Clars Auctions is pleased to announce highlights of its Important Fine Art Auction taking place on February 19th, featuring a dynamic selection of postwar, modern, and contemporary works alongside important American prints.

Highlights include a monumental mixed-media canvas by Abstract Expressionist Conrad Marca- Relli, Untitled (circa 1970s), estimated at $15,000–$20,000; Richard Diebenkorn’s vibrant aquatint with drypoint, Folsom Street Variations III (Primaries) (1986), estimated at $12,000–$18,000; and Richard Pettibone’s incisive Pop Art reinterpretation, Andy Warhol Brillo Box (1964) (1967), also estimated at $12,000–$18,000. Additional highlights include California Impressionist works by Granville Redmond and Charles P. Reiffel, as well as notable works by Ellsworth Kelly, Victor Vasarely, Edward S. Curtis, Anthony Quinn, and John James Audubon. Together, these works underscore the breadth and quality of the auction, offering collectors opportunities across multiple movements, media, and price points.

Featured in the auction is Richard Pettibone (American, 1938–2024), a pivotal conceptual Pop artist known for re-creating iconic works of his contemporaries in miniature. Drawing from the Dada tradition of Marcel Duchamp, Pettibone appropriated widely recognized images — such as Andy Warhol’s Marilyn screenprints and Roy Lichtenstein’s comic-strip paintings — in works he described as both homage and critique. His Andy Warhol Brillo Box (1964), created in 1967 after Warhol’s famed facsimile boxes, exemplifies Pettibone’s recursive approach to mass-produced imagery, raising enduring questions about authorship, value, and consumer culture in postwar American art.

Another major focus of the auction is an extensive group of paintings by Margaret Keane (American, 1927–2022), spanning the early 1960s. Keane is internationally renowned for her iconic depictions of wide-eyed figures and for her remarkable personal and artistic story. During her marriage, her former husband Walter Keane falsely claimed authorship of her work, a claim later disproven in a landmark courtroom “paint-off” following their divorce. Keane was ultimately recognized as the true creator of the famed “Big Eyes” paintings. Her influence extends across fine art and popular culture, and her life inspired the 2014 film Big Eyes, directed by Tim Burton and starring Amy Adams. Four paintings by Keane are offered in the February auction, with estimates ranging from $6,000–$9,000 to $10,000–$15,000.

Exploring Intimacy and Connection: Henrietta Berk’s Oil on Canvas Portrait of Phyllis Diebenkorn

In the illustrious realm of the Bay Area Figurative Movement, where artists sought to rekindle a connection with the human form, Henrietta Berk’s artistic prowess stood out as she delved into the intricacies of human emotion and intimacy. One of her most enigmatic works was an oil on canvas portrait of Phyllis Diebenkorn, the wife and muse of acclaimed artist Richard Diebenkorn. This captivating portrait not only immortalizes Phyllis but also offers a glimpse into the personal connections within the artistic community of the mid-20th century Bay Area.

In the 1950’s, the Bay Area Figurative Movement emerged as a reaction against the prevailing abstract expressionism. The movement emphasized figurative and representational art, and it sought to reconnect with the human form, exploring a more tangible and recognizable approach to artistic expression. Fueled by the desire to break away from abstract expressionism, artists like David Park, Wayne Thiebaud, Raimonds Staprans, James Weeks, and Richard Diebenkorn sought to reintroduce representational art — infusing it with an emotive and personal touch.

Henrietta Berk was an American painter known for her significant contributions to the Bay Area Figurative Movement. She was born in the San Francisco Bay Area and pursued her passion for art from an early age. Berk’s artistic journey was deeply intertwined with the movement and the artists who shaped it. She studied under the tutelage of Richard Diebenkorn at the California College of the Arts. She was a part of the “Bridge Generation” of the Bay Area Figurative movement, which included the artists: Nathan Oliveira, Theophilus Brown, Paul Wonner, and Frank Lobdell.

Phyllis Diebenkorn played an essential role in Richard’s life and work. As a muse and a pillar of support, she provided invaluable insight into Richard’s creative process. A frequent model in Richard’s work, she appears in many of his paintings and drawings. Through Berk’s lens, we get a glimpse of Phyllis as more than just a subject — her portrait reveals a woman of depth, grace, and secretive allure.

In Berk’s oil on canvas portrait of Phyllis, she captures an intimate and tender moment. The deft brushstrokes emphasize Phyllis’ ethereal presence. The interplay of light and shadow add a sense of mystery, inviting the viewer to delve deeper into the subject’s thoughts and emotions.

Berk’s portrait of Phyllis Diebenkorn not only serves as a testament to her artistic skill but also as a window into the lives of influential figures within the Bay Area Figurative Movement. The painting stands as a poignant reminder of the connection between art and personal relationships. Through this portrait, we are invited to explore the intimacy and emotions that underpin the relationships between artists and their muses, weaving a captivating tale of people who defined the Bay Area Figurative Movement.