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Desiree's Picks
Consignment Director, Prints & Multiples, Beverly Hills
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The Souper Dress is an exciting piece to own if you want a Pop Art collectible! A wearable homage to Andy Warhol's legendary Campbell's Soup Cans, this dress was produced as a promotional item. This A-line dress exemplifies the era's fascination with mass production, consumerism, and disposable fashion. Its bold, repetitive soup label motif captures the spirit of Warhol's art philosophy — blurring the lines between high art and everyday objects. Both playful and provocative, the Souper Dress stands as a quintessential example of Pop Art's reach beyond the gallery and into the world of fashion and advertising.
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Wiley's Eerie Grotto? Okini exemplifies the artist's signature blend of wit, symbolism, and layered visual storytelling. A leading figure of the Bay Area Funk movement, Wiley infused his works with cryptic wordplay, surreal imagery, and philosophical undercurrents. In this print you can see intricate linework and fantastical forms combine in a dreamlike space, inviting viewers into a narrative both playful and profound. The inclusion of "Okini" — a Japanese expression of gratitude — adds a cross-cultural dimension that deepens the work's enigmatic charm.
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Rebecca's Picks
Rebecca Lax | Consignment Director, Prints & Multiples, New York
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Françoise Gilot though famously and perpetually linked to Pablo Picasso, was very much her own artist. In this color lithograph of a still life with flowers, her distinctive illustrative style exudes a futuristic charm with a George Jetson flair.
I had the privilege of meeting Gilot in the late 1980s when she rented Solo Press, the lithographic printshop founded by Judith Solodkin-the first female graduate of the Tamarind Institute. Gilot used the studio for several private monoprinting sessions. She was, without question, the most approachable, gracious, and enigmatically compelling woman of artworld fame I have ever encountered.
Gilot lived on Central Park South in New York City and was the mother of Paloma Picasso, the celebrated Tiffany & Co. jewelry designer, and her son, Claude Picasso, who led the Picasso Foundation until his death on August 23, 2024.
If you want a behind-the-scenes look at her life with the famed — and infamous — Picasso, read My Life with Picasso, published in 1964. Gilot was the "woman who said no," and the only one who left him.
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Kelly Walker is a post-conceptual artist from Georgia, currently based in New York City, whose work explores the intersections of race, consumerism, and social media through politically charged imagery. This edition, crafted from paper, transforms into a sculptural piece that can lean against the wall, with a depth of 1 ½ inches and printing on all surfaces. Published by Universal Limited Artist Editions, the respected printshop in Long Island with an archive of editions housed at MoMA, NYC. This edition release followed Walker's provocative 2016 exhibition at the Contemporary Art Museum St. Louis.
Walker's work often incorporates diverse flesh tones, uses images of bricks as building blocks, and in some series - uses chocolate as a medium, creating powerful, layered commentary on contemporary societal issues. The works in his St. Louis exhibition directly addressed the racial tensions and police violence against Black Americans and was met with public backlash. His artistic expression as conceptual commentary also furthered discussions and intensified the rise of the Black Lives Matter movement. The public reaction to his work echoes the controversy sparked by Dana Schutz's 2017 painting "Open Casket," which depicted Emmett Till, a Black child murdered in 1955. Schutz's painting faced protests due to its sensitive subject matter and the fact that it was created by a white artist,
stirring similar debates about race, representation, and artistic authority.
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Taylor's Picks
Taylor Gattinella | Consignment Director, Modern & Contemporary Art, New York
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Man Ray's Cela Vit (Portrait of Marcel Duchamp) was published as part of the portfolio Monument à Marcel Duchamp et Christophe Colomb. The work features a ghostly, enigmatic image of Duchamp, emphasizing his mythic presence in the world of modern art. The title, Cela Vit ("It Lives"), evokes the idea of enduring artistic influence and the blurred boundaries between life, art, and identity, which were central themes in both Duchamp's and Man Ray's practices. As a tribute, the piece not only immortalizes Duchamp but also underscores their long-standing friendship and shared role in the Dada and Surrealist movements.
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Another portrait of an artist, Elizabeth Peyton's Frida from 2007 is a delicate etching that captures the iconic Mexican artist Frida Kahlo with Peyton's signature blend of intimacy and reverence. Known for her focus on cultural figures, Peyton renders Kahlo with soft, expressive lines that highlight her introspective presence and enduring influence. The etching bridges historical and contemporary portraiture, emphasizing Kahlo's role as both a personal muse and a feminist symbol. Through this work, Peyton contributes to the ongoing dialogue around identity, legacy, and artistic admiration.
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Frank's Pick
Vice President, Modern & Contemporary Art
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Only 55 editions of this piece exist, and one of them is housed at the Victoria and Albert Museum in London. The V&A is one of the most prestigious design museums in the world, and Hancock's inclusion there says a lot about how the art world is beginning to recognize the cultural power of narratives like his — especially ones rooted in Black Southern experience, personal mythology, and hybrid identities.
A seemingly innocent flower bed becomes the site of a tragic origin story — the slaughter of the peaceful Mounds by the militant Vegans. The "Prelude to Damnation" signals the beginning of a moral and spiritual fall in his mythic universe, transforming a place of growth and beauty into one of loss and foreboding.
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Holly's Pick
Vice President, Modern & Contemporary Art, West Coast
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Marc Chagall's fascination with the circus began in his childhood in Vitebsk, where traveling performers left a lasting impression. In Paris, he often attended the Cirque d'Hiver with art dealer Ambroise???Vollard and sketched clowns, acrobats, and riders who became central to his imagery. For Chagall, the circus symbolized both joy and sorrow, with performers expressing the full spectrum of human emotion. Between 1962 and 1967, he created the Le???Cirque suite of 38 lithographs at Atelier???Mourlot, published by Tériade. The Frontispiece
features a floating woman surrounded by musicians, animals, and spectators. Chagall famously said, "The circus is the most tragic representation in my mind. Through these centuries, it is the highest pitched cry in man's search for amusement and joy".
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Hannah's Picks
Hannah Ziesmann | Cataloger and Associate Specialist, Fine Arts, Dallas
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Richard Bernstein's Back Room at Max's Kansas City, New York
captures the electric glamour and surreal theatricality of one of New York's most legendary haunts. Rendered in luminous tones of saturated red and shadowed gray, the lithograph depicts the iconic back room of Max's, a late-night sanctuary for Warhol superstars, artists, and rock icons of the 1970s. Bernstein's stylized precision and dramatic lighting transform the vacant tables and fluorescent fixtures into a stage set humming with the residue of celebrity and excess. Though empty, the room feels alive, buzzing with the ghosts of conversations, performances, and provocation. Known for his bold graphic sensibility and associations with Interview magazine, Bernstein here offers a portrait not of people, but of atmosphere-one that vibrates with New York cool, decadence, and downtown
mythology.
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Christo and Jeanne-Claude's monumental installations did not just sit on the land — they flowed through it, wrapped around it, enveloped it, and redefined how humanity saw it. In these photographs by Wolfgang Volz, their longtime collaborator and documentarian, viewers witness moments when entire environments were temporarily claimed by art: islands haloed in shocking pink, a canyon cleaved by a curtain of blood-orange fabric, a popular thoroughfare swaddled with luminous white nylon. These interventions were massive, physical, and fleeting - part sculpture, part performance, part confrontation with scale and place. Volz's images capture not only the scale of these transformations but their tension and awe: fabric pulled taut against the wind, water glinting with unnatural color,
the earth itself becoming canvas. Now that the installations have vanished from the physical world, Volz's photographs stand as the enduring record, both witness and evidence of the artists' radical, landscape-altering vision.
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Desiree Pakravan
Consignment Director,
Prints & Multiples,
Beverly Hills
DesireeP@HA.com
(310) 492-8621
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Rebecca Lax
Consignment Director,
Prints & Multiples,
New York
BeckyL@HA.com
(212) 486-3736
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Taylor Gattinella
Consignment Director,
Modern & Contemporary Art,
New York
TaylorG@HA.com
(212) 486-3681
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Frank Hettig
Vice President, Modern & Contemporary Art
FrankH@HA.com
(214) 409-1157
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Holly Sherratt
Vice President, Modern & Contemporary Art,
West Coast
HollyS@HA.com
(415) 548-5921
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Hannah Ziesmann
Cataloger and Associate Specialist,
Fine Arts, Dallas
HannahZ@HA.com
(214) 409-1162
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