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× Willem de Kooning (1904-1997) with Door 1964, $6,250.00
- 1 +
$6,250.00
× Road to Hope Lake $4,800.00
- 1 +
$4,800.00
× Blue Moods $18,000.00
- 1 +
$18,000.00
× Rolling Right $6,500.00
- 1 +
$6,500.00
× The Mark of Beauty $1,250.00
- 1 +
$1,250.00
× Day Series 32 $450.00
- 1 +
$450.00
× Leander M. Dudley singing freedom songs with fellow teenagers, Lownders County, Alabama, March 22nd, 1965 $2,350.00
- 1 +
$2,350.00
× Untitled $5,000.00
- 1 +
$5,000.00
× Winter Sentinel $4,400.00
- 1 +
$4,400.00
× Matilija Poppy 1 $650.00
- 1 +
$650.00
× Philip Guston (1913 -1980), Maverick Road Studio, Woodstock, New York, 1964 $1,500.00
- 1 +
$1,500.00
× Two Dark Plums $4,800.00
- 1 +
$4,800.00
× Louise Nevelson (1899-1988), Murray Hill studio, New York, 1958, 6/10 $8,000.00
- 1 +
$8,000.00
× Willem De Kooning (1904-1997), Ruth Kligman (1930 -2010), at the Big Deep in Woodstock, NY, Philip Guston on left, Herman Cherry in white shirt, Ed Chavez in forground, 1955 $2,800.00
- 1 +
$2,800.00
× Lone Aspen, Ophir, Colorado $3,400.00
- 1 +
$3,400.00
× Lee Bontecou (1931- ), Wooster Street Studio, New York, 1964 $1,625.00
- 1 +
$1,625.00
× Yes, Yes, Yes $7,500.00
- 1 +
$7,500.00
× Quintella Harrell, age 10, with her Sisters and Fellow Students Protesting for Voting Rights, Selma, March 3rd, 1965 $2,350.00
- 1 +
$2,350.00
× Red Pears $4,200.00
- 1 +
$4,200.00
× Homer $3,500.00
- 1 +
$3,500.00
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Product Subtotal
Willem de Kooning (1904-1997) with Door 1964,  × 1 $6,250.00
Road to Hope Lake  × 1 $4,800.00
Blue Moods  × 1 $18,000.00
Rolling Right  × 1 $6,500.00
The Mark of Beauty  × 1 $1,250.00
Day Series 32  × 1 $450.00
Leander M. Dudley singing freedom songs with fellow teenagers, Lownders County, Alabama, March 22nd, 1965  × 1 $2,350.00
Untitled  × 1 $5,000.00
Winter Sentinel  × 1 $4,400.00
Matilija Poppy 1  × 1 $650.00
Philip Guston (1913 -1980), Maverick Road Studio, Woodstock, New York, 1964  × 1 $1,500.00
Two Dark Plums  × 1 $4,800.00
Louise Nevelson (1899-1988), Murray Hill studio, New York, 1958, 6/10  × 1 $8,000.00
Willem De Kooning (1904-1997), Ruth Kligman (1930 -2010), at the Big Deep in Woodstock, NY, Philip Guston on left, Herman Cherry in white shirt, Ed Chavez in forground, 1955  × 1 $2,800.00
Lone Aspen, Ophir, Colorado  × 1 $3,400.00
Lee Bontecou (1931- ), Wooster Street Studio, New York, 1964  × 1 $1,625.00
Yes, Yes, Yes  × 1 $7,500.00
Quintella Harrell, age 10, with her Sisters and Fellow Students Protesting for Voting Rights, Selma, March 3rd, 1965  × 1 $2,350.00
Red Pears  × 1 $4,200.00
Homer  × 1 $3,500.00
Subtotal $89,325.00
Total $89,325.00
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20

New York Trac

2003
Digital Pigment Print on Smooth Fine Art Paper, Limited Edition of 15, AP 3 of 4
Framed 23 x 28 in.
58.4 x 71.1 cm

Considered one of the foremost postwar abstract painters in the Southern California scene,  working alongside a generation of artists known as the “cool school,” Ed Moses was engaged in what he saw as a continual process of discovery for more than half a century. As he  described, “Painting is like discovery, trying this, trying that, bending this, twirling that, and  then every once in awhile it goes bing!” His compositions include Braque-inspired semi-representational scenes, abstract allover patterns, color fields and hard-edged geometric  shapes. In the catalog of Moses’ 1996 retrospective exhibition of paintings and drawings  at Los Angeles’ Museum of Contemporary Art, critic John Yau wrote, “The diversity he has achieved is unparalleled among contemporary abstract artists. And within this diversity is an emotional range that is also unparalleled.” For Moses, however, success was secondary to  the pleasure of painting itself. 

Moses was a spiritual descendant of the Abstract Expressionists and a student of Buddhism  who meditated daily, and blazed his own trail to aesthetic truth. Working with unconventional materials and tools, including mops, hoses and rubber scrapers, he painted behind his  house in Venice, where he lived for more than 30 years, or on an open-air concrete slab and  in a barn-like studio. As his career evolved, he produced intricately crafted diagonal grids as  well as splashy gestural works. 

“My thought is that the artist functions in a tribal context, that he is the shaman. When the  urban life came in, tribes no longer existed … but there was still a genetic core of shamans,  of magic men, broken loose and genetically floating around. And when they had this gene,  they shook the rattles. The shamans were the interpreters of the unknown, they reacted to  the unknown with symbols and objects and wall painting. And that’s where it all came from.  That’s where I came from, but when you’re a young man you don’t know that.” -Ed Moses 

$6,500.00

1 in stock

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Telluride Gallery of Fine Art

130 East Colorado Avenue
Telluride, CO 81435

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Sunday: 12pm – 6pm
Monday: Open by appointment

Copyright 2025 © All rights Reserved. Made with ♥ Mandala Creative
Copyright 2025 © All rights Reserved.
Made with ♥ Mandala Creative