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Frank's Picks
Frank Hettig | Vice President, Modern & Contemporary Art, Dallas
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Roy Lichtenstein’s “I Love Liberty” is a striking example of how pop art intersects with political and cultural commentary. Created in 1982, the print blends Lichtenstein’s signature comic-strip style with patriotic imagery, featuring the Statue of Liberty rendered in bold lines and vibrant colors. The work celebrates American ideals of freedom and democracy while also inviting viewers to reflect critically on the commercialization of such symbols. As a visual statement, “I Love Liberty” captures both a love for country and an awareness of how national identity is constructed and represented in popular culture.
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“Andy Mouse” by Keith Haring is a vibrant tribute to both pop culture and artistic legacy, merging the iconic imagery of Andy Warhol with Haring’s energetic, cartoon-like figures. Created in 1986, the print symbolizes Haring’s deep admiration for Warhol, portraying him as a fusion of Mickey Mouse and a pop art icon. This collaboration highlights the mutual respect between the two artists and reflects their shared interest in breaking down the boundaries between high art and mass culture. Andy Mouse stands as a celebration of artistic freedom, celebrity, and the playful power of visual language in contemporary art.
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Holly's Picks
Holly Sherratt | Vice President, Modern & Contemporary Art, West Coast
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Drawing on his fascination with mass production and repetition, Warhol elevates the truck—an emblem of industry and mobility—into a symbol of mechanized modern life. With its vibrant color palette and streamlined form, the Truck series reflects the language of branding while celebrating the truck as a literal engine of consumer culture. Commissioned to commemorate the 20th World Congress of the International Road Transport Union, the series acknowledges the significance of transportation in an interconnected economy.
Today, Truck feels especially relevant as the industry undergoes a dramatic shift toward automation. Companies like Walmart, FedEx, and UPS are driving the adoption of AI-powered, self-driving trucks, testing them on highways across the country. Warhol’s vision of machine-driven progress is echoed in this transformation, as technology redefines how goods are transported and challenges ideas about labor and identity. In this context, Truck not only reflects the industrial power of its time—it anticipates the evolving relationship between humans, machines, and the systems that keep commerce in motion.
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Richard Diebenkorn’s career moved seamlessly between abstraction and figuration, grounded in the light and space of the California landscape. High Green, Version I (1992) reflects his interest in aerial perspective, where geometry, color, and atmosphere converge. A green form hovers above a dark, angular divide that opens onto a broad expanse of deep blue, suggestive of the Pacific Ocean. The composition echoes coastal California, where farmland, sea, and sky break into abstract planes shaped by light and distance.
The print was produced at Crown Point Press in San Francisco, where Diebenkorn first worked in 1962 and returned regularly throughout his career. Crown Point’s focus on artist-led experimentation and technical rigor made it an ideal setting to explore aquatint, etching, and drypoint with exacting control. He often revised plates over multiple sessions; the title Version I reflects this iterative process. With its layered blues, precise lines, and distilled composition, High Green, Version I reflects decades of refinement, capturing Diebenkorn at the height of his artistic powers in the final year of his life.
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Desiree's Picks
Consignment Director, Modern & Contemporary Art, Beverly Hills
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Wayne Thiebaud’s Candy Apples and Chocolates are sweet reveries rendered in rich, buttery color—a nostalgic ode to indulgence and memory. In Candy Apples, glossy orbs gleam like jewels on sticks, each one a sugary beacon of childhood delight. Chocolates offers a more intimate pleasure; bite-sized temptations nestled in their paper cradles, each square a quiet secret of craving. Thiebaud paints with affection and precision, transforming confections into icons, and stillness into celebration. Together, these prints hum with nostalgia, inviting us to savor the beauty in life’s simplest, most delicious moments.
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Picasso is one of my favorite artists, because he always tells us a story with every work, whether it is a subtle etching or an abstract ceramic. In Le Repos du Sculpteur II, from La Suite Vollard, Picasso captures a moment of stillness steeped in myth and intimacy. The sculptor rests—not just his body, but the weight of creation beside the quiet curve of his muse. Line becomes language here: fluid, tender, and timeless. Shadows and forms entwine in a dreamlike hush, where the boundary between artist and subject blurs. It is a scene not of sleep, but of reverie, where inspiration lingers. It is delicate, poetic and so much more.
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Becky's Picks
Becky Lax | Consignment Director, Prints & Multiples, New York
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Bridget Riley’s Untitled (Fragment 2), 1965, presents a rare opportunity for collectors to acquire one of the artist’s numbered editions from the Fragment series. This black screenprint was hand screened onto Perspex (a plexi-like substrate) and features a graceful, curling form that recalls the undulating patterns found in Riley’s paintings of the same period, including Polarity (1964), Crest (1964), and Current
(1964). In the mid to late 1960s, Riley’s paintings focused on exploring her iconic imagery in black and white, highlighting the compositional shifts between these two contrasting colors. During this period, many artists, including Riley, supported by their experimental print publishers, began incorporating new materials in printmaking, moving beyond traditional paper as plastics gained popularity. For instance, Kelpra Studio printed the entire Riley Fragments series in the UK, while Marian Goodman’s Multiples editions in the USA experimented with molded plastics. This work exemplifies Riley’s exploration of new materials, resulting in a striking visual effect.
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Jasper Johns’ Fragment of a Letter is a striking diptych, etching on Echizen Torinko handmade paper, presented across two sheets. The image depicts hand gestures from sign language, with the signing alphabet displayed on the left panel, and a quote from the final paragraph of a letter Vincent van Gogh wrote to Emile Bernard in Paris, Fall 1887. The letter reads:
“…I shall be glad to do all I can to make a success of what we began in the café, but I think the primary condition on which success depends is to set aside all petty jealousies, for only union is strength. Surely the common interest is worth the sacrifice of that selfishness of every man for himself. With a hearty handshake.”
The handprint in black on the right panel is a print of Johns’ own hand, a symbolic gesture reflecting the individual life of the artist—one who both competes with and collaborates alongside peers, while also offering something of personal value. The use of sign language imagery further serves as a metaphor, illustrating how individuals must communicate in various ways to support one another for the greater good of society.
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Taylor's Picks
Taylor Gattinella | Consignment Director, Modern & Contemporary Art, New York
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Joan Mitchell's Sunflowers I is a vibrant lithograph that captures the expressive energy and emotional intensity characteristic of her work. Created in 1992, the piece channels the raw vitality of sunflowers through bold, gestural strokes and dynamic color contrasts, blending abstraction with a deeply personal interpretation of nature. It reflects Mitchell’s ongoing dialogue with the natural world and her admiration for Van Gogh’s iconic sunflower series. It is the perfect work to feature during the spring auction season!
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This screenprint by Alex Katz is a striking example of his iconic portraiture. Among his most enigmatic subjects is his wife, Ada, who features prominently in Katz’s work. Heritage is pleased to offer three prints spanning four decades—Red Coat, Ada 2, and Ada 7—each capturing Ada’s poised presence and timeless beauty. These works reflect the hallmarks of Katz’s minimalist style, and through repetition and variation, he elevates Ada from personal muse to an enduring symbol of modern sophistication.
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Taylor's Pick
Taylor Curry | Director, Modern & Contemporary Art, New York
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Zhang Xiaogang’s Amnesia and Memory is a poignant body of work that fuses personal history with political commentary. His signature portraits—ghostly figures with pale faces, distant gazes, and soft, surreal distortions—evoke the emotional weight of memory and the lingering impact of China’s Cultural Revolution. Drawing from old family photos, Zhang creates a quiet tension between uniformity and individuality, making each work a haunting reflection on identity and collective history.
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Hannah's Picks
Hannah Ziesmann | Cataloguer, Fine Arts, Dallas
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Jeff Koons’ Dom Pérignon Balloon Venus is a glossy, larger-than-life love letter to the enduring power of the feminine form. Reimagining the Paleolithic Venus of Willendorf through the playful language of balloon art and mirror-polished resin, Koons fuses ancient fertility symbolism with pop spectacle. She’s radiant, curvy, unapologetic - a goddess gleaming in candy-colored chrome, standing proudly like the original diva. Venus
bridges millennia of female celebration, transforming prehistoric reverence into contemporary glam. It’s both a wink and a tribute, inviting us to celebrate women not just as icons of fertility or beauty, but as sources of strength, creativity, and joy. Even her collaboration with Dom Pérignon adds sparkle to the message: she is a toast to womanhood, creativity, and unapologetic shine.
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This exuberant monotype by Sam Francis is a symphony of saturated color and controlled chaos, grounded in the artist’s unmistakable sensibility for gesture and light. At its core, a blazing field of cadmium red and golden ochre anchors the composition, the plains are bisected by a swath of fuchsia while bursts of ultramarine, chartreuse, magenta, and viridian green ricochet across the surface of the sheet in ecstatic rhythms. The pigments bloom and collide, their edges crashing into one another with unpredictable energy. Printed on richly textured handmade paper, the image carries a tactile presence: velvety passages of pigment cling like pastel dust, while thicker pools of cobalt and alizarin seem to hover above the surface. Francis transforms the monotype into a sensual
event—a celebration of color not just seen, but felt, pressed, and pulsing with life.
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Frank Hettig
Vice President, Modern & Contemporary Art
FrankH@HA.com
(214) 409-1157
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Holly Sherratt
Vice President, Modern & Contemporary Art,
West Coast
HollyS@ha.com
(415) 548-5921
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Desiree Pakravan
Consignment Director,
Modern & Contemporary Art,
Beverly Hills
DesireeP@HA.com
(310) 492-8621
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Becky Lax
Consignment Director,
Prints & Multiples,
New York
BeckyL@HA.com
(212) 486-3736
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Taylor Gattinella
Consignment Director,
Modern & Contemporary Art,
New York
TaylorG@HA.com
(212) 486-3681
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Taylor Curry
Director, Modern &
Contemporary Art,
New York
TaylorC@HA.com
(212) 486-3503
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Hannah Ziesmann
Cataloguer,
Fine Arts, Dallas
HannahZ@HA.com
(214) 409-1162
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