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Jean-Michel Basquiat Mark Bradford Alexander Calder John Chamberlain Christo George Condo Willem de Kooning Jim Dine Sam Francis Adolph Gottlieb Keith Haring Damien Hirst Robert Indiana Alex Katz Jeff Koons Yayoi Kusama Roy Lichtenstein John McCracken Joan Mitchell Takashi Murakami Yoshitomo Nara Kenneth Noland Robert Rauschenberg Gerhard Richter Ed Ruscha Sean Scully Richard Serra Frank Stella Andy Warhol


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‘Enlightenment’ is a surreal and whimsical depiction of the intricate mechanisms of the human brain. “It‘s a whimsical analogy between the fireflies light-dance and the neurons synaptic connections and their inner communication patterns through energy. It’s mesmerizing that each of these neurons holds a specific relationship with their neighbor neuron. Unbeknown to them, by fulfilling their design, a superior purpose is in the making. They will never perceive that by doing their little light-dance, thoughts, creativity and consciousness unveil”

Manolis Projects is Florida’s largest working studio and fine art gallery, located in Miami’s Lemon City neighborhood. We proudly feature unique paintings, sculptures and collectible limited edition works from over 40 artists from around the world. We focus on modern masters and contemporary art, bridging the gap between established and emerging artists and collectors. Please contact us with any inquiries at 917-971-3201

Enlightenment by Samuel Gomez, 2019

Acrylic, charcoal, ink, 3D objects and gold leaf on canvas | 96”H x 120”W

“ I question a world where all events and

affairs seem systematic and guided... without a clear compass on the horizon, it’s just chaos. - Samuel Gomez

Christopher Martin | MERKABA | acrylic on honed acrylic | 96 x 96 in.

Christopher Martin Gallery

Steve Wrubel | RUTHERFORD | framed limited edition archival fine art print | available in two sizes: 42 x 42 in. & 32 x 32 in.

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UNICORN • ACRYLIC • THREE OF 48”x48” Roni Lynn Doppelt has been creating various forms of art since the early 1980’s. She began with acrylic and watercolor abstract paintings and subsequently expanded into colorful creations on glass. She found a special talent for sculpture and has enjoyed creating numerous bronze pieces as well as alabaster sculptures. Her latest artistic adventures are mixed-media heart collages and abstract scapes of all kinds.

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Still life paintings of your collectibles Portraits of the people you treasure Start a conversation about creating a unique and timeless artwork for your family or institution. 410-581-9988 _matthewbird_

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The Art Barn at Spring Island

At the private community of Spring Island in South Carolina’s Lowcountry, we encourage our Members to celebrate and participate in any art form that motivates them. From Artist-InResidence programs to workshops and Trust Talks, Spring Island celebrates a long list of inspired media. The newly created 7,200-square-foot Art Barn allows painters to find their group with acrylics, oil painting, and watercolors, while artistic adventurers can delve into ceramics, printmaking, photography, metal working, and much more. Inspiration abounds at Spring Island. We invite you to tour our community and discover what inspires you.

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116 HOLDEN LUNTZ GALLERY Three Generations in the Art World ON THE COVER 94 MARC DENNIS Modern Master



60 CASTERLINE | GOODMAN GALLERY David Yarrow 128 VAN GOGH The Immersive Experience

136 CHRISTOPHER MARTIN Organic Expressionism

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For more than a century, Hope’s has handcrafted the world’s finest steel and bronze windows and doors, and we continue to refine the art that makes them the most sought-after, luxurious, and longest lasting windows and doors available. Hope’s exclusive hot-rolled steel and solid bronze profiles replicate the traditional aesthetic of historic buildings while providing modern performance and efficiency. Hope’s windows and doors are built to last a lifetime and beyond – sustaining their beauty and performance for generations.



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here are no universal rules in photography— only personal ones. My central premise is that if photography was a language, then focus would be the most important word in that lexicon. Focus deliberately includes or it deliberately excludes, and it should be emphatically clear what the photographer is trying to say.” – David Yarrow David Yarrow was born in Glasgow, Scotland in 1966. He took up photography at an early age and as a 20-year-old found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, David took the famous picture of Diego Maradona holding the World Cup and, as a result, was subsequently asked to cover the Olympics and numerous other sporting events. Many years later David established himself as a fine art photographer by documenting the natural world from new perspectives and the last nine years have been career defining. David’s evocative and immersive photography of life on earth is most distinctive and has earned him an ever growing following amongst art collectors. His large monochrome images made in Los Angeles are on display in leading galleries and museums across Europe and North America. He is now recognized as one of the best selling fine art photographers in the world and his limited edition works regularly sell at high prices at Sotheby’s and other auction houses.

MEET THE FOCKERS Texas, USA - 2020 “I have been fortunate to travel around much of the world taking photographs - but I don’t think I have found a better backdrop to stage a shoot than this remote outpost on the Mexican border in Big Bend Ranch State Park. It was a hell of a drive from the team’s base in Marfa and securing permits was challenging, but I knew it would be worthwhile - the building and the mountains behind were just so good. They play effortlessly into the lore of the Wild West. Better still, the area is called Contraband Creek. The nearest town of note is the bizarre art community of Terlingua. It is difficult to imagine the circumstances that led to people living around here unless they were in a witness protection programme or cooking crystal meth. It’s a sketchy place that would look at home in a Mad Max movie, not mainstream Texas. It was clear that whatever I did with this gift of a canvas, the concept had to be badass and mean. Josie Canseco - the Victoria’s Secret girl - was perfect for the lead role as she can look badass and still retain her femininity and sexuality. My instincts were that my camera lens should be encroaching upon a place of outlaws and that the underlying narrative should major on the dangers of trespassing. There could be no happy ending for the trespasser here.”

THE END OF THE LINE Texas, USA - 2020 “Longhorn cattle are not only emblematic of Texas, they are also the most visually spectacular cows in the world. On location on the abandoned film set of “There Will Be Blood”, we tried different combinations with a few prizewinning cows. But the reality was very clear - they are not camera friendly. In fact, they are considerably less compliant than the elephants of Amboseli, Kenya. To achieve this composition was a real test of the team’s patience and all my thanks go to Ryan Thompson and his fellow cowboys, who worked with great skill to engineer this frame. I was doubly appreciative, as lying on the old rail sleepers is not the most comfortable way to spend a morning. It was critical that the bull was facing me and there were no tension points with his fantastic horns. Rail roads were so integral to the great push West as indeed were wagons and it struck me that they could complement each other outside a station. There is no real need for people to be in the image - there is enough there and the composition works. This is a personal favorite of mine.”

ON THE ROAD AGAIN Montana, USA - 2020 “Once we found the caterpillar road that dissects this picture, I knew that we had the canvas on which to continue our road series that started in 2018. The area is so remote that we doubt it has been used as a film location before, certainly not with an American icon as the lead player. The only traffic was the occasional oil worker or perhaps someone that was totally lost. The next big event north of here is the Canadian border and that’s some 300 miles away. It is not a place to run out of gas. Cindy makes the picture for sure. The styling is perfect and there is such a good energy - cowgirl chic in her manner. This was the intent in the preconception - the two companions were enjoying the freedom of the vastness of the American West. The sense of place is palpable. This is the America that so many know and love, with its long roads running to the horizon with either side exuding a simple sense of calm and solitude. No other country in the world offers road trips as visually rewarding as America and they are integral to the fabric of the American dream. The snowfall the previous night added another layer to the narrative both on the road itself and on the prairies. We were lucky that the snow stopped and the light picked up. It adds warmth to an image already glowing with positivity and joy.”



avid Yarrow was born in Glasgow, Scotland in 1966. He took up photography at an early age and as a 20-year-old found himself working as a photographer for The London Times on the pitch at the World Cup Final in Mexico City. On that day, David took the famous picture of Diego Maradona holding the World Cup and, as a result, was subsequently asked to cover the Olympics and numerous other sporting events. Many years later David established himself as a fine art photographer by documenting the natural world from new perspectives and the last nine years have been career defining. David’s evocative and immersive photography of life on earth is most distinctive and has earned him an ever growing following amongst art collectors. His large monochrome images made in Los Angeles are on display in leading galleries and museums across Europe and North America. He is now recognized as one of the best selling fine art photographers in the world and his limited edition works regularly sell at high prices at Sotheby’s and other auction houses.

Dead Man’s Hand 52” x 91” | 65” x 117”

David’s position in the industry has been rewarded with a wide range of advisory and ambassadorial roles. He is an ambassador for WildArk and The Kevin Richardson Foundation. As the European ambassador for Nikon, he has recently been integral to the company’s most anticipated camera release of the last decade. In December 2017 he shot LVMH’s latest “Don’t Crack Under Pressure” campaign with Cara Delevingne, which can be seen in airports around the world. In January 2019 David was appointed as a global ambassador for UBS. Most recently, in the spring of 2020, David was appointed a Global Ambassador for Best Buddies - one of America’s most established children’s charities. In 2018 and 2019 David’s work raised over $4.5m for philanthropic and conservation organizations. At Art Miami in December 2019, David’s photograph “The Wolves of Wall Street” broke new records. One print, signed by Leonardo DiCaprio and Martin Scorsese, featuring the real Wolf of Wall Street - Jordan Belfort sold for $200,000. The proceeds went to conservation NGOs supported by DiCaprio.

The Final Frontier Archival Pigment Print 71” x 99” | 52” x 70”

The equipment that David takes with him on location will naturally vary according to the subject matter of the assignment and the lighting conditions/climate of the environment in which he is photographing. David favors two camera bodies above all else. When a subject is fast moving, he looks no further than the Nikon D5. The high frames per second and powerful motor drive make for a combination that can capture any moment and allows for pin sharp imagery. For everything else, David prefers the high resolution of the Nikon D850. David was asked by Nikon to spearhead the campaign that launched the new Camera in 2017. The

D850’s supreme resolution allows David to blow his images up to the large trademark sizes for which he has become known. One of Davids technical tips is to “use a well-positioned remote-controlled camera to capture shots of dangerous wildlife. When conceptualizing animal shots, think laterally and strive for an image that sits outside normal boundaries. This may be to achieve perspective by capturing shots that look up at the animal from the ground, but often to get the animal at eye level and pin sharp. This can prove problematic when photographing dangerous animals but a solution is offered in the form of wellpositioned remote controls”

Cindy’s Shotgun Wedding 52” x 73”| 71” x 103”

One of David’s more unusual pieces of equipment is a custom-made 14-pound steel box. This object is used to house his camera body and then placed near the subject matter of his assignment. He then triggers the protected camera from a short distance by pressing a hand-held switch at the right moment… his timing has to be perfect. All of David’s photographs tell a story; his durable camera casing has several tales of its own, ranging from being buried in a swamp in the

Legends of The Fall Archival Pigment Print 71” x 103” | 52” x 72”

Open Water Archival Pigment Print 71 “x 92”| 52” x 66”

Hostiles Archival Pigment Print 71” x 111”| 52” x 78”

Chief Archival Pigment Print 71” x 96” | 52” x 69”

Once Upon A Time In The West Archival Pigment Print 71” x 109” | 52” x 77”

Camargue, doused in Old Spice aftershave in Amboseli and smothered in rhino excrement in Lewa. These ‘treatments’ have been used after extensive research into identifying the most attractive and enticing smell for the animal in question. All of David’s images are produced by BowHaus in California. BowHaus are a highly regarded Los Angelesbased printer of archival pigment prints. They work with the leading galleries in America and some of the most recognized contemporary photographers. Their proprietorial printing process employs technology that transcends generic digital prints by allowing for bespoke allocations of the 12 ink cartridges within the Canon drum printer. All prints are on 315gsm Hahnemühle photo rag Baryta paper and varnished after processing to give both endurance and sheen.

Fargo Archival Pigment Print 71” x 99” inches | 52” x 71”



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Excellence In Every Move. Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01991628. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate.

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Excellence In Every Move. Compass is a real estate broker licensed by the State of California and abides by Equal Housing Opportunity laws. License Number 01991628. All material presented herein is intended for informational purposes only and is compiled from sources deemed reliable but has not been verified. Changes in price, condition, sale or withdrawal may be made without notice. No statement is made as to accuracy of any description. All measurements and square footages are approximate.



ontemporary art distinguishes itself from other genres by representing the art of the era we currently live in. Contemporary artists are diverse; represented globally with a variety of styles inspired by everything from ubiquitous cartoons to abstract graffiti. Eden Gallery stands out as one of the world’s premier galleries; representative of a new kind of contemporary art that is utterly unique. Since its inception in 1997 by Cathia Klimovsky, Eden Gallery has been committed to shining a spotlight on original contemporary art that is congruous with an optimistic and colorful view of life. Stepping into any of their flagship locations, it is clear that Eden’s family of diverse artists has at least one thing in common: a love of color. Indeed, to spend time in any of Eden’s galleries is akin to being in a candy store of luminous color. There are currently six gallery locations worldwide: two in New York City, on Madison Avenue and SoHo, Aspen, Miami, London, and Mykonos. The four-story SoHo gallery boasts high ceilings, natural light, and a creative atmosphere that welcomes both patrons and passers-by alike. Located in one of SoHo’s rare and protected historic buildings on the corner of Broome and Greene Street, each artwork awakens the senses with vibrant explosions of color. Handpainted sculptures by Dorit Levinstein and Angelo Accardi wall art punctuate the minimalist space. Greeting visitors at the entrance of Eden Gallery Madison Ave is David Kracov’s monumental free-standing metal sculpture aptly titled, “Gift of Life”. With a red gift-wrapped box serving as the sculpture’s base, a flurry of butterflies erupt from the top, forming a mesmerizing multicolored cloud. Setting the stage for the gallery’s overall tone and style, “Gift of Life” stands out as the type of one-of-a-kind, vibrant works of luxury art that can only be experienced in-person at an Eden Gallery location.

Housing cutting-edge contemporary art while providing insight into the rich and diverse art history of the neighborhood, Eden’s New York City gallery spaces have become urban attractions of the neighborhoods while also setting the precedent for Eden’s assortment of sister galleries. All six of Eden’s galleries regularly exhibit artwork from over 26 distinguished artists from across the globe. Several of these artists are exclusive to Eden Gallery, including David Kracov, Angelo Accardi, and graffiti art sensation, Alec Monopoly. One of the world’s most soughtafter celebrity graffiti artists, Alec Monopoly’s work gained notoriety after the 2008 market crash. Featuring the cartoon mascot of Uncle Pennybags, as well as characters like Richie Rich and Uncle Scrooge, his work is a tongue-incheek commentary on contemporary capitalism and modern life. Growing up in New York City with a classically trained painter as a mother, Alec Monopoly is a lifelong artist. Eschewing formal training for his pursuit of creating street art, he has established himself as one of the foremost artists of this genre. Alec’s unique style takes a lighthearted approach, rather than the typical grim slant of street art, differentiating him from his contemporaries and giving his art a relatable quality.

Alec Monopoly’s unconventional art appeals to the masses as bright illustrations of societal satire. Materials like newspaper clippings, spray paint, stencils, and varnish bring his vision to life, not only as street murals but on luxury items such as painted Hermès and Louis Vuitton handbags. Alec Monopoly graffiti art can be seen in urban environments across the world, including in a dedicated art gallery in Miami’s Setai Hotel. He has also been the focus of several of Eden Gallery’s past events, including 2019’s Mykonos event, $PF Monopoly, and last month’s exhibition in Aspen, which featured custom ice sculptures and Aspen-themed paintings. Eden Gallery’s exclusive collections focus on luxury art that is aligned with today’s high fashion brands. The galleries are situated in historic neighborhoods and streets that are synonymous with luxury shopping. In many locations, including Madison Ave and Mykonos’s Nammos Village, Eden Gallery is neighbors with stores like Dior, Louis Vuitton, and Hermès.

While the coronavirus pandemic and subsequent economic crisis have seen many businesses close, Eden Gallery has continued to see success, with several of the larger galleries remaining open for the duration of 2020. In fact, with plans for expansion in 2021/2022, Eden is committed to bringing its vision to at least two other major cities: Dubai and Las Vegas. Eden Gallery Dubai plans to open its doors in summer 2021, at The Dubai Mall, notoriously known as the largest shopping mall in the world. The Vegas location is projected to follow later at the end of the year, making its home at the Encore at Wynn Las Vegas. Committed to remaining at the forefront of contemporary art culture, Eden Gallery aspires to create unforgettable experiences for art lovers everywhere. With exhibitions and events designed to inspire and transform, Eden Gallery is fast establishing itself as the main player in the world of contemporary art both in the U.S. and worldwide.


Dave & Jennifer Caskey 310-200-5900 LIC#01198999


The Woods in the Back of My House, 2021 Oil on Linen, 60” x 72”


arc Dennis is an American artist known for his hyper-realistic paintings that celebrate beauty as a kind of tension between the classical and the contemporary. Interested in transformative possibilities Dennis merges various movements throughout the western art historical canon, with modern tropes exploring the charged subjects of perception and pleasure in order to create fresh paintings rich with hype and meta-narratives. Sarah Gavlak, owner of Gavlak Gallery sat down with artist Marc Dennis recently to ask him a few questions. Sarah Gavlak: What is your earliest memory of art? And when did you know you wanted to be an artist? Marc Dennis: “I remember drawing all the time as a kid, but it was just second nature to me and I never considered it “art.” At age 7 however, my second-grade teacher in lieu of President’s Day, asked the students to write a short story, or create a drawing or collage. I chose to make an 18 x 24-inch drawing using colored pencils on paper of Abraham Lincoln. When I brought it into class the next day the teacher called it an “amazing work of art.” She taped it to the wall in the main hallway for everyone in the school to see. It was the first time I truly felt appreciated by a large audience and it was then that I realized what “art” was or could be. I enjoyed having an audience! I still have the drawing!

Allegory of Admiration, 2021 Oil on Linen, 60” x 64”

Caravaggio’s Cat, 2021 Oil on Linen, 32” x 34”

Truth be told I never really made a conscious decision to become an artist. Being an artist chose me rather than my choosing it. I had always drawn and painted since I was a very young kid and I guess it just gained momentum over the years, and in my senior year in high school when I still really didn’t know what I wanted to do, the school guidance counselor and a juvenile court judge basically said to me that I would either become one of three things; a cop, a criminal or an artist. And…well, here I am.” One of the reasons you and I have such a great time talking about art is because we are both art history nerds. Who are your biggest influences or artists you admire? “Hah! I’ll always accept the “nerd” label when it comes to art history – and sports. In terms of art history, well, there are several old masters whose work continues to have an impact on me. First and foremost is Velasquez’s “Las Meninas” because of its ability to play with one’s perception. It’s truly a masterpiece on all levels.

“Where the Sun Hits the Water,” 2021 Oil on Linen, 60” x 57”

Titan, Caravaggio and Rubens amongst others, created paintings that are dynamically composed, emotionally charged, and technically quite wonderful. One of my favorite paintings is Giovanni Bellini’s “Saint Francis in Ecstasy” at the Frick Collection in New York City. Its surface and cool colors remind me of ice skating across a smooth pond in the winter. It is a true gem. I also love all those Dutch floral masters! Richter is pretty darn good too. I’m pretty much interested in just about everything and inspired by just about anything.” Tell me a bit about your most recent paintings that were all made during Covid, in particular the idea behind the animals in front of your paintings and the very “meta” imagery of the paintings in situ while being made. “I’ve always included animals in my art and when I read about the joint project between The Nelson-Atkins Museum of Art and the Kansas City Zoo in March, 2020 it gave me a fresher perspective on the idea of the intersection of animals, beauty, perception, and the metanarrative in painting. It was pretty loaded stuff. Both institutions were closed to the public because of the pandemic, but they organized a visit of Humboldt Penguins to the museum for a “morning of fine art and culture.” I thought it was an awesome and fun idea and meaningful to me personally because I’ve always seen beauty as an experience or series of experiences.

From a Close Distance, 2021 Oil on Linen, 56” x 60”

The pandemic created the interaction of disparate and unexpected elements somewhat playing on our perception of what is real and what is not. By virtue, it appealed to shared public and personal responses to a range of experiences and emotions. We all seemed to be feeling a bit like Wile E. Coyote where he paints a tunnel on a rock wall, and the Road Runner then all of a sudden out of nowhere races through the painted fake tunnel. And the coyote foolishly yet earnestly follows trying to run through the tunnel after the road runner, only to smash into the hard rock-face. As an artist I felt the urge to create contemporary mythologies about this chapter in our history. With that, my intentions were to paint emotionally charged, thought provoking and curious images that conveyed stories about stories, encompassing other “little stories” within totalizing schemes that play not just on our perceptions but also our consequent search for meaning. And naturally I threw in a bit of humor, much like the Wile E Coyote bit because it’s what I felt was needed during such heavy and isolating albeit hopeful and courageous times.” I know a lot of artists spent time in quarantine thinking about how art can bring about healing and hope. I think people will find your new paintings in our exhibition both uplifting and beautiful! Marc Dennis, Love in theTime of Corona, Recent Paintings at Gavlak Gallery, Palm Beach, FL, April 24 - June 5, 2021

Memento Mori, 2021 Oil on Linen, 58” x 60”

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Sacred Geometry, 2020


nthony James is a British/American artist based in Los Angeles, known for his monumental and experiential sculptures and installations. James was born in England in 1974. He studied in London at Central Saint Martins College of Art and Design and graduated with a degree in fine art painting. His work gestures towards the theatricality of minimalism and formalism. There is a focus on materiality, alchemy, and a deep respect for light and space. “My work is my best attempt at giving the impossible, the infinite, a physical, objective existence. The materials are merely an extension of the gesture. I start with the gesture and have spent decades distilling these concepts down to the essential. So whether I’m using vanguard, illustrious materials and high technology or centuries old metal techniques — my interest is in communicating the most direct way I can. There is a minimalistic simplicity to the work, yet it expresses something infinite — it’s a pluralistic paradox. I’ve tried to visually demonstrate the colossally vast and the infinitesimally small — the cosmos and the divinity inside oneself.” - Anthony James Portals / Platonic Solids / Archimedean Solids 2008-Present The sculptures, made of stainless steel, glass, and LED lights, have shown internationally to great acclaim. “I’m interested in revealing and sharing truth. My intention is to bring an impossible concept like the idea of infinity, or the cosmos, into physical objective existence. I am attempting to express science, spirituality, and philosophy in an object the purest and most honest way I know how.”

“My job as an artist is to make my work look effortless, but of course it’s not. The human eye only hits the mistakes. I will never let your eye hit on a mistake.”

The Birch Series 2005-Present James originally debuted The Birch Series in New York City in 2005. It consisted of several variously sized, vertical light boxes with young birch tree trunks inside. The sculpture series references the containment and simulation of nature. The works have mirrored sides, which give the illusion of an endless birch forest. The pieces are composed of birch trees, metal, glass, and fluorescent lights or LEDs. The birch tree is associated with magical symbolism. Glenn O’Brien wrote about birch trees that their “ rooted in [the] special relationship with fly agaric mushrooms - that famed toadstool of the red cap and white spots - which is so often associated with elves and spirits...Many anthropologists consider it to be a possible agent of the transformation of human consciousness.” Of the series, James said, “I think about the containment of nature. The containment of our own nature. There’s something about the individual’s journey that is really at the root of it. Going into the forest — not knowing what you’ll find — not knowing if you’ll ever return... You can see the metaphor.” “They resemble a contradiction between like a Stanley Kubrick and Gustav Klimt. It’s Gustav Klimt mourning the way they’re lit, it’s this endless birch forest, but everything is in too much symmetry. You know, there’s something menacing there. What first appears to be beautiful is actually quite menacing in a Kubrick way.”


Stephen Wilkes Day to Night TM, 2015 Serengeti National Park, Tanzania, Fuji Crystal Archival Photograph


olden Luntz Gallery opened its doors in 1999, but in reality, it started as a legacy long before. Belonging to a lineage of art dealers, Holden Luntz Gallery has deep-rooted ties in the art world that stretch over 50 years, from the Midwest to the Northeast and presently in South Florida. Essentially, the Luntz family has been selling fine art for over five decades. The first Luntz to become an art dealer was Holden’s father, Irving Luntz. A trained engineer and musician, although ultimately an auto-didact, Irving Luntz taught himself about the art world and opened his first gallery in Milwaukee in 1959. Working with top dealers from the art world’s hubs like New York, London, and Paris, he built a market for collectors outside of the big cities. Irving Luntz opened Irving Galleries in 1974 in Worth Avenue, selling blue-chip modern masters and contemporary art. Once in Palm Beach, Irving became one of the mostprominent dealers to bring post-war contemporary art to the South. Irving Luntz’s collection included some of the most influential artists of the 20th century. These included Pablo Picasso, Frank Stella, Robert Motherwell, Jean Dubuffet, Roy Lichtenstein, Louise Nevelson, Andy Warhol, and Jim Dine, to name a few. From working personally with Helen Frankenthaler to building major art collections for clients, Irving Luntz became a significant figure on WorthAvenue.

Left: Albert Watson Sun and Henna, Kate Moss, Marrakech, 1993, Archival Pigment Photograph Below: Harry Benson. Andy Warhol and Bianca Jagger at The Factory, 1977, Archival Pigment Photograph

Holden Luntz, the gallery’s namesake, followed in his father’s footsteps when it came to the art world. After graduating with a Master of Fine Arts degree from New York University, Holden returned to his native town of Milwaukee, Wisconsin. Once there and in his early twenties, Holden opened an art gallery. Traveling back and forth from New York to Milwaukee, working with dealers, clients, and artists, Holden Luntz learned the trade and became a rising art dealer. While the Palm Beach Irving Galleries boomed with business in the thriving art market of the 1980s, Holden eventually made his way down to Florida with Jodi, his wife, in 1981. Working for his father as gallery director, Holden began settling on the island in the early 80s, earning prominence as the second-generation fine art connoisseur. Although for Holden, his fascination with art came from a different source, he really loves photography. After years in his father’s business, Holden and Jodi opened Holden Luntz Gallery in 1999, in the second-floor mezzanine of Irving Galleries. Claiming presence with perhaps that same pioneering spirit, Holden opened one of the very first galleries to specialize in fine art photography in the Southeastern United States.

Karen Knorr Reconciliation Poddar Haveli, Nawalgarh, 2020 Archival Pigment Photograph

Curating an inventory of exceptional photography, Holden Luntz Gallery presents a varied aesthetic range of photography. The inventory ranges from portraiture to alternative photography to wet collodion and sublimated aluminum prints. The gallery’s collection offers classic photographers like Henri-Cartier Bresson, Brassaï, André Kertész, Frank Horvat, Berenice Abbott, Edward Weston, and Horst P. Horst. Also shown is a diverse collection of contemporary photography from Harry Benson, Massimo Listri, David Yarrow, Stephen Wilkes, Michael Eastman, Karen Knorr, and Garry Fabian Miller. Indeed, Holden Luntz crafted his own niche in the fast-moving art world and continued the family’s art dealing legacy. Jaye Luntz, Holden and Jodi’s daughter, opened JL Modern with Gabriel Gordon, who has been with

Holden Luntz Gallery for over 14 years. JL Modern is a new contemporary photography gallery on Worth Avenue in its third year, sharing the same street as her parents and grandparent before her. Growing up surrounded by great art, she discovered her calling and passion early in life. Similar to Holden, Jaye studied art history. She interned at the Howard Greenberg Gallery, later moving to New York, working with a high-end clientele at Christie’s, and followed by working at the online auction start-up, Bidsquare. Soon after, Jaye moved back to Florida and, with Gabriel Gordon, who was already adept at the intricacies of running the art business, opened up the newest addition to the family’s repertoire of exceptional galleries. Broadcasted in several publications as a young collector and as a gifted and personable dealer, Jaye, like her predecessors, carries on to make a mark of her own.

Below: Massimo Listri, Castello di Sammezzano IV, 2015, Archival Lambda Color Photograph Left: Michael Eastman, Green Interior, 2002, Chromogenic Color Photograph

In the art world, certain qualities are indispensable, trust, respect, and a knowledgeable eye. Thus, it is essential for galleries to cultivate relationships based on these premises. With over 50 years in the art industry and through years of collaboration with clients, the Holden Luntz Gallery family has demonstrated a commitment to excellence, time and time again. Within the Luntz family, you find continuity and an elevated vision for fine art. Most importantly, they strive to build nurturing relationships with art collectors, perhaps the key to their success.

Right: Frank Horvat High Fashion for Harper’s Bazaar with Deborah Dixon Spaghetti Girl, Rome, 1962 Archival Lambda Photograph Left: Horst P. Horst Mainbocher Corset, 1939 Silver Gelatin Photograph

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an Gogh: The Immersive Experience is a 360-degree digital art experience, brought to life by Exhibition Hub and Fever. It invites visitors to step into more than 300 of Van Gogh’s sketches, drawings, and paintings by using large-scale digital projections in an expansive, two-story tall (or taller) central projection area. As an added form of digital immersion, the experience offers a separate, oneof-a-kind VR experience in a separate gallery from the central immersive area. Combined with a drawing studio and introductory galleries that explore the life, works and techniques of the artists in great detail, the entire experience sets the gold standard for the future of Immersive Experiences, by using multiple technology platforms as well as more traditional museum-styled immersive approaches.

Van Gogh: The Immersive Experience strikes a careful balance between immersion and education, creating a new form of immersive Edutainment. Thanks to this approach, guests are treated to an experience that is rich with dynamic animation and visuals, and equally rich with meaning. The teams at Exhibition Hub and Fever have partnered to curate this digital production, bringing decades of experience in the sector. Both companies have been working since 2015 to make local and global culture more accessible through exhibitions like Van Gogh: The Immersive Experience. Exhibition Hub has a proven track-record producing more than 70 exhibitions and immersive edutainment experiences around the world, reaching more than 6 million visitors. Fever has been inspiring global audiences through its experiences since 2015, constantly striving to revolutionize the experience industry by making cultural events more accessible, and providing content to over 40 million users around the world. With offices worldwide, Fever also has a significant footprint and business operations in the U.S. Visit for tickets and event information.





he year was 1993 when Chris Martin found his tiny space in a 1950’s building in Dallas. He chose to show his own paintings, curating and carefully controlling the experience his buyers would have with his work. Now after twenty six years of tapping into the “magical realm” in his creative process, we have asked him to reflect on his career, and give us a glimpse of what the future holds. Elevated: In twenty six years of being in the artworld, what would you say was one of your biggest “aha” moments? Chris Martin: My most powerful “aha” moment happened twenty years ago when my wife Stacy and I got married. It was just the two of us and the Reverend with our feet in the surf of Barbados. Who you choose to spend your life with is in my opinion the biggest decision one can make. It takes a while to realize the significance when you are young, but twenty years later the impact is undeniable.

What was one of the most powerful moments in which you learned from what you might call a mistake? When I realize a mistake in my work it usually comes from a lack of focus or distraction. I know when it happens immediately. If I don’t trash the piece all together, I look for the opportunity in it. How can I lean in to the mistake to find the unexpected turn it may be presenting? Possibly taking the painting in a different direction than my initial intention. In my experience, life is often the same. When you realize the mistake, look to find the meaning in it. Is it really a mistake or just an alternative to your expectation? Cliché question: What would you say to yourself now at that moment you were starting out with your dream, your passion, your inspiration twenty six years ago, not knowing the road ahead? I would make sure that my young self knew how challenging it would be to span the decades as an artist. There will be moments of flow and ease, feeling like you are bullet proof, followed by times of doubt, loneliness and indecision. There will be failure, significant mistakes and miscalculations. Many times you will overestimate your abilities, and take risks that are disproportionate to the reward.

Learn to rest and not quit, make an alley of your instincts. Find your anti depressants in the studio and not at the pharmacy. After being asked by a young artist, I wrote a list of things to consider about choosing art as a career: 1. The process of making art can be physically demanding, lonely and psychologically exhausting. 2. You set your own standard of what art is. Your work is never done, you could always spend more time in the studio and less time doing anything else. 3.You cannot count on a paycheck. You invest most of what you make to make more work. 4.No matter what you do someone will say it is derivative of someone else’s work and they will be right. 5. You will want to quit many times and find it hard to start many days. 6. You will always feel you’re only as good as the last piece you created. 7. You will always feel that you have to live life as an artist and options other than that will never be fully considered. That being said, living the life of an artist is an amazing way to live. The joy and satisfaction of creating something you and others feel better after being next to is rare air and worth every bit of the conflict that comes along with it.

Has your inspiration changed significantly since when you first began twenty six years ago ? My inspiration has been consistent, to create paintings based on organic patterns with a painterly expression, I like to refer to my work as Organic Expressionism. Finding a balance in the painting is the intention I set for my work. Sometimes I feel that this focus has been too narrow, but then I review the last 26 years and find the lineage these works all share, the incremental steps in order to get where I am now and feel that I have created a visual vocabulary that is uniquely mine, which I find tremendously satisfying. What piece or pieces over the past 26 years have been the most meaningful to you and why? Several, they are all Basecamp paintings, when the idea and execution come together that furthers your vision and rewards your commitment. These paintings are the fuel I use to move to the next place, they give me the mental break, the respite from the creative process that I need to pursue the next body of work. Armira, Fortuna, Zeven, Kesho, Pandora, Wicked Garden and Pantheon have all given me the energy and encouragement to keep painting. I am so appreciative to have had them in my life. What pieces have been the most lucrative and why?

Fortuna, without a question, painted in 2017 with broad strokes of vibrant color and a very positive vibration. It started a series that has led to some amazing paintings that have been shipped all over the world. I also created a limited edition of that piece that has only a few editions left. Now having succeeded, grown with your accomplishments at an ever accelerated pace, as you look ahead 5, 10, the next 25 years, what are our next milestone goals? I’m not one to set goals, I believe that they are limiting and tend to put blinders on those obscure opportunities. We live in such a goal-oriented world and to operate without them seems counterintuitive. Staying healthy, working hard, being a good husband and father are the objectives or principals that I try to stay true to; by doing so it allows good to flow in my life that I hope is apparent in my art. Why did you choose the pieces you did for this feature? I selected some of the Basecamp paintings. These are examples of my work that started the entire series, coming together in a way that creates a sense of accomplishment and mastery. These types of paintings feel like artistic gifts, keeping me creatively inspired.




SINCE 1977




oni Lynn Doppelt has been creating various forms of art since the early 1980’s. She began with acrylic and watercolor abstract paintings and subsequently expanded into colorful creations on glass. She found a special talent for sculpture and has enjoyed creating numerous bronze pieces as well as alabaster and marble sculptures. She has excelled with mixed-media heart collages and abstract scapes of all kinds inspired by her abiding love of travel. In a recent interview, Roni Lynn said, “My artwork is all about what I value most. Love of family and friends - love of life itself appreciation of beauty - and love of color are all very important to me, and that is the reason they are always prevalent in my work. “One of her favorite exhibitions was being featured in a show at The Armory Art Center in West Palm Beach. It was a show called Three Generations Of Love And Art and included sculptures and paintings by Roni Lynn, her daughter, Stephanie Doppelt Fisher, and her father, Stanley M. Katz. Her work is currently being shown at the remarkable Amsterdam-Whitney International Fine Art Gallery in New York in 2018-20, The Pergande Gallery in Aspen in 2018-21, World Art Tours with Nina Torres in 2018-20, and The Sandra Neustadter Gallery in Delray Beach, Florida. Roni Lynn was honored to be invited to participate in a unique and fabulous opportunity to have her art shown at the Ancient Olympia Town Hall during the 2020 Olympic Flame Ceremony in Ancient Olympia Greece. The virtual digital exhibition was called “Athletic Idea, Man And The Arts.” It was to be followed by an extended actual exhibition in an art gallery in Athens. Roni Lynn was a featured artist in early 2019 at the Hugh O’Neill Art Group in Jupiter, Florida. Exhibits and shows for 2019-20 to date include New York, Venice, Greece and Monaco as well as a third showing in Dubai. One of the 2019 exhibitions where her art was presented was in Paris at Carousel Du Louvre. Other shows of note include Miami River Art Fair 2016, World Art Tour New York 2016, The Heart of Delray 2017, World Art Tour Dubai 2017, Miami River Art Fair 2017, World Art Tour Venezia 2017, World Art Tour Dubai 2018. In addition to personal appearances and shows in international galleries, Roni Lynn’s art and sculptures are always on view at her recently opened Roni Lynn D Gallery as well as H.T. Stuart Jewelers. Both are on world- famous Worth Avenue in Palm Beach.

Magical 2 48” x 60”

Also a skilled and talented sculptor whose intense emotions lend to her work a diverse and eclectic range of themes and depths of sensitivity, Roni Lynn showcases a dynamic visual symphony established by a seamless cohesion of grand design and artistic abilities. Wrapped around the cyclical nature of human emotions, Roni Lynn’s sculptures elicit the awe-inspiring powers and beauty of our expansive universe.

like American Art Collector, Southwest Magazine, Glow Magazine, Art In America, and Florida Design.

She has been commissioned by many interior designers. Roni Lynn’s art can be found in country clubs, restaurants, office buildings, model homes and in the homes of many important art collectors in such diverse and international sites as Palm Beach, Boca Raton, Aspen, Miami Beach, New Orleans, Hong Kong, California, Michigan, Massachusetts, Texas, Canada, Dubai, Venice, Japan and more. Her art has also been featured in prestigious magazines

Places in Florida where Roni Lynn’s work has been featured include The Conrad Hotel, Ellen Lyman Gallery, The Polo Club in Boca Raton, Art Connection in Pompano Beach, Gallery Biba in Palm Beach, Lincoln Road on South Beach, Miami, Naples, Tampa, and the Ocean Reef Club Gift Shop in Key Largo and the gift shop of the Boca Raton Museum of Art as well as PGA Resort and Spa in Palm Beach Gardens, and Bank Atlantic in Jupiter.

Roni Lynn’s vibrant paintings have been translated into many items off the canvas, too! Yoga mats, upholstered chairs, beach towels, bath robes, dinnerware, scarves and ties, baseball hats and bikinis, mugs and waterbottles, and rugs among others. Each item carries her signature.

Starbust Floral 1 | 31” x 25” Framed | Acrylic on Canvas

Starbust Floral 2 | 31” x 25” Framed | Acrylic on Canvas

Unicorn | Three of 48”x 48” | Acrylic on Canvas

Amazing 1 | 11” x 14” Framed | Acrylic on Canvas

Boutique | 48” x 60”

Roni Lynn was invited to exhibit her collages and painted glass vessels at the Big Drop Boutique at the Gansevoort Hotel on South Beach and at Just Hearts in Delray Beach as well as at Art Connection in Pompano Beach, Venue BTQ, Trilogy Boutique and Aileen II. Her showing at Big Drop in the Hamptons was so successful that she was invited back for the following summer as well. Roni Lynn’s stylized hand-painted artwork on shoes and accessories are in the collections and wardrobes of many celebrities. Most notably, Roni Lynn has contributed her artwork to various charities for fund raising events and has generously donated significant original pieces of her art to foundations like Pink Aid, Morse Life and Albert Einstein College.

Magical 18 36” x 36” Acrylic on Canvas



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sabelle Van Zeijl invests herself in her images. She takes female beauty ideals from the past and sabotages them in the context of today. By using subjects that intrigue and evoke emotion, she reinvents herself repeatedly and has created a body of work to illustrate these autobiographical narratives. Her work takes from all she experiences in life - she is both the model, creator, object, and subject. Going beyond the realm of individual expression, so prevalent in the genre of self-portraiture, she strives to be both universal and timeless. Her love for nature and metamorphosis is also identifiable in the rebellious way she reshapes the dresses of well-known fashion designer Claes Iversen, whose designs she sabotaged into new forms in her early series “Camouflaged Beauty.” The embroidered flowers on the body indicate the process of our natural and inherent need to grow and continually progress; it illustrates the transformation from one phase of life to another, including the metamorphosis of a child into a woman. Transformation is a real and lasting change, however, is not a oncein-a-lifetime achievement, but rather a means by which we move forward, towards wholeness. Over the past fifteen years, Van Zeijl has shown work internationally. She is represented by galleries in the U.K., the U.S., the Netherlands, Belgium, and exhibits at emerging and established international art fairs in New York, Miami, Los Angeles, Hong Kong, London, Germany, Belgium, Sweden, and Italy. She was nominated for the Prix De La Photographie Paris and The Fine Art Photography Awards. Her work is held in private & public collections in the USA, U.K., Belgium, Germany, France and The Netherlands. She is represented in the U.S. by Christopher Martin Gallery from Aspen and Dallas. “The root of hope lives in all of us. Is a flower not the perfect metaphor for hope? You begin with the hope that seeds turn into something beautiful. This flower series is about giving back and sharing hope and beauty with others. Let the seeds of our hope grow to abundant and viral beauty.” -Isabelle Van Zeijl Originally from The Netherlands, Isabelle Van Zeijl creates enigmatic self-portraits representing transformation, rebirth, and growth. Touched by the beauty in her works, we can reconnect with the natural world and history, as we so profoundly yearn to. Her work is a visual celebration of hope, renewal, and growth. Inspired by the relationship between humanity and nature, Van Zeijl evolves her practice towards the reinvention of the self. For her latest work, Van Zeijl turned her eye on 400 million flowers destroyed during the quarantine. Using flowers salvaged from her local growers in the Netherlands, Isabelle has created a stunning series of photographs of enigmatic beauty.





Inspired by the relationship between humanity and the horse, Van Zeijl traveled the Wild West upon horseback in search of the iconic American symbol: The Wild Horse that still lives freely on the Western rangelands. The horse is a universal symbol of freedom. Emerging from a long evolution stretching back nearly 50 million years comes the horse, a wild beauty. The horse reminds us of overcoming obstacles and how one should carry oneself in the face of adversity. As a spirit animal, the horse works hard to tell us to take care of our emotional, mental, and spiritual well-being. In some cultures, white horses stand for the balance of wisdom and power. Riding horses made people feel they could free themselves from their bindings. Representing the strength of maturity to handle what life brings, black horses were messengers of esoteric knowledge, keeper of secrets and mysteries. The meaningful relationship between horses and humans inspired Van Zeijl to investigate and dive deep to create a series of self-portraits with horses. Last January, Isabelle photographed herself with the horses every night under the moonlight. Every night she sat naked on the concrete floor in a freezing Aspen cold barn in front of her camera. To gain the horse’s trust, she had to evolve into complete surrender. Horses often mirror our deepest fears. They are typically non-judgmental, have no preconceived expectations or motives, and are highly effective at reflecting the humans’ attitudes and behaviors. These series carry out an important message for all of us. It is time to embark on the ultimate voyage through inner space, learn about trust, surrender, achieve the impossible, reach for the stars, and feel like we can touch them. “MOONSHOT”

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he Wallace Collection is an internationally outstanding collection housed in Hertford House in London, which contains unsurpassed masterpieces of old master paintings, decorative arts, sculpture, furniture, metalwork, arms and armour and porcelain. The art collection alone includes works by Titian, Rubens, Velázquez, Fragonard, Gainsborough, Frans Hals and Canaletto. As a national collection, it is one of the finest and most celebrated collections in the world. The works were originally collected by the first four Marquesses of Hertford and Sir Richard Wallace. Sir Richard Wallace is believed to have been the fourth Marquess’ illegitimate son, but he was never acknowledged as such and there is unfortunately no definitive evidence one way or the other. After growing up in France, he became the fourth Marquess’ secretary and agent, and on his death inherited most of his property including most of the artworks. Richard Wallace thus became a very rich man, and was a great philanthropist both in France and in Britain, and for this he was eventually

made a baronet. He continued the fourth Marquess’ collecting habits, adding to the existing collection important collections of medieval and Renaissance objects and European arms and armour. His main focus was on objects that had belonged to important people and had a direct connection to significant historical events. The house, where the Wallace Collection is housed today, began in 1776 when the Duke of Manchester acquired ground on the north side of Manchester Square to form the centerpiece of a new square named in his honor. In 1797, the 2nd Marquess of Hertford acquired the lease of Manchester House for his principal London residence, and since then it has been passed down through the family. When Sir Richard Wallace inherited Hertford House, the political situation in France was somewhat precarious, so he decided to transplant himself and his wife, together with the majority of the French part of the art collection back to London. He changed the name from Manchester House to Hertford House in honor of his late father, the 4th Marquess of Hertford.

The house was more of a museum than a home, even when Sir Richard and Lady Wallace lived in it. Several well-known people from the time visited during this period were recorded in the first visitors’ book, including Princess Vicky, the first daughter of Queen Victoria, the artists Auguste Rodin and John Everett Millais, the noted novelist Thomas Hardy, and Elizabeth Garret Anderson, the first woman to qualify as a doctor in Britain. When Benjamin Disraeli visited in 1878, he called the collection ‘this palace of genius fancy & taste’. Richard Wallace died in 1890 and left everything to his wife, Julie Amelie Castelnau, otherwise known as Lady Wallace. Sir Richard had expressed the wish that his collection might become a museum after his death, but it was Lady Wallace who left almost all the artworks to the nation as a museum when she died in 1897. Ferdinand de Rothschild, when he heard about the bequest said that ‘No country has ever had such a windfall’. Lady Wallace chose the name, The Wallace Collection, presumably as fitting memorial to her husband. According to Lady Wallace’s will, no items are to be added to the collection or removed from it, so the collection remains largely as Sir Richard left it.

The Great Gallery c. 1890

After some debate by the government on how best to house the art collection, the museum opened to the public on 25th June 1900 and excluding times of crisis has been open ever since for visitors to enjoy Sir Richard Wallace’s wonderful legacy of around 5,500 works of art in a beautiful and historic setting. In 2018, the Wallace Collection opened new exhibition galleries, and has hosted renowned temporary exhibitions on founder Sir Richard Wallace, the artist Henry Moore, and the enormously popular Forgotten Masters: Indian Painting for the East India Company. Today, the Wallace Collection has developed a suite of online content to help online visitors engage with the Collection from the safety of their own homes as a response to the Covid-19 pandemic. Our new online hub, Wallace from Home, has given us the opportunity to explore the Collection in a variety of new ways. Online gallery trails, Meet the Expert stories, and online courses and content all play a fundamental role in what makes the Collection a vibrant and exciting place where visitors can discover their next favorite work of art in an instant. Discover more online and find out What’s On at All text © Trustees of the Wallace Collection, London.


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pon entering a gallery and encountering the pop artwork with the vintage travel ads, original sides on the canvas art, paint splats, large colorful dots and the luxurious couple speaking such phrases as, “Darling, You Know I Only Fly First Class!” or “All I Require are Fabulous Shoes!,”... you know it’s unmistakably a De La Nuez. Nelson De La Nuez may have been inspired by the distant past but he created a look that is all his own and all original. His prestigious art galleries are located in luxury travel destinations ranging from Palm Beach, Pacific Palisades, the Hamptons to Aspen, Soho, Hong Kong, DC, Boston and major cities in between. Over the years, he has acquired a lengthy celebrity list of collectors that reads like a “Who’s Who” and has become a coveted artist that is so busy filling his orders that he’s often got a lengthy wait list. He appeals to a wide audience, from young to old; those who are already success stories and hang the work in their various vacation homes, to those who aspire to the fabulous lifestyles in his playful artwork. His sophisticated, yet fun, original mixed media pop artwork is always in demand with the A list, whether it be the billionaire hedge fund crowd or the music and entertainment industry executives and celebrities or the

savvy art collector with the keen eye looking to round out an extensive art collection... they appreciate his unique, fun style fitting for many luxury homes. Nelson De La Nuez’s sculptures are also something that you cannot simply walk by. They range from realistic looking “Pop Donuts” to pop art cakes and even a Botox Box (“What Pretty People Use!”), which is a much updated, modern day twist on the old Brillo box. They all appeal to the stylish, “cool” crowds with a sense of humor, whether in Miami, Hamptons, L.A. or Aspen. The Havana, Cuban born artist considers himself all American and has become one of the most collected, in demand, contemporary pop artists. He continues to try and break the boundaries of his own creativity daily. “I am always trying to step outside the box and see new ways of looking at things and creating, whether it’s through my media or size or theme,” he comments. De La Nuez has built a brand and a successful name in the art world. His many luxury brand collections of home decor, travel and fashion over the years have all been branded with his trademark namesake of The King of Pop Art®, after being titled that years ago via media and press; it stuck for his brand.

He has partnered with and been hired for commissions and designs for major brands/corporations, such as Delta Airlines, for which you will see many of his pieces in the Delta One & Sky Club lounges at LAX, JFK and Atlanta Hartsfield, AZUL airlines, Shoedazzle, Hermes, Corum watches, and for countless celeb and industry execs requests. He’s always had the mind of a businessman and entrepreneur. He created his company that sells his art in various formats and price points; online via his site, but also sells extensively to galleries worldwide and interior designers and developers, having worked with the hospitality industry, selling his art for hotel, nightclub and restaurant decor/design.

“My galleries are amazing and their locations are spectacular. They haven’t slowed down and people are buying a lot of art..It’s a good thing that I love what I do, because I just continuously paint and create,” he grins. “I think I’ve been so successful also because I realize the need for art at all prices..I offer my art as smaller, fine art prints, mid range prices as mixed media on paper and the highest range investment originals so there is something for everyone..every stage of collecting my work,” he explains. “Success is a constant progression. I don’t care how successful someone thinks they are. Never get content or lazy. Every day I try and get a bit better than the day before. Success has no end,” De La Nuez says. Instagram: @kingofpopart

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OIL PAINTERS OF AMERICA TODAY’S ARTISTS TOMORROW’S MASTERS A View from La Jolla Calvin Liang OPAM Oil on Canvas 18” x 24” | $4,200

Taos Light Huihan Liu OPAM Oil on Linen 24” x 24” | $16,000


rom the Renaissance to the early 20th century, painting was marked by a series of advances from the discovery of linear perspective to atmospheric perspective, lost and found edges, and the brilliant broken color of the impressionists. The level of training and skill of a Rembrandt, Sargent, Cassatt, or Monet is apparent to anyone who views their work; they speak a universal language. While these household names represent just a few of the most famous artists in the history of oil painting, today we have arguably more talented oil painters than ever before thanks in part to several well-respected art schools, classical ateliers and art organizations like the Oil Painters of America (OPA) whose mission is to advance and promote representational oil painting.

Frank Conversations Nancy Howe OPAM Oil on Linen 28 x 22 | $16,800

As one of today’s leading art organizations, Oil Painters of America is a part of the new renaissance, helping to effect change by educating the public and providing forums for artists to showcase their work. OPA’s 30th Annual National Exhibition of Traditional Oils will take place at the California Center for the Arts, Escondido Museum, April 9 – May 16, 2021. This event will feature many of today’s top representational artists and is considered one of the most prestigious competitions in North America with a top prize of $25,000 in cash.

Carpe Diem Jeff Legg OPAM Oil on Board 24” x 30” | $150,000

Judy Craig Tennant OPAM Oil on Linen 24” x 40” | $18,000

Floret Jan Peng Wang OPAM Oil on Board 22” x 22” | $4,300

Morning Geese Deborah Tilby OPAM Oil on Panel 18” x 18” | $2,600

West Coast Flowers Mian Situ OPAM Oil on Canvas 20”x 30” | $11,000

Considerations John Michael Carter OPAM 36”x 36” | $18,000

What is Left Unsaid Daniel Gerhartz OPAM Oil on Aluminum Panel 34” x 34” | $18,500

Oil Painters of America’s Master Signature artists represent a small, distinguished group of artists whose work exemplifies the highest quality in representational oil painting. The following images represent some of the exceptional works of art that visitors will find at this year’s exhibition. To purchase one of these paintings, please call 760-839-4165

Remembrance Jeffrey R. Watts OPAM Oil on Oil Paper Panel 18” x 24” | $12,500

Roses and Apricots with Oriental Rug Robert Johnson OPAM 16” x 20” | $3,800

Early Birds at Vernazza Beach Camille Przewodek OPAM Oil on Board 20” x 16” | $6,500

Along the Streambed Albert Handell OPAM Oil on Mounted Canvas 28” x 28” | $14,000


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sabel LeMay morphs reality and fantasy through her discerning eye and indestructible patience. Her artworks are composed of a constellation of individual photographs that create a sense of wise natural beauty. Based in Austin, Texas, LeMay is gaining ever-widening recognition for her digitally composed panoramas of natural richness, which she creates through recombining photographs. LeMay reveals the real world remixed to paradisal perfection, so vividly realized that one feels drawn to step into her immersive tableaux. Since winning the New York KiptonART Rising Stars Program in 2011, LeMay’s work has been seen in more than 125 exhibitions worldwide and acquired for corporate collections such as those of Chevron’s, Bloomingdale’s & Bacardi’s, as well as the permanent collections at the Museum of Photographic Arts and the Morris Museum. In 2013, LeMay participated in the Texas Biennial, and in 2015, she represented Texas at the fourth edition of Women to Watch in Washington, D.C. In 2017, LeMay held a solo retrospective show at the Morris Museum in Morristown, New Jersey; and The U.S. Department of State’s Art in Embassies Program commissioned her work for the American Institute in Taiwan. In 2018, she was a visiting instructor at the Santa Fe Photographic Workshop in New Mexico.

LeMay’s work lives in galleries, museums, and cultural spaces around the world. But where her work is born is in the wild, far from the trappings of human civilization. “Why I do what I do? The answer changes just slightly each time I face the question because my path is a constant discovery. Discovery of new techniques and applications for my art. Discovery of truths about myself and who I am. It’s a path that leads me, again and again, to immerse myself in the beauty and intelligence of nature.” -Ysabel LeMay Growing up in Quebec, Canada, LeMay fastened her connection to the natural world at her family’s cottage in the province’s northern wilderness. Ysabel explains, “I’ve felt a deep attachment to nature since childhood. I grew up in the suburbs, but I felt free when I spent time in the wilderness. My creativity would awake almost instantly. I could wander and discover the living world to gain knowledge and wisdom that I considered worthy of expression. To this day, it’s a place I have to go to, as often as possible, or I feel lost.” “I have to bear witness to nature’s vast diversity and endless variations. I have to immerse myself in its elegant logic and its subtle but undeniable fabric of interconnection. I follow

my intuition and gather fragments of what I find there, following no plan or preconceptions.” -Ysabel LeMay But it was the jungle of the advertising world where LeMay honed her visual expression. After 15 years in the industry, she sought a more rewarding path for her creativity, refocusing initially on painting and then photography. From there, LeMay developed her distinctive technique, called hypercollage. Her practice, refined over more than a decade, sees her traveling the globe on photographic expeditions, accumulating vast reserves of natural imagery. She studiously reviews these reserves, extracting elements according to her intuition and assembling them into elaborate tableaux, venerating nature’s undeniable majesty and generosity. “Once I return to my studio, the next stage of my artwork’s life begins. What I have gathered with my camera, which seemed so random, slowly reveals its purpose. And there is always a purpose. At this stage, the tools that I use are somewhat artificial, inorganic, created by the digital, virtual world. Though, the truths that they reveal are those of the natural, organic world, the world that made us.” -Ysabel LeMay

While her technique is high-tech, LeMay’s hypercollage process is instinctual and organic, allowing each piece to dictate its own destiny. From a single, simple starting point — an image, a color, an emotion — she follows a meticulous process. After first isolating and extracting elements of her photos, LeMay then weaves them together into intricate compositions of radiant beauty. LeMay has brought her hypercollages to a place where they now serve as records of natural splendor perpetually in motion – as expressed by an artist who herself shows no interest in standing still. Never one to run in place, in November 2019, LeMay relocated her studio to a 24-foot RV and spent a sabbatical year traveling across America, from the lush Florida Everglades and the white sands of the Gulf Coast to the starry deserts of southern New Mexico and the magnificent wonders of Yellowstone. Spending time in the wilderness allowed her to reconnect with her nomadic nature and find inspiration for future projects away from the digital realm. “My works welcome viewers to participate, celebrate, and share in these conversations. If we’re willing to listen, nature can guide us to our paths and purposes and the peace inside ourselves that is the most authentic freedom.” -Ysabel LeMay In January 2021, she began a residency in Costa Rica. She is currently working on her first book featuring several of the works that went into her decade-long series Flourish. She intends to pair these with short stories. A believer in constant change and on-going education, LeMay has been experimenting with the application of more tactile media, including textiles and weaving, intending to include these in her next body of work. Lemay refuses to put all her eggs in one basket. She has adopted a more abstract vocabulary in her recent pictorial exploration, influenced by the Pacific coast’s geometry and light and the lush rainforest that she currently calls home. Currently, LeMay is represented in the U.S. by Christopher Martin Gallery from Aspen and Dallas.







‘World Above’ by Shane McCoubrey


eaturing a growing collection of luxury collectible artworks from some of the art industry’s contemporary heavyweights, Artonique was founded to prove that people don’t need to wade through an opaque antiquated art market and pay large commissions to buy great art. How is Artonique revolutionizing the high-end art market? Artonique is an online luxury art gallery that is democratizing the highend contemporary art market. We bring the accessibility, exhilaration, and convenience of buying art to collectors across the globe. These are collectors who value the service we provide and prefer speed of transactions, rather than the social hierarchies that may be prevalent when dealing with art galleries and dealers. With no hidden fees, buyer premiums, waitlists, or buy-in process, we bring more value and selection than any brick and mortar gallery could possibly provide. Why does Artonique only sell art $10,000 and over? We feature contemporary art from professional artists who have immense creativity and years of experience, have held numerous shows, and have made a prominent and lasting mark in the art world. The $10,000 and up price point is for exclusive, usually large, fascinating one-of-a-kind works made by these artists. Furthermore, our research shows that the average price of an investmentgrade contemporary artwork has risen from $26,160 to $27,600. At $10,000 and up, we capture the bulk of this ever-growing market. How has the high-end art market changed over the last few years leading up to the pandemic? There have been many growing trends in the past decade that are reshaping the art world; be it digital venues, emerging artists, re-emerging genres, and artist inclusivity. Millennials are increasingly playing a larger part in the Art market, accounting for 45% of those who had spent over $1million on artworks, and with 93% of them buying artwork from an online platform. Asian art emerged onto the global scene around mid-2000s, but roared to the top in 2016 when Zhang Daqian became the world’s top auction performer. Since then, artists such as Zeng Fanzhi, Ai Weiwei, and Yue Minjun have forever changed collector’s perceptions of oriental art from merely decorative appeal to a subject of historical interest. Parallel to this, artists from other emerging markets including India, Middle East, and parts of Africa, are also gaining prominence. Art is a powerful medium that offers social commentary—subtly, or otherwise. A growing focus has been on inclusivity, equality, and changing societal norms and traditions. We hope to see this trend continue.

‘Pine Tree’ by Karis Kim $12,000 27.5”x 53” Ink on Traditional Paper A published author, philosopher, poet and artist; Kim’s works are as metaphorical as they are visual. The artist shows true mastery in his style by changing the amount of ink applied to determine the strength of light and dark. The artist’s works often want the viewer to look inward—the tree is the subject, but not the meaning.

What positive changes have you experienced in correlation with the pandemic, and how do you believe it will continue to unfold as such? Pre-pandemic, the art market was definitely moving towards the online platform—albeit at a much slower pace. COVID-19 served as a catalyst that pushed collectors to the online sphere. The subsequent online art fairs, auctions, and further cemented this and consumers are becoming increasingly confident in spending larger sums online. Artonique is perfectly poised for this growth. As an exclusively online platform, we have the artists and tools in place for our collectors to view the art, read about our artists, request additional information, chat with an art consultant, make an offer, or just buy the work outright. I firmly believe this online growth trend will continue its meteoric rise for the foreseeable future until it becomes a “new norm” of the industry. Tell us more about the kinds of art you feature. Can you describe some of your artists? Artonique features paintings, sculptures, photography, and mixed media. From surrealists to realists, and minimalists to abstractionists, we showcase the latest and greatest in contemporary art.

Renowned artist Chuck Kelton recently joined Artonique. He started Kelton Labs in the mid-1980’s, has held some of the most important negatives in history (from Steven Meisel’s Madonna photographs, Ansel Adams’ “Moonrise, Hernandez, New Mexico” to Alfred Eisenstaedt’s “V-J Day in Times Square”) and has worked with some of the world’s best photographers including Mary Ellen Mark, Danny Lyon and Builder Levy. Kelton makes chemograms and photograms inside the darkroom; transforming light, chemistry and paper into rich abstract landscapes. Both chemograms and photograms are made without the use of cameras or negatives, rendering each print entirely unique. Nezza Tilani’s works are also a new and unique addition to our offering. Part sculpture, part visual art, they are bespoke rocking chairs that function both as a visual masterpiece and a means of relaxation. Each sculpture is anchored in the core belief that art feeds our souls and triggers our minds far beyond fantasy. Each rocking chair is handmade from start to finish. The designs are created by merging elements from the virtual and physical world. It begins with painting each individual piece, after which the creation is digitalized by forming a collage that is reproduced on embossed velvet. The longevity is then sealed by laminating each piece of velvet, used in the production of her visual masterpieces.

Stuffed Blue Rocking Chair by Nezza Tilani $27,000 42” x 29” x 39” Embossed velvet and galvonized steel

A Mountain View by Chuck Kelton $17,250 29.5”x 39.5” Chemogram on Traditional Photographic Paper

‘Giulio Gavotti’s Decision’ by Dominic Sansone $21,600 42” x 42” x 42” Cherry wood and steel The title references an Italian pilot responsible for the first air-dropped bombs (four grenades) on November 1, 1911 and asks the audience to consider the implications of their choices. In this piece, eighty-one bomb-like lathe turned cherry blocks, placed in nine groups of nine, stand as an ironic testament to the mass production of war munitions.

‘Melody In 3, Part 2’ by David Darcy $25,460 30” x 40” Oil on Stretched Cotton Duck Canvas From a series of works focusing on the eternal self. Painting is created over a couple of months using glazes and mediums to give a sense of depth. The painting looks at the inner calm one can find in a still moment.

Why Artonique? A boutique experience, vetted professional artists, secure transaction, complete price transparency, 100% satisfaction guarantee and an ever-growing selection from across the world— we’re solving the collector pain points and bringing them the exhilaration of buying art online. We’re young, hungry, and growing. I am enthusiastic about all the opportunities that lie ahead as we continue to register more artists, interact with a global network of collectors, and create strategic alliances with design firms, luxury consultants, and the like. Artonique was created to redefine the high-end art market, and we’re doing just that.

‘World Above’ by Shane McCoubrey $21,000 96” x 48” Original artwork on canvas; metal frame in brushed chrome 40,000 feet above our Earth the view is spectacular , the colors of the land and sea look like a beautiful swirling tempest of colors and motion . Using a build up of 7 layers of epoxy resin using the earths elements as paints such as mineral pigments, gold leaf, silver powder, diamond dust, inks , sand chalk and acrylic sprays and melted oil pastels.

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alifornia raised and Texas based, photographer Steve Wrubel has turned his lens towards the power, leather, dirt and sweat of the American Rodeo. After 25 years in commercial and fine art photography, Wrubel made a move to focus solely on creating art that reflects what he loves – The West. Inspired by stories from his family’s past in the Mojave Desert, his new work takes us to a place of light, motion, space, energy and detail that begs us to question what it is to be alive. Inspired early on by photographer Richard Avedon’s seminal work – IN THE AMERICAN WEST – Wrubel’s work has always been about separating a subject from its familiar background in order to focus on its details with undisturbed clarity. His objective is to present a truer feeling and understanding of the people and animals in his work. In his RODEO series, Wrubel uses graphic and technological techniques to stop the action of those on horse or bull riding - so the audience can see the beautiful dance that until now has remained hidden in the raucous nature of the sport. By taking away visually distracting backgrounds, Wrubel’s work invites the viewer to focus clearly on the finer and often unseen details of his subjects, offering a deeper story of what is going on in the split second that his images were created. Steve’s bold compositions and soft but vibrant and complementary color palettes coax in - the most seasoned eye to behold the timelessness of these photographs thus creating new icons of the American West

The competitive equestrian sport that we all recognized as Rodeo arose out of the working practices of cattle herding in Spain and Mexico. Today, it is a sporting event that involves horses and other livestock, designed to test the skill and speed of the cowboys and cowgirls. American style professional rodeos generally comprise several events such us saddle bronc riding, bareback bronc riding, bull riding and barrel racing. Most of Steve series focuses on bronc and bull riding, a rodeo event that involves a rodeo participant riding a bucking horse (sometimes called a bronc or bronco) or a bull that attempts to throw or buck off the rider. The rider attempts to stay on the horse for eight seconds without touching the horse or bull with their free hand. Bronc riding is now a highly stylized

competition that utilizes horses that often are specially bred for strength, agility, and bucking ability. Since his first inspiration to jump into the world of rodeo photography in the summer of 2019, Wrubel has put over 30,000 miles on his Pickup truck. Criss crossing the western states in search of dynamic rodeo moments, he has been to rodeos and ranches in Texas, New Mexico, Oklahoma, Kansas, Colorado, Wyoming, Utah and Montana. His drive to dive further and further into the culture and the experience of the American Rodeo and Western Culture has allowed him access to the rare air of rodeo photography in events such as The American, The Riggin’ Rally, The NFR, The Gold Buckle Knockout at the Cervi Ranch and even buck up practices at the occasional private ranch.

Wrubel explains, “Finding a way to get in the dirt without getting in the way, and not getting run over by a 1500 pound wild horse is all part of the chase, the excitement and what takes to become a part of the image. To really feel and become a part of the energy and chaos and turn it in to a split second representation of that amazing dance between man and beast.” Wrubel has exhibited in solo shows in San Francisco, Boston, Santa Fe, Aspen, Dallas and in Los Angeles in 2021 at Maxwell Alexander Gallery. He is represented by Christopher Martin Gallery of Aspen and Dallas, and Tierra Mar Gallery of Santa Fe. Wrubel Rodeo Series are released as limited editions either in color or black and white. Presently two editions are available with 8 pieces sized as 40”x 40” and 12 pieces as 30”x 30”. To this date several editions are sold out in the color series at one or both sizes. This ongoing series of work is sure to continue to excite the eyes and minds of the viewer. Steve is continuously on the move - always on point to find the next rodeo or chance to exercise his process. These stunning images that Steve is creating have evoked an impressive season of collecting and will inevitably continue to do so. A truck, a camera and sense of wonder keep Wrubel looking always to the West for inspiration.

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ealist artist Matthew Bird didn’t know much about the small town of Ménerbes in Southern France, outside of a Ridley Scott film and a book by Peter Mayle. But he was immediately intrigued by a collector requesting a special still life for her petite château in the heart of Provence. Artists have been drawn to Provence since...forever. Cézanne, Van Gogh, Gauguin, Picasso, Signac, Matisse, just to name a few. It’s a magical place, with beautiful light and a rich history. For an artist who loves to travel, this was an exciting commission. Whether painting a portrait or a still life, Bird will typically travel to the client’s location which provides an understanding of their unique style and the surrounding for the painting. “I like to get a sense of the individual, their personality, and living space, if possible.” For the initial meeting, detailed discussions take place to gather the information necessary to complete the artwork. Choices regarding the objects or pose, setting, colors, lighting, and mood will be sorted out. “Every job is different. Some people know exactly what they want, others prefer me to do my own thing. It’s always an adventure!”

In this case, the commission was for a still life featuring local, Provencal items. The client was also partial to the color red. “It was almost a blank canvas,” Bird recalls, “and my goal was to merge her affinities with my painting style.” Typically, once the elements of a painting are agreed upon, Bird will spend a bit of time working out the composition to get a feel for what will work best, in addition to photographing the subject(s) in various lighting situations. In the case of This Provencal Life, Bird was given more freedom to create his own composition around the agreed upon theme. Bird traveled to the home, which was on a hill overlooking the town of Ménerbes, a village in the Luberon Valley. The first task was to find a table or shelf to stage the still life. “I fell in love with an antique desk that was in the corner of one of the rooms. The rich burl wood was beautiful and there was a marble top with abstract shapes and textures that would be a fun challenge to paint and add to a rich composition.”

Items for the still life were to be selected from the local markets in Provence, and personal items belonging to the client. The towns of Bonnieux, Goult, and L’Isle-sur-la-Sorgue were all sources of inspiration and items for the composition. The bottle of Armagnac was from the château, and added a special personal touch. Favored by the client, Armagnac is a distinctive variation of brandy produced in the Armagnac region in Gascony, southwest France. The antique books from their library rounded out their interests: À La Recherche Du Temps Perdu (In Search of Lost Time) by Marcel Proust. Back in his studio, work began on the final painting. Depending on complexity, this process can take many hours. His style incorporates chiaroscuro techniques (the use of strong contrasts between light and dark) coupled with careful attention to detail. His artwork reveals the inherent beauty of his subjects, each carefully studied with precision and clarity. Portraits that capture the soul, and still life paintings that reveal overlooked beauty – Bird’s work demands contemplation.

Curators agree: Galleries, museums, and exhibitions in North America, Europe, and Asia have hung his paintings. Iain Stewart writes, “Matthew’s work is not defined by the subject, but rather by the painter himself, orchestrating what emotional response the viewer will take away, while allowing the freedom to explore and glean the hidden gems within it. It’s a joy to behold.” Bird understands that paintings, no matter how grand or humble, are inherently significant as human expressions of what is praiseworthy, and deserve the skill, time, and knowledge required to paint them. No matter where his travels take him, Bird strives to create beautiful artwork that reflects his client’s interests, affinities, and personality. Whether it’s a traditional portrait or a still life of collectibles, he will elevate and highlight the inherent beauty of the things you enjoy most in life. Start a conversation about creating a unique and timeless artwork for your family or institution. Reserve your commission today, now filling the calendar for 2021-2022. 410-581-9988



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rtistic processes are unique to each artist. Some focus on having a specific meaning to their artwork or to share a particular message. Others use their artwork as a way to open the minds and thoughts of those viewing it – allowing imagination to take over the piece of art. Ali Felschow, the owner of Ali Enterprises, Inc. uses her imagination every day in her art and design work. After receiving her degree in art and marketing from the Art Institute of Atlanta, Ali has been creating incredible designs that capture her creativity and artistic process for over 20 years. She is passionate about the art she creates and uses her artistic abilities to inspire others.

Using both her talent and her education, Ali puts deep thought into her process and her artwork. She focuses on abstract designs, while playing with colors and manipulating the canvas in such a way that each piece of art has a different meaning for every person. Ali’s art is designed to show people feelings and emotions they may have not known they even had, which creates an individual experience for each person. In her artwork, Ali plays with colors to evoke these emotions that a person may not have felt previously. Her choices in color for each painting allows people to connect with their inner self and interpret it using their own life experiences. Ali’s talent allows people to look at art in a unique and personalized viewpoint, in such a way that the art speaks to them directly.







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