Selected Works

Lois Dodd

oil on masonite, 22 × 12 in

Available/Price on request

Dodd's window paintings turn ordinary interiors and seasonal views into compact studies of light, weather, and framing. January Window gives the selection a quiet anchor: an intimate oil on masonite that reads as both observed winter view and formal construction.

Joan Semmel

Oil on canvas, 52 × 60 in

Available/Price on request

Painted before Semmel's 1970s feminist figurative turn, Movement belongs to the early abstract phase now increasingly relevant to reassessments of her career. Its all-over energy connects her to postwar abstraction while anticipating the physical intensity of the later work.

Joan Semmel

Oil on canvas, 50 × 50 in

Available/Price on request

Image #1 offers another view of Semmel's rarely seen early abstraction, made before the self-viewpoint paintings for which she became best known. The work is best understood as early-career abstract painting: direct, physical, and formally ambitious.

George Morrison

Acrylic on canvas on board, 6 × 11.75 in

Available/Price on request

A compact Red Rock Variation from Morrison's late Lake Superior landscape body, built around the horizon line that became one of his signature structures. The small scale concentrates the meeting of water, sky, and shore into a quiet abstract field.

George Morrison

Acrylic on canvas on board, 4.75 × 15 in

Available/Price on request

This late Lake Superior landscape belongs to Morrison's mature horizon vocabulary, where bands of color and surface carry the memory of Red Rock and the North Shore. It reads as landscape through structure rather than description.

George Morrison

Acrylic on canvas on board, 5.5 × 11 in

Available/Price on request

Soft Afternoon is another intimate Red Rock Variation, linking Morrison's modernist abstraction to the specific horizon and light of Lake Superior. Its modest size makes the work especially direct.

George Morrison

Watercolor on paper, 11 × 13 in

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This 1960 watercolor catches Morrison in a more immediate works-on-paper register, before the late Red Rock horizon paintings but still grounded in abstraction, compression, and atmospheric structure.

Joan Snyder

graphite, ink, gouache, and pastel on paper, 19 × 26 in

Available/Price on request

A 1970 work on paper by Snyder sits near the emergence of her Stroke paintings, where gridded structure and repeated marks opened abstraction to narrative, autobiography, and feminist content. Here, line and rhythm carry the charge.

Sonia Gechtoff

Acrylic and graphite on paper, 28.00 × 20.00 in.

Available/Price on request

Gechtoff was a central Bay Area and New York Abstract Expressionist whose forceful gesture and graphic structure carried into later works on paper. Chamber VI brings that energy into a compact, concentrated format.

Lee Gatch

Oil on canvas, 22 1/8 × 11 ¼ in

Available/Price on request

Gatch's midcentury painting moved between representation and abstraction, often finding modernist structure in nature and domestic subjects. The Peach reads as an intimate, independent American modernist painting rather than a work tied too tightly to a named movement.

Gerald K. Geerlings

Etching and aquatint, 15 1/2 × 11 5/8 in

Available/Price on request

Geerlings trained as an architect before becoming one of the sharpest American printmakers of modern city architecture. Jewelled City (Chicago) uses etching and aquatint to turn Chicago's illuminated skyline into a Machine Age night view.

M.C. Escher

lithograph, image: 10 7/8 x 11 1/2 in (27.7 x 29.2 cm)

Available/Price on request

Relativity is one of Escher's defining impossible-architecture lithographs, bringing three gravitational systems into a single stair-filled interior. This impression is signed and numbered in pencil in the lower margin, No. 12/50 II, with Escher's monogram and VII-'53 in the image.