1 of 11 images

Important Oil Nathan Gluck worked w/ Andy Warhol in The Factory

About

A rare and early work by the important NY Artist Nathan Gluck. Gluck was very influential in the development of Andy Warhol's work and was involved in his famous studio "The Factory." His early work as the following obituary explains involved a lot of commercial illustration and this painting may have been a cover for a magazine or some other commercial project. This is a very rare early work in a very expensive later frame. This oil is out of the estate that a major NYC auction left in the basement and missed. The artist had a long career and his late collages are small and being sold for quite a some of money. This is an extremely rare early work that we were lucky to acquire.

The following is from his obituary and lends some prospective to his legacy. The article refers to photos and paintings which I cannot reproduce here but can be viewed in the article at www.aiga.org/content.cfm/in-remembrance-of-nathan-gluck.

Who was Nathan Gluck?
“Nathan Gluck was a classic cosmopolitan New Yorker,” says designer Art Chantry. “He was a graphic designer/artist in the old school traditions and a mentor to dozens associated with the design and advertising fields.”


Promotional poster for Nathan Gluck’s speaking tour, AIGA Chicago, 1993 (art director: Nancy Denny Essex).

“It’s hard for me to separate Nathan, the person, from the Nathan, the artist—the two were inextricably bound,” says Luis De Jesus, director of Luis De Jesus Seminal Projects, San Diego, who was Nathan’s best friend and was with him when he died. “Anyone who knew him personally can see his quirky, yet elegant sense of style, sharp wit, all-encompassing knowledge, refined appreciation of the classics and, above all, his oddball sense of humor reflected throughout his work. This is most apparent in the collages that he created beginning in 1995, in his retirement period. It is in these works that Nathan finally found his unique voice, as if everything that he had ever collected over the years—all of the thoughts and ideas, competing influences and styles, tidbits of trivia and nonsense, recipes and scraps of ephemera—could no longer be contained and compartmentalized and simply exploded in a remarkable output of creativity. He flattened the field and everything became equal. It says so much about him as a person and an artist—honest, warm, down to earth—and a true original.”

His vital statistics
Nathan Gluck died at sunset on Saturday, September 27, 2008, in San Diego, where he had been living since relocating there from New York City last February. He was 90.

He was born Nathan Joseph Gluck on June 24, 1918, in Perth Amboy, New Jersey. His mother was Julia Margaretten, a housewife, then secretary, and member of the Horowitz-Margaretten family, famous for matzohs and other Passover products. His father was Morris Gluck, a prominent businessman at a real estate company owned by his brother-in-law, who lost the business during the Great Depression.


(from left): Nathan Gluck (at left) with Andy Warhol in the early 1950s (photo: Edward Wallowitch); and in 2005, in front of the building where Warhol shot the movie Sleep (photo: Gerard Malanga).

He graduated in 1935 from Perth Amboy High School, then attended Cooper Union (1935–’36) and Pratt Institute (1936–’39), taking courses in industrial and textiles design, advertising and fine art. In 1941, he studied at the Arts Students League in New York, under the modernist Vaclav Vytlacil.

After college Nathan served in Europe and the Pacific during World War II. It wasn’t until his return in 1945 that Nathan began his career in advertising.

His role in the Warhol universe

Andy Warhol, “Happy Flower Gathering Days,” promotional folder for Vanity Fair Lingerie, mid-1950s. Flower stamps created by Nathan Gluck.

Nathan worked for Andy Warhol as his in-house graphic designer, illustrator and studio assistant when Warhol was still a “commercial artist.” They met through mutual friends in 1950—both had been employed in the world of window design that also fueled Warhol’s early reputation—and Nathan began assisting Warhol with freelance projects. Nathan introduced Warhol to many traditional design crafts and assisted in the creation of Warhol’s distinctive design work for I. Miller—encouraging Warhol to try his hand at shoe illustrations, which resulted in a famous series of ads—as well as for other clients. Together they designed wrapping paper, posters and promotional pieces.

Nathan became his full-time assistant in 1955. As Warhol evolved from designer/illustrator to artist—in fact, both men showed their work at the Loft Gallery during that time—Nathan took charge of the design studio while Warhol made art at his storied Factory, beginning in 1962. Eventually, the design studio was dissolved and Nathan left the Warholian universe in 1965.

“Nathan was too conservative a voice to fit into the Factory crowd,” explains Chantry. “He felt strongly adverse to active drug use and didn’t want Andy to be associated with ‘that crowd.’” Still, he continued to be friends with Warhol.

His commercial art
Nathan followed a conventional trajectory into the commercial art-hood of his day. He had a string of freelance assignments starting with L. Bamberger department store in New Jersey, which included designing a poster that’s now in the Museum of Modern Art Poster Collection. He worked as art director and illustrator for the George N. Kahn Agency, New York. He also worked for a brief period at the Rockmore Company, an advertising agency where Warhol freelanced.


Nathan Gluck, cover for Fortune magazine, April 1954

In 1953, Nathan designed windows for Gene Moore at Bonwit Teller and Tiffany. He designed greeting cards for Tiffany, the Museum of Modern Art, Bergdorf Goodman, Georg Jensen and Nelson Rockefeller, among others. He designed the April 1954 cover for Fortune magazine. In 1965, he returned to advertising as art director at the Peter Mehlich Agency, New York, and directed ads for The Cattleman, Steak and Brew, and other Longchamps restaurants.

Nathan’s design was “classic” in the sense that it was European in inspiration—he had spent six months in 1952-’53 traveling around the continent and, in Spain, visited the artists Antoni Tapies and Joan Miro—yet it was totally functional to the point of near invisibility. The work he did with Warhol looked like Warhol’s—or, perhaps, Warhol’s looked like Nathan’s. According to Chantry, “Nathan’s work followed the mode. His best work spoke the language of the client.”

His love of collecting
His small New York apartment was a veritable museum; walls were completely covered with tribal masks, badly faded doodles by Miro, early test prints he did with Warhol, a (poorly) framed cover of the April 1954 Fortune of his design. Chantry recalls, “It was difficult to converse because you kept getting distracted to some amazing artifact laying about somewhere. He’d notice your sight line and then excitedly tell all about the history of some peculiar object. It was marvelous. One Christmas he sent me a gift of one of Gene Federico’s old neckties; I had no idea what to do with it, but I never threw it away— it was GENE FEDERICO’S necktie!”

His role at AIGA

Nathan Gluck, Seconda Gratinata, collage on paper, 1997.

One day he answered an advertisement that would have him, among other duties, become the “front desk” person at the small, but busy AIGA national headquarters, then on Third Avenue. For over 30 years, he answered the phone, replied to mail and handled the competitions, as competitions coordinator under director Caroline Hightower. He invented the “lasagna” method of judging work whereby all submitted pieces were placed on long sheets of layered craft paper; when one layer was done it was removed, revealing the next layer. In 1990, he became AIGA’s archivist, helping to document and order the organization’s collection of design books and ephemera. “His was the first voice anyone heard when calling the AIGA,” notes Chantry. “As a result, he was the guy to give you assistance and answer questions. He helped everyone and was everybody’s pal. He was a special friend to me because he actually communicated with me and encouraged me and my work, gave me contacts and suggested paths I could attempt to travel. He became a great friend.”

Nathan retired in 1995, at the age of 76.

His collages
During the past 70 years, Nathan produced hundreds of surreal collages—some while working at his AIGA desk—combining a wide assortment of techniques and materials. His earliest collages, created in the 1930s, pay homage to Max Ernst and Picasso, while those produced since the early 1990s display the finely honed sensibility, originality and confidence of an artist completely at ease with his skills and knowledge. A consummate collector, Nathan worked matchbook covers, beer labels, sheet music, ticket stubs and various clippings, from anyone and any place, into his collages, making unique visual connections.


Collages by Nathan Gluck (from left): Claim at Gate, collage on paper, 2007; Slibowitz Seranade, collage on paper, 2003.

Many were exhibited at the show titled “Ephemeral Musings” at Reinhold Brown Gallery, New York, in 1997. In 2001, “Nathan Gluck: Collages,” a solo exhibition, was mounted at The Warhol Museum, in Pittsburgh. (As one of the last “living links” to Warhol’s pre-Pop studio, Nathan became a consultant who was often called upon by the Warhol Foundation to help identify and verify work from that time.)

Earlier this year, “Limited Time Offer,” a solo exhibition of 48 collages, was mounted at La Jolla Athenaeum of Music and Arts Library, Rotunda Gallery, in La Jolla, California (it remains on view through November 8, 2008).

His legacy
Nathan may not have influenced designers’ styles or methods; he did not make the kind of inroads that earned him professional accolades. Nonetheless, he made innumerable art directors, designers, illustrators and photographers new to—and possibly lost in—New York feel at home. He was the AIGA docent and the smile on the institutional face.

Our gratitude and sympathies go to Luis De Jesus, who also contributed to this article.

Details

  • Materials and techniques
  • Condition
    Good.
  • Wear
    Wear consistent with age and use. Minor losses.
  • Dimensions

    H 45.75 in.

    H 116.21 cm

  • Diameter
    1.13 in. (2.88 cm)
  • Seller location
    Palm Springs, CA
  • Reference number
    U11020583501337

Shipping, Returns & Payment

  • Online Payment Methods
    1stdibs accepts the following payment methods
  • Item Invoice
    Generate an invoice that you can customize and print.

About the Seller

Top Seller
Vetted
1stdibs seller since 2007
Typical response time: 1 hr
Located in Palm Springs, CA
You may also contact the seller by phone

Why Shop on 1stdibs?

Learn More

Only Vetted, Professional Sellers

Buyer Protection Guaranteed

Fully Insured Global Deliveries

More From This Seller
NaN

Minoru Ohira 1984-1985 Abstract Pebble Work Enc...

Minoru Ohira

American Wall-mounted Sculptures

A beautiful abstract work by the noted Japanese artist Minoru Ohira. It is signed and dated 84 on the front, and signed on the back and dated 85. It probably took a bit of time to co...

NaN

Older Interesting Painting Signed Illegibly in ...

Unknown Paintings

A nice older painting that is illegibly signed lower right. We had this in our home for many years. Unfortunately our new house can accommodate less art, so we are listing it for sal...

NaN

Henry Kallem Abstract 1960s Exhibited at the Ch...

Henry Kallem

American Paintings

A vibrant large oil on canvas by the noted NY artist Henry Kallem (1912-1985). It is signed lower right and also bears a hand written Chrysler Museum, signature along the back side o...

NaN

1960s Abstract Oil on Paper

Unknown Paintings

A beautiful oil on paper from the 1960s, re-matted and re-framed in a very elegant silver frame. PLEASE TAKE A MOMENT TO VISIT OUR ART GALLERY ON 1STDIBS LISTED UNDER KOREN GALLERY ...

You May Also Like
NaN

Andy Warhol by American Artist Paul Cunningham

Paul Cunningham

American Paintings

Canvas, Acrylic

Offered is a bold portrait of Andy Warhol by Paul Cunningham. This dramatic work is created in acrylic on canvas with glaze textures. The painting is signed on the lower right. Paul ...

NaN

Important Work by Anton Heyboer, the Netherland...

Anton Heyboer

Dutch Paintings

Glass

Anton Heyboer (Sabang, 10 februari 1924 – Den Ilp, 9 april 2005) was a Dutch painter and etcher. He lived with four woman (brides) in a Community in Den Ilp, Landsmeer in The Netherl...

NaN

William R. Davis Landscape Oil Painting of the ...

William R. Davis

American Paintings

Canvas

This fine landscape oil painting of the White Mountains in New Hampshire, with an artist at work in the foreground was painted by American artist William R. Davis (1952-). Davis was ...

NaN

Oil on Canvas Fountain in the Park

French Paintings

Painting of a fountain in a park on canvas. Canvas has been lined, cleaned and restored. Custom-made frame in Paris. Not available for sale or to ship in the state of California.

NaN

Painting, Children in the Park Oil Painting

A. Clement

Unknown Paintings

Canvas, Oil

Oil on canvas French painting of children in the park with gold leaf frame. Relined. Signed lower right A. Clement. Not available for sale or to ship in the state of California.

NaN

Oil Painting French Battleship in the Ocean

French Paintings

Battleships in coastal waters. Atmospherically densely painted seascape with a lot of bootstaffage. This painting captivates by its influence of the romanticism with a direct nature ...

NaN Sale Price
37% Off

Parrots in the Jungle Haitian Oil Painting

Haitian Decorative Art

Canvas, Wood

Exceptional oil painting on canvas by Haitian artist depicts lush green jungle with bright and vivid colorful parrots overlooking beautiful green and turquoise mysterious waterfall. ...

NaN

Important Large 1960s Modern Andy Nelson Mixed-...

Andy Nelson

American Paintings

Acrylic, Canvas, Wood

From a vintage Palm Springs estate designed by Steve Chase for Arthur Elrod, a large Andy Nelson (1920-1996) painting done in 1969. Acrylic on canvas with wood blocks. Mr. Nelson's w...