{"title":"Harold Geller (1930 - 2019)","description":"\u003cp\u003e\u003cimg src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/Hero_Banner_Harold_Geller_Compressed.png?v=1786319077\" alt=\"\"\u003e\u003c\/p\u003e\n\u003cp\u003eHarold Geller (1930–2019) was an American artist, portraitist, gallerist, and arts advocate whose career spanned California and Taos, New Mexico. A professional portrait artist before founding Total Arts Gallery in 1969, Geller became a longtime presence in the Taos arts community while continuing his own practice in drawing, pastel, and painting.\u003c\/p\u003e","products":[{"product_id":"graphite-portrait-of-a-young-man-harold-geller-c-1968","title":"Graphite Portrait of a Young Man - Harold Geller, c. 1968","description":"\u003carticle dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"rte-table-wrapper\"\u003e\n\u003ctable height=\"1543\" style=\"width: 98.087%;\" width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eWhy This Work Matters\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThis portrait reconnects Harold Geller with the skilled figurative practice that preceded his decades of influence on the Taos art community. Its sensitive graphite handling reveals the perceptive draftsman behind Total Arts Gallery, preserving a more intimate dimension of an artist often remembered primarily as a gallerist and cultural advocate.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003cbr\u003eArtwork Description\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eGraphite Portrait of a Young Man*\u003c\/strong\u003e\u003cbr\u003e\u003cem\u003eHarold Geller, c. 1968\u003c\/em\u003e\u003c\/p\u003e\n\u003carticle dir=\"auto\" class=\"text-token-text-primary w-full focus:outline-none [--shadow-height:45px] has-data-writing-block:pointer-events-none has-data-writing-block:-mt-(--shadow-height) has-data-writing-block:pt-(--shadow-height) [\u0026amp;:has([data-writing-block])\u0026gt;*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]\"\u003e\n\u003cdiv class=\"text-base my-auto mx-auto pb-10 [--thread-content-margin:--spacing(4)] @w-sm\/main:[--thread-content-margin:--spacing(6)] @w-lg\/main:[--thread-content-margin:--spacing(16)] px-(--thread-content-margin)\"\u003e\n\u003cdiv class=\"[--thread-content-max-width:40rem] @w-lg\/main:[--thread-content-max-width:48rem] mx-auto max-w-(--thread-content-max-width) flex-1 group\/turn-messages focus-visible:outline-hidden relative flex w-full min-w-0 flex-col agent-turn\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cdiv class=\"flex max-w-full flex-col grow\"\u003e\n\u003cdiv class=\"min-h-8 text-message relative flex w-full flex-col items-end gap-2 text-start break-words whitespace-normal [.text-message+\u0026amp;]:mt-1\" dir=\"auto\"\u003e\n\u003cdiv class=\"flex w-full flex-col gap-1 empty:hidden first:pt-[1px]\"\u003e\n\u003cdiv class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003eHarold Geller’s \u003cstrong\u003e\u003cem\u003eGraphite Portrait of a Young Man\u003c\/em\u003e\u003c\/strong\u003e belongs to a tradition of portrait drawing in which technical control serves not simply to record appearance but to suggest the interior character of the sitter. Geller presents the young man without setting, props, or overt narrative, concentrating attention upon the head, shoulders, and particularly the eyes. The resulting image is direct but not uncomplicated. Its apparent simplicity allows small decisions of pose, pressure, shading, and emphasis to carry unusual technical weight.\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThe sitter is shown in a three-quarter position, his shoulders angled slightly away while his face remains largely accessible to the viewer. This orientation avoids the rigid symmetry of a frontal portrait while retaining a sense of formality. The young man does not seem casually observed or caught in motion; he appears to be consciously sitting for the artist. His posture is composed, yet the expression contains a faint uncertainty. The lips are firmly closed, the jaw held still, and the gaze directed outward with a mixture of attention and guardedness.\u003c\/p\u003e\n\u003cp\u003eGeller’s treatment of the eyes is central to this effect. They are among the darkest and most carefully articulated features in the drawing, positioned beneath lightly defined brows and surrounded by subtle tonal adjustments. The sitter appears to look toward the viewer while also remaining psychologically withdrawn. Geller does not exaggerate the eyes or dramatize them through extreme contrast. Their force comes from precision and placement, giving the face its emotional center.\u003c\/p\u003e\n\u003cp\u003eThe asymmetry of the gaze is equally important. The eyes are not mechanically identical, nor are the surrounding features smoothed into an idealized mask. One side of the face carries slightly greater tonal weight, while the other remains more open and illuminated. These differences preserve the sitter’s individuality and prevent the portrait from becoming a generic academic exercise. Geller’s attention to the particular shape of the nose, the uneven fall of the hair, and the narrow line of the mouth suggests a commitment to observed likeness rather than cosmetic refinement.\u003c\/p\u003e\n\u003cp\u003eThe hair provides the drawing’s greatest concentration of darkness. Geller builds it through overlapping graphite strokes that follow its direction, weight, and curvature. The broad sweep across the forehead establishes both the sitter’s period appearance and the rounded volume of the skull. Darker passages near the crown and right temple contrast with softer highlights, allowing the hair to read as a physical mass rather than a flat silhouette. Its density visually frames the paler face and draws attention downward toward the eyes.\u003c\/p\u003e\n\u003cp\u003eBy comparison, the skin is rendered through restrained tonal transitions. Geller uses the tooth of the paper as an active part of the image, allowing the surface to remain visible through the graphite. The cheeks, forehead, and bridge of the nose are not completely filled or blended. Instead, they emerge from a field of fine marks and lightly accumulated tone. This produces a soft atmospheric quality while preserving the immediacy of drawing.\u003c\/p\u003e\n\u003cp\u003eThe nose is especially instructive. Rather than enclosing it with a continuous outline, Geller describes its structure through shadows beneath the nostrils, tonal changes along the bridge, and gentle darkening where it meets the cheek. This approach reflects an understanding that facial volume is communicated more convincingly by shifts in light than by rigid contour. The jaw and neck are handled similarly, with shadow defining their forms without separating them harshly from the surrounding paper.\u003c\/p\u003e\n\u003cp\u003eThe sweater and collared shirt establish the sitter socially without turning clothing into the subject or overly timestamped. The shirt collar is described clearly enough to register beneath the rounded neckline, but the lower garment gradually dissolves into broader, softer shading. This hierarchy of finish keeps the viewer’s attention on the face. It also gives the portrait a sense of emergence: the head is fully present, while the torso seems to recede into the neutral ground.\u003c\/p\u003e\n\u003cp\u003eSuch selective resolution is an important feature of Geller’s technique. The drawing is not uniformly detailed. The hair and eyes receive sustained attention, the face is modeled with moderate specificity, and the shoulders are only lightly established. This progression corresponds to the way a viewer naturally encounters another person, moving first toward the face and then outward toward less psychologically significant information.\u003c\/p\u003e\n\u003cp\u003eThe blank background further reinforces this concentration. There is no indication of whether the young man sits in a studio, home, school, or workplace. Removed from any identifiable environment, he occupies an indeterminate pictorial space. The absence of context makes the portrait more intimate but also more mysterious. We are given access to his appearance without being given an explanation of who he is.\u003c\/p\u003e\n\u003cp\u003eGeller’s long involvement with portraiture is relevant to understanding the work. As an artist associated with the portrait traditions of Sausalito and later with Total Arts in Taos, he developed a practice grounded in direct observation and interpersonal exchange. A portrait such as this would have required not only technical facility but the ability to sustain attention upon another person long enough for a likeness to become psychologically persuasive.\u003c\/p\u003e\n\u003cp\u003eThis interpersonal dimension distinguishes portrait drawing from photographic transcription. Even when the image is highly descriptive, the artist must continuously interpret which features matter, which shadows should be retained, and where detail should be withheld. Geller does not attempt to reproduce every visible fact. He organizes the sitter’s appearance around a few expressive priorities: the focused eyes, the controlled mouth, the carefully shaped hair, and the slender transition from jaw to neck.\u003c\/p\u003e\n\u003cp\u003eThe young man’s conventional sweater and neatly arranged hair might initially suggest an uncomplicated image of youth. Yet the longer the portrait is considered, the more emotionally ambiguous it becomes. His gaze is neither warm nor confrontational. He appears attentive but distant, mature in his composure while still retaining the vulnerability of adolescence or early adulthood. The portrait therefore captures not only a face but a transitional stage of identity.\u003c\/p\u003e\n\u003cp\u003eThat sense of transition gives the drawing much of its lasting appeal. Without knowing the sitter’s name or biography, the viewer can recognize the experience of being young and newly conscious of how one appears to others. The act of sitting for a formal portrait becomes a moment of self-presentation: the subject attempts to hold himself still, while the artist observes the small uncertainties that remain visible beneath that composure.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eGraphite Portrait of a Young Man\u003c\/em\u003e\u003c\/strong\u003e demonstrates how little a portrait requires when observation is sufficiently focused. Through economical means, Geller constructs a convincing likeness, a period presence, and a subtle psychological encounter. The drawing does not declare who this young man became. Instead, it preserves the more fragile moment before that future was fully known.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n-\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eJonathan Flike\u003c\/strong\u003e\u003c\/span\u003e\u003cem\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/em\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003ch6 class=\"markdown prose dark:prose-invert w-full wrap-break-word dark markdown-new-styling\"\u003e\n\u003cstrong\u003e\u003cem\u003e*The title of this work was assigned by Visard Gallery.\u003c\/em\u003e\u003c\/strong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAbout the Artist\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"PDq2pG_selectionAnchorContainer\"\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(114, 58, 150);\"\u003eHarold Geller\u003c\/span\u003e \u003c\/strong\u003e(1930–2019) was a painter, portraitist, gallerist, and arts advocate whose career connected the creative communities of 1960s Sausalito, California, with the flourishing postwar art scene of Taos, New Mexico. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e Before becoming closely identified with Taos, Geller worked as a professional portrait artist at Sausalito’s Village Fair, an eclectic hillside complex known for its artists, galleries, shops, and bohemian atmosphere. Newspaper advertisements from 1963 promoted “Portraits by Geller,” while contemporary coverage identifies Geller among the artists operating businesses at the Village Fair. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003cspan class=\"PDq2pG_selectionAnchor\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eThat California chapter was not without disruption. Geller’s business was among those affected when a major fire swept through the Village Fair in September 1963. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e He nevertheless continued his Sausalito practice, advertising portrait commissions in oil, pastel, and charcoal in 1964. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e A 1966 feature on the Village Fair even photographed Geller at work, completing a charcoal likeness of a visiting sitter—valuable evidence of an artist earning his living through direct observation and portraiture before his later career as a gallery owner. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eBy 1969, Geller had relocated to Taos and established the gallery that became\u003cstrong\u003e \u003c\/strong\u003eTotal Arts Gallery. A 1971 newspaper report noted that he had already maintained a gallery in Taos for two years when the Total Arts Gallery and Theater opened in a new incarnation on Kit Carson Street. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e A later retrospective clarified the significance of the name: when Geller began Total Arts in 1969, its program extended beyond conventional exhibitions to include live music and live sketching, reflecting his belief in the arts as an interconnected cultural experience. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eGeller remained an active artist throughout this period. A 1972 profile described him as known primarily for portrait and still-life painting in oil and pastel and recorded his earlier study under George Rich at the Meinzinger Art Institute in Detroit. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e His long experience as a practicing artist informed his later role as a dealer: rather than standing apart from the creative process, Geller approached gallery work from within it.\u003c\/p\u003e\n\u003cp\u003eOver the following decades, Total Arts became one of Taos’s enduring cultural institutions, presenting traditional and contemporary work by artists from Taos and beyond. A 1981 advertisement already reveals the breadth of the gallery’s program—painting, sculpture, graphics, books, and photography—while later newspaper coverage repeatedly identifies Geller as its owner and a knowledgeable voice within the Taos art community. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003c\/span\u003e By 1990, he was being interviewed as a veteran gallery owner about the health and cyclical nature of the Taos art market. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e Total Arts remained active into the late 2010s and ultimately closed after\u003cstrong\u003e \u003c\/strong\u003e50 years in business. \u003cspan class=\"contents\"\u003e\u003c\/span\u003e \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eGeller’s influence extended well beyond his own gallery. Music from Angel Fire identifies him as its first board president and credits him with establishing the festival’s annual visual-artist program, through which a selected artist creates work associated with each season. The organization explicitly describes the program as part of Geller’s continuing imprint on the festival. \u003cspan class=\"contents\"\u003e\u003cspan class=\"\"\u003e\u003c\/span\u003e\u003c\/span\u003e His legacy therefore rests on several intertwined roles: working artist, portraitist, curator, dealer, institution-builder, and advocate for the artists around him.\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVisard Gallery's Orphan Work Research Note\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\nThrough Visard’s research, this previously orphaned work—originally attributed to \u003cstrong\u003eE. Otto\u003c\/strong\u003e—was successfully and correctly re-attributed to \u003cspan style=\"color: rgb(114, 58, 150);\"\u003e\u003cstrong\u003eHarold Geller\u003c\/strong\u003e\u003c\/span\u003e. The discovery marks another success in Visard’s mission to reconnect overlooked artworks with their proper histories, restore lost context, and return artists’ names to works that have become detached from their original identities.\u003cbr\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eCustom Shipping Notice\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eN\/A\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eInformation\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eStyle: Modern\u003c\/li\u003e\n\u003cli\u003eSubject: Portrait\u003c\/li\u003e\n\u003cli\u003eSight: 11.75 x 16.0 in (29.84 x 40.64 cm)\u003cbr\u003e\n\u003cul\u003e\n\u003cli\u003eMatting: 16.5 x 21 in\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eMedium: Graphite\u003c\/li\u003e\n\u003cli\u003eMaterial: Paper\u003c\/li\u003e\n\u003cli\u003eSignature: Signed\u003c\/li\u003e\n\u003cli\u003eCirculation status: One of a kind\u003c\/li\u003e\n\u003cli\u003eFrame Status: Unframed\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eVintage Condition Disclaimer\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/strong\u003ePlease note that this item is vintage and shows wear consistent with age, use, and history. Signs of wear may include, but are not limited to, minor surface marks, patina, fading, or imperfections typical of older items. All items are sold\u003cstrong\u003e as-is\u003c\/strong\u003e, which is standard with vintage and pre-owned goods and cannot be returned on the basis of condition. Measurements are approximate. We do our best to describe items accurately; however, condition assessments are subjective. If you would like additional details, images, or clarification before purchasing, please contact us through the contact form.\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eSpecial Condition Notes\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHistorical matting present. We recommend archival framing. Small tear in upper right-hand corner of image. \u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eProvenance*\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1968\u003c\/strong\u003e: Harold Geller\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e1968 - 2026\u003c\/strong\u003e: Private sitter's estate\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e2026 - Present\u003c\/strong\u003e: Visard Gallery \u003c\/p\u003e\n\u003ch6\u003e\u003cem\u003e*Provenance and attribution details are based on our best research and are offered in good faith but are not guaranteed. Please contact us through the contact form with any questions prior to purchase.\u003c\/em\u003e\u003c\/h6\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd style=\"width: 100%;\"\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003eAcademic Resources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/jgnv7n5545dbl2tr51opt\/AO3JOcF-ZrgEHHcgzKXRSmU?rlkey=b6di40rzbcg13glc5dztwg00f\u0026amp;st=ti5mvuli\u0026amp;dl=0\" target=\"_blank\" title=\"https:\/\/www.dropbox.com\/scl\/fo\/hhcg45txblut76zyk6jrq\/AMOr2xpmGsuxOorTV2juXKo?rlkey=5jzwqzszdhybx3wqczblxb40h\u0026amp;st=s8slalq6\u0026amp;dl=0\" rel=\"noopener\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eHarold Geller Research\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.dropbox.com\/scl\/fo\/azy0g1jiiuwoqobunfvnr\/AGNcmO5EW9EmfgkXAAtYTGg?rlkey=4fny60lhndc49gpfh98y8e84j\u0026amp;st=45vm26dt\u0026amp;dl=0\" style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.taosnews.com\/news\/servant-of-the-muses-harold-geller-dies\/article_a965d09a-9ec1-5301-bc98-61a2f1d8a93e.html\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eHarold Geller Death Coverage\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003e\u003ca href=\"https:\/\/maplewood.worldwebs.com\/calendar\/detail\/eva-bouzard-hui-presents-prints-from-prison-art-73\" style=\"color: rgb(81, 185, 217);\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ca href=\"https:\/\/www.youtube.com\/watch?v=RumpYhbMam4\" target=\"_blank\" rel=\"noopener\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(80, 197, 215);\"\u003e\u003cspan style=\"color: rgb(81, 185, 217);\"\u003eTotal Arts Gallery_YouTube\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/a\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/article\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Visard Gallery","offers":[{"title":"Default Title","offer_id":46856310325409,"sku":"ART352","price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/files\/ART352_HaroldGeller_GraphitePortraitofaYoungMan_Full.png?v=1786319317"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0698\/6072\/0801\/collections\/Hero_Banner_Harold_Geller_Compressed.png?v=1786319244","url":"https:\/\/visardgallery.com\/collections\/harold-geller-1930-2019.oembed","provider":"Visard Gallery","version":"1.0","type":"link"}