The Fine Art department at Clars will present a strong selection of works by acclaimed California and American artists like Maynard Dixon, Percy Gray, Thomas Hill, Karl Schmidt and much more on June 20th.

Among the highlights in California and American Impressionism is Arizona Landscape, a 1944 oil on board by Western master Maynard Dixon (American, 1875–1946), estimated at $15,000–$20,000. Another featured piece is Eucalyptus Trees with Field of Irises, a graceful watercolor by Percy Gray (American, 1869–1952), estimated at $6,000–$9,000. This piece is one of two works by Gray in the sale, including Oaks in a Field, a 1920 watercolor estimated at $4,000–$6,000.

Another important landscape is Hetch Hetchy (California) by Thomas Hill (American, 1829–1908), an oil on board also estimated at $6,000–$9,000. Additional highlights include View from Salmon Creek, an oil on canvas by Emmy Lou Packard (American, 1914–1998), estimated at $5,000–$7,000, and Near the Mouth, an evocative coastal scene by Theodore Wores (American, 1859–1939), estimated at $4,000–$6,000.

The sale also features a strong group of early 20th-century California works, including Cliff and Sunset, both circa 1920 by Karl Schmidt (American, 1890–1962). These vertical oil on linen paintings, each measuring 28 x 13 inches, are estimated at $2,000–$4,000. Additional offerings include Untitled (Landscape with Lake) by Carl Jonnevold (American, 1856–1955), estimated at $600–$900; Untitled (Cows on a Hillside) by Alexis Matthew Podchernikoff (American/Russian, 1886–1933), estimated at $800–$1,200; Desert Landscape by Carl Sammons (American, 1883–1968), estimated at $600–$900; and Untitled (Native Americans by a River) by A.D.M. Cooper (American, 1856–1924), painted in 1916 and estimated at $700–$1,000.

From the wall frescoes of ancient Rome to the trompe-l’oeil ceiling murals of Renaissance Europe, optical illusions have been a popular trend in visual art for ages.

Artists like Victor Vasarely and M.C. Escher revamped the way artists fool the eye in the 20th century. Perhaps inspired by the revitalized interest in optics, Jasper Johns created an image that toys with our perception of color.

In the work, titled Flag (Moratorium), Johns presents the United States flag with pink, green, and black, replacing the traditional stars and stripes palette. The viewer is invited to stare at the small white dot in the center of the flag for 30 seconds, then avert their gaze to a white wall where they will see the same flag in its original red, white, and blue. This phenomenon, known as a negative afterimage, is caused by stimulation of the cells that carry signals between the eyes and the brain. Johns’ artwork is often layered — whether literally with material or metaphorically with meaning — and Flag (Moratorium) takes this layering a step further, with a covert optical illusion hiding just beneath the surface.

Johns’ flag prints are among his most well-known and iconic works. He first began exploring the American flag as a subject in the mid-1950s and the flag became a recurring motif in his art, representing various themes and concepts. The flag prints emerged during a time when abstract expressionism dominated the art scene. Johns’ use of familiar imagery, like the flag, challenged the prevailing ideas of what art could be. By appropriating this national symbol, Johns questioned the boundaries between art and everyday objects, inviting viewers to reconsider their own perceptions and interpretations.

The flag prints were created through various printmaking techniques, such as lithography, screen printing, and etching, allowing Johns to experiment with different textures and color variations. Today, Johns’ flag prints are highly regarded and can be found in significant museum collections worldwide. They continue to be celebrated as essential contributions to contemporary art history.