You are here: American University College of Arts & Sciences American University Museum 2014 From the Estate of H. Marc Moyens

Works from the Estate of H. Marc Moyens September 6 through September 20, 2014

Falk, Untitled

Betsy Falk
, C. 1980

Bronze, 13.25 x 11.63 x 13.75 in.

No K#, Paper Mache Snake

Unknown artist
Wood, paint, leather, 72 x 22 x 19 in.

Asada, Le Portique

Hiroshi Asada
Le Portique, 1975
Mezzotint, 22 x 27 in.

Bisese, Stars

Edward Bisese
Stars, 1984
Graphite on paper, 23 x 30 in.

Braché, La Batalla

Carlos Laos Braché
La Batalla, 1974
Ink and acrylic on paper, 33 x 46 in.

Craig, Birch-Bomb

Patrick M. Craig
Birch-Bomb, 1988
Oil on canvas, 63 x 84 in.

Crockett, Harvest

Susan Crockett
Harvest, 1984
Watercolor, 32 x 43 in.

Ekstrom, 9-IV-67

Thea Ekstrom
9-IV-67, 1967
Watercolor, 22 x 28 in.

Bal, Capitanas

Carlos Gomez Bal
Capitanas, 1975
Oil on canvas, 23 x 19.75 in.

Grady, Car House

Ruby McLain Grady
Cat House, 1981
Photo collage, 16 x 20 in.

Grigoriadis, Etruscan Amber

Mary Grigoriadis
Etruscan Amber, 1974
Oil on acrylic on raw linen, 99 x 99 in.

Harne, Sirens of New York

John Harne
Sirens of New York, 1988
Oil on canvas, 20 x 30 in.

Hynes, Joe's Soluner Tables

Robert Hynes
Joe's Soluner Tables, 1976
Graphite on paper, 23 x 27 in.

Lerner, Hat #2

Hat #2 , 1978
Oil on canvas, 46 x 73 in.

McAdams, Fragment J

Alfred H. McAdams
Fragment J, 1961
Acrylic ink and gouche, 17 x 15.5 in.

McCabe, Untitled (Feather Dome)

Maureen McCabe
Untitled (Feather Dome), 1972
33 x 17 x 17 in.

Moreh, Triomphe de la Femme (The Crucified Bird)

Mordecai Moreh
Triomphe de la Femme (The Crucified Bird)
, 1968

Drypoint 87/100
14.25 x 19.5 in.

Mussoff, Claudia

Jody Mussoff
Claudia, 1980
Colored pencil, 40 x 27 in.

Nilsson, Inkvisitionen

Bert-Johnny Nilsson
Inkvisitionen, 1974
Oil on canvas, 71 x 91 in.

Rudavesky, Atlantis I

Ondrej Rudavesky
Atlantis I, 1987
Colored pencil, 16 x 21 in.

Sims, Davidson Caroline's Pond

Alice Sims
Davidson Caroline's Pond, 1990
Colored pencil, 26 x 22 in.

Stone, Shadow Burn

Alan Stone
Shadow Burn, 1985
Silkscreen, 30 x 22 1/2 in.

Svennson, The Great Supper

Carsten Svennson
The Great Supper
Ink on paper, 29 x 61 in.

Svennson, Portrael af en Afdad

Carsten Svennson
Portrael af en Afdad, 1971
Etching 2/30, 30 x 22 in.

Weatherly, Drawing XXV

Alan Weatherly
Drawing XXV, 1987
Pencil, 15 x 19 in.

White, Oranges

Franklin White
Oranges, 1975
Silkscreen, 7 x 25 in.

Woelfer, Landschaft XXXVII Badlands Regenstuesse

Roy F. Woelfer
Landschaft XXXVII Badlands Regenstuesse, 1980
Watercolor, 29 x 36 in.

Yajima, Untitled (Group of 3)

Misao Yajima

Untitled (Group of 3), 1992
13.5 x 16 in.
17.5 x 14 in.
14 x 12 in.

Zeimert, La Gare Montparnesse

Christian Zeimert
La Gare Montparnesse, 1969
Oil on canvas, 45.5 x 58 in.

Carter, Mr. Jim

Allen "Big al" Carter
Mr. Jim
Etching, 12.5 x 14 in.

Hung, Untitled

Nguyen van Hung
, 1989

Watercolor and conte crayon
19.5 x 23 in.

Jacques Le Marechal

Jacques Le Marechal
Le bordel de l'amour populaire, c. 1958
gouache on paper
26 x 19.5 in.

Bumgardner, Untitled

James Bumgardner
Untitled, 1978
Oil on canvas, 23 x 23 in.

Exhibition Overview

2014's auction featured 33 items from the estate of art enthusiast H. Marc Moyens. Moyens opened Gallery Marc in 1969 in Washington, D.C., as part of the city's first "gallery row" on P Street Northwest. He later opened Gallery K with his partner, Komei Wachi in 1975, which bucked current trends by focusing on photorealism and surrealism at a time when the Washington Color School was favored. 

In 2010, the Washington City Paper noted that Moyens and Wachi loved art as much as they loved each other: "They owned more art than could fit on the walls of their Alexandria home." Walter Hopps curated an exhibition of Moyens' collection at the Corcoran Gallery of Art in 1969. The exhibition received mixed reviews with one writer describing the work as "creepy and menacing." The couple's collection was not shown again until 2006 when the American University Museum organized a show titled, "Remembering Marc and Komei." By this time, the tone of art critics had changed and they embraced the provocative content.