pivotal aspect of the “Sonambient” sculptures' evolution was the involvement of Bertoia's brother, Oreste, whose expertise as a musician enabled him to help Harry reconceptualize these sculptures, not just as visual or kinetic art but as instruments capable of producing an immersive soundscape. This collaboration highlighted the interdisciplinary nature of Bertoia's work, merging the worlds of sculpture and music. Experimenting with rods and tines of different metals, varying in length and thickness, he discovered a wide range of tones and textural droning sounds. Exhilarated by their ethereal, otherworldly resonance and his brother's encouragement, Bertoia filled his historic barn in Bally, Pennsylvania, with more than sixty “Sonambient” sculptures. It became a kind of orchestral studio and laboratory where he recorded albums and held concerts, and the once lowly barn became a hallowed place—a chapel of sorts—where visitors experienced it as a pilgrimage and a place of profound inspiration and meditation.</font></div>

Untitled (Sounding Sculpture)

40 1/2 x 8 x 8 in.

MARILYN MINTER - After Hours - chromogenic print - 85 1/2 x 55 3/4 in.

85 1/2 x 55 3/4 in.

chromogenic print

MARY ABBOTT - Untitled - oil and oil stick on paper mounted to canvas - 23 x 29 in.

oil and oil stick on paper mounted to canvas

Karl Benjamin and his peers Lorser Feitelson, Frederick Hammersley, and John McLaughlin hold a distinctive place in the history of American abstract art. Known for their precise, geometric forms and clean edges emphasizing flatness, they are California's Hard-edge painters who emerged in the late 1950s. Unlike Ellsworth Kelly, for example, their work reflects a brightness, clarity, and palette that suggests California's natural and built environment rather than the more urban and industrial influences felt on the East Coast. Furthermore, compared to the competitive art scene on the East Coast, the California group was a relatively small and close-knit community of artists with a sense of collaboration and shared exploration that contributed to a cohesive movement with a distinct identity.

From the late 1950s until the mid-1960s, Ray Parker's early contributions to Color Field painting stand out remarkably for their vibrant, fresh quality. Parker arranged two or more robust, rough-edged color blocks using a vigorous, brushy technique on large canvases prepped with gesso. These blocks, rendered in saturated yet subtly vibrant colors, exhibit a distinct energy. While Parker's compositions may remind one of Rothko's, how the color is delivered — solidly and forcefully — sets them apart. Maintaining the grand scale and dynamism of the New York School, Parker's work diverges by forgoing the emotional intensity often associated with Abstract Expressionism and embraces a vision of the movement devoid of its typical pathos.

30 1/8 x 23 1/4 in.

ANDY WARHOL - Blackglama (Judy Garland) - screenprint - 38 x 38 in.

Blackglama (Judy Garland)

Edition: 93/190

OLAF WIEGHORST - Apaches - oil on canvas - 20 x 24 in.

LEROY NEIMAN - Equestrian Horseman - mixed media on paper - 22 x 28 in.

Equestrian Horseman

mixed media on paper

CHUCK CLOSE - Kate - archival pigment print - 32 x 24 in.

archival pigment print

MEL RAMOS - Tomato Catsup; A.C. Annie; Lola Cola; Tobacco Red - four offset lithographs printed in colors - 30 3/4 x 25 1/4 in. ea.

Tomato Catsup; A.C. Annie; Lola Cola; Tobacco Red

30 3/4 x 25 1/4 in. ea.

four offset lithographs printed in colors

KENNETH NOLAND - Winds 82-23 - painted monotype on handmade paper - 86 1/2 x 31 3/8 in.

86 1/2 x 31 3/8 in.

painted monotype on handmade paper

HERB ALPERT - Human Nature - bronze - 44 x 10 x 7 in.

44 x 10 x 7 in.

LAWRENCE SCHILLER - 1 Boxed Set of 12 Marilyn Images - 2 color c-prints, 10 silver gelating prints - 24 x 20 in. ea.

LAWRENCE SCHILLER

1 Boxed Set of 12 Marilyn Images

24 x 20 in. ea.

2 color c-prints, 10 silver gelating prints

PABLO PICASSO - Femme assise en pyjama de plage - linocut - 21 1/2 x 17 in.

Femme assise en pyjama de plage

21 1/2 x 17 in.

Edition: 47/100

JULIAN OPIE - Bijou Gets Undressed 8 - screenprint on Fedrigoni Sirio paper - 20 1/2 x 38 1/8 in.

Bijou Gets Undressed 8

20 1/2 x 38 1/8 in.

screenprint on Fedrigoni Sirio paper

This is a royal procession scene from a medieval, Indian temple. The central rider wears an embellished helmet, or crown, that is indicative of his royal status. He is accompanied on either side by two companions, both of whom turn to face him out of deference. On the frieze behind the riders, a throng of supporters watches the procession. The carver has conveyed a sense of depth both by placing the followers on a ledge behind the main figures and by making these secondary figures smaller in scale. While this technique lacks the sophistication of, for instance, classical Greco-Roman friezes, the artist still achieves a sense of depth and perspective while providing space in which to depict the horses and central figures in a voluminous manner. In addition, the carver reveals particular skill in the detail work on the horses’ saddles and harnesses and on the riders’ boots and armored leggings.

Procession with Horses

CHINESE - Sancai-Glazed Official - glazed pottery - Height: 34 in.

Sancai-Glazed Official

Tang Dyansty (618-

MERION ESTES - Sky Blue Sky - fabric collage and acrylic paint on panel - 80 x 60 x 1 3/4 in.

80 x 60 x 1 3/4 in.

fabric collage and acrylic paint on panel

LOUISE NEVELSON - Canada Series - plexiglass with metal fasteners - 44 1/4 x 31 x 11 1/2 in.

LOUISE NEVELSON

44 1/4 x 31 x 11 1/2 in.

plexiglass with metal fasteners

EDWARD WESTON - Charis, Santa Monica - gelatin silver print - 9 1/2 x 7 1/2 in.

Charis, Santa Monica

1936, Printed c. e

9 1/2 x 7 1/2 in.

gelatin silver print

JACK ROTH - Untitled - acrylic on canvas - 18 x 30 1/8 in.

18 x 30 1/8 in.

acrylic on canvas

JAPANESE - Dog and Wagon Embroidery - silk and gold thread embroidery - 88 1/2 x 48 1/2 in.

Dog and Wagon Embroidery

88 1/2 x 48 1/2 in.

silk and gold thread embroidery

JAPANESE - 6 Panel Japanese Byobu - paper and wood - 67 1/2 x 146 in.

6 Panel Japanese Byobu

Meiji/Taisho perio

67 1/2 x 146 in.

LAWRENCE SCHILLER - Robert Kennedy, San Diego - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

Robert Kennedy, San Diego

vintage silver gelatin photograph

ANDY WARHOL - Cow, 1976 - screenprint on wallpaper - 42 7/8 x 27 7/8 in.

42 7/8 x 27 7/8 in.

screenprint on wallpaper

PAUL JENKINS - Phenomena Procession Falls - watercolor on paper - 41 3/4 x 30 in.

Phenomena Procession Falls

41 3/4 x 30 in.

watercolor on paper

LAWRENCE SCHILLER - Barbra Streisand (fur hat) - vintage silver gelatin photograph - 11 x 14 in.

LAWRENCE SCHILLER

Barbra Streisand (fur hat)

vintage silver gelatin photograph

ROY LICHTENSTEIN - Haystack #6 - lithograph - 13 1/4 x 23 1/2 in.

ROY LICHTENSTEIN

13 1/4 x 23 1/2 in.

Edition: 32/100

PAUL JENKINS - Untitled - watercolor and ink on paper - 29 3/4 x 42 3/4 in.

29 3/4 x 42 3/4 in.

watercolor and ink on paper

ROBERT MOTHERWELL - Frontispiece from" A la Pintura" - aquatint - 25 3/4 x 37 3/4 in.

ROBERT MOTHERWELL

Frontispiece from" A la Pintura"

25 3/4 x 37 3/4 in.

GRANT WOOD - July Fifteenth - lithograph - 9 3/4 x 12 1/2 in.

9 3/4 x 12 1/2 in.

RUSSELL YOUNG - Marilyn Portrait - screenprint on linen with diamond dust - 35 3/4 x 27 3/4 in.

Marilyn Portrait

35 3/4 x 27 3/4 in.

screenprint on linen with diamond dust

Edition: HX2014

WILLIAM WEGMAN - Double Portrait - silver gelatin print - 7 1/4 x 6 3/4 in.

Double Portrait

7 1/4 x 6 3/4 in.

silver gelatin print

JIM DINE - Robe Against Desert Sky - lithograph and screenprint with handcoloring - 41 3/4 x 29 1/2 in.

Robe Against Desert Sky

41 3/4 x 29 1/2 in.

lithograph and screenprint with handcoloring

ADOLPH GOTTLIEB - Expanding - color screenprint - 24 x 18 in.

ADOLPH GOTTLIEB

color screenprint

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