Lincoln Glenn Abstract Paintings

Lynne Drexler Twilight Imagery, 1976 Signed and dated on the reverse Oil on canvas 30 1/2 x 22 1/2 inches Southern-born Lynne Mapp Drexler found her ar...

James Suzuki New Address, 1961 Signed and dated lower right; signed, titled and dated on the reverse Oil on canvas 54 x 42 1/2 inches James Hiroshi Suzuki...

Charles Green Shaw Happening, 1964 Signed and dated on verso Oil on board 8.75 x 6 inches Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin...

Balcomb Greene Composition, 1936 Signed Balcomb Greene on verso upper stretcher bar Signed on backing board: Balcomb Greene Oil on canvas 30 1/4 x 46 inches Provenance: The artist A...

Manierre Dawson Upper Street, 1912 Oil on board 10 x 15 inches Provenance: The artist Estate of the artist Private Collection (gift of Lillian Dawson, widow of the artist) Hollis Ta...

Juanita Guccione (1904 - 1999) Study for Ladders, 1948 Gouache on paper 17 x 13 inches Signed lower left, dated, and inscribed “Study for Oil Painting...

William Baziotes (1912 - 1963) Untitled, circa 1935-1940 Oil on board 14 x 19 3/4 inches Illegible Inscription present to the verso Provenance: Previously from the estate of Consta...

Gerome Kamrowski Pink Garden, 1947 Signed lower left Watercolor on paper 22 x 30 inches Gerome Kamrowski was born in Warren, Minnesota, on January 19, 1914. In 1932 he enrolled in ...

Gerome Kamrowski Blue Fossil, 1960 Acrylic and styrofoam on board 17 x 46 inches Gerome Kamrowski was born in Warren, Minnesota, on January 19, 1914. In 1932 he enrolled in the Saint Paul School of Art (now Minnesota Museum of American Art - MMAA), where he studied with Leroy Turner...

Edward Zutrau Polynesian Image, 2/1960 Signed, dated and titled on verso Oil on linen 38 1/2 x 51 inches Edward Zutrau is among the American artists who worked within the whirlwind...

Edward Zutrau Kamakura, 5/19/1963 Signed, dated and titled on verso Oil on linen 38 1/2 x 51 inches Edward Zutrau is among the American artists who worked within the whirlwind of d...

Edward Zutrau Kamakura, 4/19/1963 Signed, tiled and dated on verso Oil on linen 38 1/2 x 51 inches Edward Zutrau is among the American artists who worked within the whirlwind of di...

Albert Heckman Untitled, circa 1950 Signed lower right Oil on canvas 21 1/4 x 29 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack Taylor. Heckman operated a summer art school in Woodstock for several years in the 1930s with support from Columbia University, where these and other Woodstock artists gave guest lectures. The Potter's Shop in New York City hosted Mr. Heckman's first art show in December 1928. The exhibit received some positive reviews from critics. The American Institute of Graphic Arts chose the plate of "Wehlen, Saxony" as one of the "Fifty Prints of the Year in 1929." There were sixteen etchings displayed. The remaining plates depicted scenes in Saxony, Germany, while five of the plates were based on scenes in Rondout, New York. Heckman started switching from etching to black and white lithography by the early 1930s. A lifelong admirer of Heckman's artwork, Mr. Gustave von Groschwitz organized a significant exhibition of Heckman etchings and lithographs at the Ferargil Gallery in New York City in 1933. The exhibition traveled to the Stendahl Galleries in Los Angeles (May 1933), the Charles Lessler Gallery in Philadelphia (May 1933), J.L. Hudson in Detroit (June 1933), and Gumps in San Francisco (July 1933). Together with his early etchings, the exhibition featured brand-new black and white lithographs depicting scenes in and around Woodstock as well as "A View from Tudor City...

Albert Heckman Untitled, circa 1950 Signed lower right Oil on canvas 25 1/4 x 32 1/4 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art world in 1915 after graduating from high school and landing a job at the Meadville Post Office. In 1917, at the age of 24, Heckman enrolled part-time in Teachers' College, Columbia University's Fine Arts Department to begin his formal art education. He worked as a freelance ceramic and textile designer and occasionally as a lecturer at the Metropolitan Museum of Art. In the early 1920s, at the age of almost 30, he graduated with a Bachelor of Arts degree from Columbia Teachers College. He was especially impacted by his instructor at Columbia, Arthur Wesley Dow. After graduating, he was hired by the Teachers' College as a Fine Arts instructor. He stayed with Columbia Teachers' College until 1929, when he left to attend the Leipzig Institute of Graphic Arts in Leipzig, Germany. Isami Doi (1903-1965), who was born in Hawaii, was arguably his most impressive student at Columbia. Doi is now regarded as one of the most prominent artists hailing from Hawaii. Heckman became an active member and officer of the Keramic Society and Design Guild of New York in the 1920s as part of his early commercial art career. The Society's mission was to share knowledge and showcase textile and ceramic design exhibits. In 1922, Heckman married Florence Hardman, a concert violinist. Mrs. Heckman's concert schedule during the 1920s kept Albert and Florence Heckman apart for a significant portion of the time, but they spent what little time they had together designing and building their Woodstock, New York, summer house and grounds. A small house and an acre of surrounding land on Overlook Mountain, just behind the village of Woodstock, were purchased by Albert and Florence Heckman at the time of their marriage. Their Woodstock home, with its connections, friendships, and memories, became a central part of their lives over the years, even though they had an apartment in New York City. Heckman's main artistic focus shifted to the house on Overlook Mountain and the nearby towns and villages, Kingston, Eddyville, and Glasco. After returning from the Leipzig Institute of Graphic Arts in 1930, Mr. Heckman joined Hunter College as an assistant professor of art. He worked there for almost thirty years, retiring in 1956. Throughout his tenure at Hunter, Mr. Heckman and his spouse spent the summers at their Woodstock residence and the winters in New York City. They were regular and well-known guests at the opera and art galleries in New York. Following his retirement in 1956, the Heckmans settled in Woodstock permanently, with occasional trips to Florida or Europe during the fall and winter. Mr. Heckman's close friends and artistic career were always connected to Woodstock or New York City. He joined the Woodstock art group early on and was greatly influenced by artists like Paul and Caroline Rohland, Emil Ganso, Yasuo Kuniyoshi, Andre Ruellan, and her husband, Jack Taylor. Heckman operated a summer art school in Woodstock for several years in the 1930s with support from Columbia University, where these and other Woodstock artists gave guest lectures. The Potter's Shop in New York City hosted Mr. Heckman's first art show in December 1928. The exhibit received some positive reviews from critics. The American Institute of Graphic Arts chose the plate of "Wehlen, Saxony" as one of the "Fifty Prints of the Year in 1929." There were sixteen etchings displayed. The remaining plates depicted scenes in Saxony, Germany, while five of the plates were based on scenes in Rondout, New York. Heckman started switching from etching to black and white lithography by the early 1930s. A lifelong admirer of Heckman's artwork, Mr. Gustave von Groschwitz organized a significant exhibition of Heckman etchings and lithographs at the Ferargil Gallery in New York City in 1933. The exhibition traveled to the Stendahl Galleries in Los Angeles (May 1933), the Charles Lessler Gallery in Philadelphia (May 1933), J.L. Hudson in Detroit (June 1933), and Gumps in San Francisco (July 1933). Together with his early etchings, the exhibition featured brand-new black and white lithographs depicting scenes in and around Woodstock as well as "A View from Tudor City...

Sonia Gechtoff False Faces, circa 1950-52 Signed lower right Oil on canvas 30 x 22 1/4 inches Sonia Gechtoff was born in Philadelphia to Ethel "Etya" and ...

Calvert Coggeshall Notes XXI, 1973 Signed, titled, and dated on the reverse Japanese pigment on canvas 29 x 29 inches Calvert Coggeshall worked as ...

Charles Green Shaw Harvard vs. Yale, 1944 Signed and dated on the reverse Oil on canvasboard 9 x 12 inches Provenance: Harvey and Francois Rambach, New Jersey Private Collection, California Washburn Gallery, New York D. Wigmore Fine Art, New York Private Collection, New York Charles Green Shaw, born into a wealthy New York family, began painting when he was in his mid-thirties. A 1914 graduate of Yale, Shaw also completed a year of architectural studies at Columbia University. During the 1920s Shaw enjoyed a successful career as a freelance writer for The New Yorker, Smart Set and Vanity Fair, chronicling the life of the theater and café society. In addition to penning insightful articles, Shaw was a poet, novelist and journalist. In 1927 he began to take a serious interest in art and attended Thomas Hart Benton's class at the Art Students League briefly in New York. He also studied privately with George Luks, who became a good friend. Once he had dedicated himself to non-traditional painting, Shaw's writing ability made him a potent defender of abstract art. After initial study with Benton and Luks, Shaw continued his artistic education in Paris by visiting numerous museums and galleries. From 1930 to 1932 Shaw's paintings evolved from a style imitative of Cubism to one directly inspired by it, though simplified and more purely geometric. Returning to the United States in 1933, Shaw began a series of abstracted cityscapes of skyscrapers he called Manhattan Motifs which evolved into his most famous works, the shaped canvases he called Plastic Polygons. The 1930s were productive years for Shaw. He showed his paintings in numerous group exhibitions, both in New York and abroad, and was also given several one-man exhibitions. Shaw had his first one-man exhibition at the Valentine Dudensing Gallery in New York in 1934, which included 25 Manhattan Motif paintings and 8 abstract works. In the spring of 1935 Shaw was introduced to Albert Gallatin and George L.K. Morris. Gallatin was so impressed with Shaw's work, he broke a policy against solo exhibitions at his museum, the Gallery of Living Art, and offered Shaw an exhibition there. In the summer of 1935 Shaw traveled to Paris with Gallatin and Morris who provided introductions to many great painters. Shaw regularly spent time with John Ferren and Jean Hélion. The following year Gallatin organized an exhibition called Five Contemporary American Concretionists at the Reinhardt Gallery that included Shaw, Ferren, and Morris, Alexander Calder, and Charles Biederman...

Calvert Coggeshall Notes XX, 1970 Signed, titled, and dated on the reverse Acrylic on canvas 30 1/4 x 30 1/4 inches Calvert Coggeshall worked as an...

Calvert Coggeshall Notes I, 1970-80 Signed, titled, and dated on the reverse Acrylic on canvas 65 x 67 inches Calvert Coggeshall worked as an abstr...

Calvert Coggeshall Untitled, circa 1975 Oil on canvas 50 x 40 inches Calvert Coggeshall worked as an abstract painter and interior designer primari...

Edward Zutrau Untiled, 4/1963 Signed and dated on stretcher bar Oil on linen 35 1/2 x 51 inches Edward Zutrau is among the American artists who worked within the whirlwind of diver...

Edward Zutrau Kamakura, 5/1963 Signed, dated and titled on verso Oil on linen 38 1/2 x 51 1/2 inches Edward Zutrau is among the American artists who worked within the whirlwind of ...

Calvert Coggeshall Illumination, 1973 Signed, titled, and dated on the reverse Acrylic on canvas 65 x 67 inches Calvert Coggeshall worked as an abs...

Edward Zutrau Untitled, 1957 Oil on linen 44 x 60 1/2 inches Edward Zutrau is among the American artists who worked within the whirlwind of diverse abstraction that blossomed in th...

Edward Zutrau Untitled, 1963 Signed and dated on stretcher verso "5/63" Oil on canvas 8 3/4 x 10 3/4 inches Edward Zutrau is among the American artists who worked within the whirlw...

Edward Zutrau Untitled, 2/17/1963 Signed and dated on verso Oil on linen 25 1/2 x 21 inches Edward Zutrau is among the American artists who worked within the whirlwind of diverse a...

Edward Zutrau Untitled Signed and dated on stretcher Oil on linen 26 x 31 1/2 inches Edward Zutrau is among the American artists who worked within the whirlwind of diverse abstract...

Calvert Coggeshall Meridian, 1974 Signed, titled, and dated on the reverse Acrylic on canvas 67 x 45 inches Calvert Coggeshall worked as an abstrac...

Calvert Coggeshall A Stripe, 1971 Signed, titled, and dated on the reverse Acrylic on canvas 30 x 30 inches Calvert Coggeshall worked as an abstrac...

Calvert Coggeshall Untitled, 1958 Oil on Canvas 38 H. x 36 W. inches Provenance: The artist's estate Calvert Coggeshall worked as an abstract painter and interior designer primarily in Maine and New York City. From 1951 to 1978, he exhibited regularly with the Betty Parsons Gallery, and later with its successor, the Jack Tilton Gallery. Born in Whitesboro, New York, Coggeshall started his career as an interior designer, working on commissions for clients in the New York City area. He later consulted on the interior designs for Henry Dreyfuss' line of cruise/cargo ships called American Export, popular from the 1940s through the 1960s. In the 1940s, he also worked with inventor Arthur Young to design interiors for the first full-sized scale of Bell helicopter models...

Beryl Barr-Sharrar Untitled (Park Avenue Series), 1979 Signed and dated on the reverse Acrylic on canvas 44 x 73 1/2 inches As an undergraduate at Mount Holyoke College (Beryl McLe...

Fernando de Szyszlo Abolicion de la Muerte, 1987 Titled dated verso: "Abolicion de la Muerte" NY/87 Signed lower bottom edge center "Szyszlo" Oil on canvas 56 1/2 x 37 1/2 inches Fernando de Szyszlo was a Peruvian painter...

Fernando de Szyszlo El Innombrable, 1980 Titled inscribed dated verso: Orrentia 1980 "El Innombrable" Signed lower bottom edge center "Szyszlo" Oil on canvas 59 1/2 x 59 inches Fernando de Szyszlo was a Peruvian painter...

Judy Chicago Birth Tear/Tear, 1985 Signed, dated, and numbered in margin Serigraph on Stonehenge Natural White Image 25 x 35 inches Sheet 30 x 40 inches Judy Chicago’s “Birth Tear/T...

Norman Bluhm Untitled, circa 1960 Signed lower right Oil on paper laid down on board 22 x 30 inches Norman Bluhm (1921-1999) was an American Abstract Expressionist celebrated for c...

James Suzuki Untitled, circa 1960 Signed lower right "Suzuki" Acrylic on canvas 66 1/4 x 80 inches Provenance: Private Collection, New Jersey James Hiroshi Suzuki...

David Hare Cronus Asleep in the Cave, 1971 Acrylic on linen 55 x 67 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

Boris Margo Cave Drama, 1938 Signed and dated lower left Oil on canvas 22 x 30 inches Best known as a painter of surrealist imagery, Boris Margo was born in Wolotschisk, Ukraine, i...

Ed Baynard Abstract (with Two White Vases), 2005 Signed, titled, and dated along the verso Acrylic on canvas 48 x 40 inches

In the manner of Affandi Abstract Lotus, circa 1970 Unsigned Oil on canvas 30 x 40 inches

David Hare Cronus View from the Cave, 1971 Graphite, Ink wash, Paper Collage on Paper on Board 25 x 33 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

David Hare Cronus Asleep in the Cave, 1971 Acrylic, ink wash, graphite, paper collage on paper on board 26 x 35 inches “Freedom is what we want,” David Hare boldly stated in 1965, b...

David Hare Cronus Asleep in the Cave, 1971 Acrylic on board 27 1/2 x 38 1/4 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

David Hare Cronus Dining, 1968 Graphite, acrylic, paper collage on board 44 x 34 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afraid of.” No one could accuse David Hare of possessing such fear. Blithely unconcerned with the critics’ judgments, Hare flitted through most of the major art developments of the mid-twentieth century in the United States. He changed mediums several times; just when his fame as a sculptor had reached its apogee about 1960, he switched over to painting. Yet he remained attached to surrealism long after it had fallen out of official favor. “I can’t change what I do in order to fit what would make me popular,” he said. “Not because of moral reasons, but just because I can’t do it; I’m not interested in it.” Hare was born in New York City in 1917; his family was both wealthy and familiar with the world of modern art. Meredith (1870-1932), his father, was a prominent corporate attorney. His mother, Elizabeth Sage Goodwin (1878-1948) was an art collector, a financial backer of the 1913 Armory Show, and a friend of artists such as Constantin Brancusi, Walt Kuhn, and Marcel Duchamp. In the 1920s, the entire family moved to Santa Fe, New Mexico and later to Colorado Springs, in the hope that the change in altitude and climate would help to heal Meredith’s tuberculosis. In Colorado Springs, Elizabeth founded the Fountain Valley School where David attended high school after his father died in 1932. In the western United States, Hare developed a fascination for kachina dolls and other aspects of Native American culture that would become a recurring source of inspiration in his career. After high school, Hare briefly attended Bard College (1936-37) in Annandale-on-Hudson. At a loss as to what to do next, he parlayed his mother’s contacts into opening a commercial photography studio and began dabbling in color photography, still a rarity at the time [Kodachrome was introduced in 1935]. At age 22, Hare had his first solo exhibition at Walker Gallery in New York City; his 30 color photographs included one of President Franklin Roosevelt. As a photographer, Hare experimented with an automatist technique called “heatage” (or “melted negatives”) in which he heated the negative in order to distort the image. Hare described them as “antagonisms of matter.” The final products were usually abstractions tending towards surrealism and similar to processes used by Man Ray, Raoul Ubac, and Wolfgang Paalen. In 1940, Hare moved to Roxbury, CT, where he fraternized with neighboring artists such as Alexander Calder and Arshile Gorky, as well as Yves Tanguy who was married to Hare’s cousin Kay Sage, and the art dealer Julian Levy. The same year, Hare received a commission from the American Museum of Natural History to document the Pueblo Indians. He traveled to Santa Fe and, for several months, he took portrait photographs of members of the Hopi, Navajo, and Zuni tribes that were published in book form in 1941. World War II turned Hare’s life upside down. He became a conduit in the exchange of artistic and intellectual ideas between U.S. artists and the surrealist émigrés fleeing Europe. In 1942, Hare befriended Andre Breton, the principal theorist of surrealism. When Breton wanted to publish a magazine to promote the movement in the United States, he could not serve as an editor because he was a foreign national. Instead, Breton selected Hare to edit the journal, entitled VVV [shorth for “Victory, Victory, Victory”], which ran for four issues (the second and third issues were printed as a single volume) from June 1942 to February 1944. Each edition of VVV focused on “poetry, plastic arts, anthropology, sociology, (and) psychology,” and was extensively illustrated by surrealist artists including Giorgio de Chirico, Roberto Matta, and Yves Tanguy; Max Ernst and Marcel Duchamp served as editorial advisors. At the suggestion of Jacqueline Lamba...

David Hare Erotic #1 (Cronus Sex), 1970 Acrylic and paper collage on linen 68 x 51 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, ...

David Hare Cronus Elephant, 1975 Acrylic on linen 82 x 60 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most afr...

David Hare Cronus Descending, 1971 Acrylic on linen 64 x 46 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and what we are most ...

David Hare Cronus Hunting, 1967 Acrylic and paper collage on linen 68 x 53 inches “Freedom is what we want,” David Hare boldly stated in 1965, but then he added the caveat, “and wha...

William Scharf Tropic of Crucifix, 1957 Signed and dated on the reverse Oil on canvas 40 x 47 inches Provenance: The artist Robert Barnet, New York (gift from the above) Private Collection, by descent A visionary painter with ties to the avant-garde artistic community in New York at midcentury, William Scharf nevertheless defies art historical categorization. His abstracted compositions of organic and geometric formal elements recall the free associations of Surrealism and the all-over grandeur of Abstract Expressionism, and at the same time embody a very individual and immediately recognizable pictorial sense. Scharf combines virtuoso paint handling, vibrant color, and rich symbolic language in canvases that engage the viewer in a transcendent and emotional dialogue. This dialogue is accomplished in part through recurring symbols, which allude to hidden, mysterious narratives. Scharf plumbs the psychological wells of collective myths for symbolic content: the crown of thorns, the ladder, the fish, and the cross can be found throughout, functioning not, as one might expect, as religious symbols, but rather as a means through which to access a deeper, symbolic level of visual communication. Born in 1927 in Media, Pennsylvania, an early friendship with renowned artist N.C. Wyeth encouraged Scharf’s artistic efforts from a very young age. After a time with the Army Air Corps in the mid-1940s, Scharf formalized his art studies at the Pennsylvania Academy of the Fine Arts under Franklin Watkins...

William Scharf Untitled, 1962 Signed lower left; signed and dated verso Oil on canvas 48 x 50 inches A visionary painter with ties to the avant-garde artistic community in New York at midcentury, William Scharf nevertheless defies art historical categorization. His abstracted compositions of organic and geometric formal elements recall the free associations of Surrealism and the all-over grandeur of Abstract Expressionism, and at the same time embody a very individual and immediately recognizable pictorial sense. Scharf combines virtuoso paint handling, vibrant color, and rich symbolic language in canvases that engage the viewer in a transcendent and emotional dialogue. This dialogue is accomplished in part through recurring symbols, which allude to hidden, mysterious narratives. Scharf plumbs the psychological wells of collective myths for symbolic content: the crown of thorns, the ladder, the fish, and the cross can be found throughout, functioning not, as one might expect, as religious symbols, but rather as a means through which to access a deeper, symbolic level of visual communication. Born in 1927 in Media, Pennsylvania, an early friendship with renowned artist N.C. Wyeth encouraged Scharf’s artistic efforts from a very young age. After a time with the Army Air Corps in the mid-1940s, Scharf formalized his art studies at the Pennsylvania Academy of the Fine Arts under Franklin Watkins...

Angelo Ippolito Untitled, 1952 Signed and dated on the reverse Oil on canvas 16 x 36 inches Provenance: Gloria Torrice Estate of the above Liana Torrice, West Orange...

Jimmy Ernst Personal Equation, 1950 Signed and dated lower right Oil on canvas 41 x 39 1/2 inches Provenance: Laurel Gallery, New York Grace Borgenicht Gallery, New York Collection ...

Gene Hedge Untitled, circa 1970 Acrylic on canvas 29 x 20 3/4 inches (P097) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Untitled, circa 1970 Acrylic on canvas 44 x 43 inches (P112) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Untitled, circa 1966 Acrylic on canvas 61 1/2 x 42 1/8 inches (P122) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Inside Blue, 1966 Acrylic on canvas 61 1/4 x 43 3/4 inches (P124) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State University in Muncie, Indiana. There he encountered the writing of Laszlo Moholy-Nagy, and the following year (1949) went to study at the Institute of Design in Chicago. He received a B.S. degree in Visual Design from the Institute of Design (1953), and he also took courses at the Art Institute of Chicago and began working in collage. During this period, the influence of Eugene Dana...

Gene Hedge Untitled, 1966 Acrylic on canvas 60 x 43 inches (P276) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball State Univ...

Gene Hedge Emblem, 1976 Acrylic on canvas 19 1/2 x 58 1/2 inches (P063) Gene Hedge was born (1928) and raised in rural Indiana. After military service, he briefly attended Ball Stat...

Myron Lechay Abstract Interior of Room, 1923 Signed upper right corner and dated upper left corner Oil on canvas 24 x 20 inches Provenance: Estate of the artist Spanierman Gallery, ...

Thiago Rocha Pitta Untitled, 2006 Watercolor on paper 30 x 23 inches Brazil-based artist Thiago Rocha Pitta’s (b. 1980) temporal and sensitive body of work depicts interventions wit...