New York City - Drawings and Watercolor Paintings

Roy Lichtenstein Handwritten note on card ink on paper hand signed by Roy Lichtenstein The card reads "Thank you so much for the wonderful prints Very kind of you to send them to me Best regards, Roy Lichtenstein This card depicts Roy Lichtenstein's American Indian Theme II (from American Indian Theme Series), 1980, Woodcut in colors on Suzuki handmade paper Provenance: This card was acquired from Dan Pope, a longtime CBS photographer and cameraman, who had amassed a superb collection of autographs by visual artists over many decades. This work has been elegantly floated and framed in a museum quality wood frame under UV plexiglass. Measurements: Framed 14.75 inches vertical by 11.5 horizontal by 1.5 inches depth Card (image) Roy Lichtenstein Biography Roy Lichtenstein was one of the most influential and innovative artists of the second half of the twentieth century. He is preeminently identified with Pop Art, a movement he helped originate, and his first fully achieved paintings were based on imagery from comic strips and advertisements and rendered in a style mimicking the crude printing processes of newspaper reproduction. These paintings reinvigorated the American art scene and altered the history of modern art. Lichtenstein’s success was matched by his focus and energy, and after his initial triumph in the early 1960s, he went on to create an oeuvre of more than 5,000 paintings, prints, drawings, sculptures, murals and other objects celebrated for their wit and invention. Roy Fox Lichtenstein was born on October 27, 1923, in New York City, the first of two children born to Milton and Beatrice Werner Lichtenstein. Milton Lichtenstein (1893–1946) was a successful real estate broker, and Beatrice Lichtenstein (1896–1991), a homemaker, had trained as a pianist, and she exposed Roy and his sister Rénee to museums, concerts and other aspects of New York culture. Roy showed artistic and musical ability early on: he drew, painted and sculpted as a teenager, and spent many hours in the American Museum of Natural History and the Museum of Modern Art. He played piano and clarinet, and developed an enduring love of jazz, frequenting the nightspots in Midtown to hear it. Lichtenstein attended the Franklin School for Boys, a private junior high and high school, and was graduated in 1940. That summer he studied painting and drawing from the model at the Art Students League of New York with Reginald Marsh. In September he entered Ohio State University (OSU) in Columbus in the College of Education. His early artistic idols were Rembrandt, Daumier and Picasso, and he often said that Guernica (1937; Museo Reina Sofía, Madrid), then on long-term loan to the Museum of Modern Art, was his favorite painting. Even as an undergraduate, Lichtenstein objected to the notion that one set of lines (one person’s drawings) “was considered brilliant, and somebody’s else’s, that may have looked better to you, was considered nothing by almost everyone.”i Lichtenstein’s questioning of accepted canons of taste was encouraged by Hoyt L. Sherman, a teacher whom he maintained was the person who showed him how to see and whose perception-based approach to art shaped his own. In February 1943, Lichtenstein was drafted, and he was sent to Europe in 1945. As part of the infantry, he saw action in France, Belgium and Germany. He made sketches throughout his time in Europe and, after peace was declared there, he intended to study at the Sorbonne. Lichtenstein arrived in Paris in October 1945 and enrolled in classes in French language and civilization, but soon learned that his father was gravely ill. He returned to New York in January 1946, a few weeks before Milton Lichtenstein died. In the spring of that year, Lichtenstein went back to OSU to complete his BFA and in the fall he was invited to join the faculty as an instructor. In June 1949, he married Isabel Wilson Sarisky (1921–80), who worked in a cooperative art gallery in Cleveland where Lichtenstein had exhibited his work. While he was teaching, Lichtenstein worked on his master’s degree, which he received in 1949. During his second stint at OSU, Lichtenstein became closer to Sherman, and began teaching his method on how to organize and unify a composition. Lichtenstein remained appreciative of Sherman’s impact on him. He gave his first son the middle name of “Hoyt,” and in 1994 he donated funds to endow the Hoyt L. Sherman Studio Art Center at OSU. In the late 1940s and early 1950s, Lichtenstein began working in series and his iconography was drawn from printed images. His first sustained theme, intimate paintings and prints in the vein of Paul Klee that poked lyrical fun at medieval knights, castles and maidens, may well have been inspired by a book about the Bayeux Tapestry. Lichtenstein then took an ironic look at nineteenth-century American genre paintings he saw in history books, creating Cubist interpretations of cowboys and Indians spiked with a faux-primitive whimsy. As with his most celebrated Pop paintings of the 1960s, Lichtenstein gravitated toward what he would characterize as the “dumbest” or “worst” visual item he could find and then went on to alter or improve it. In the 1960s, commercial art was considered beneath contempt by the art world; in the early 1950s, with the rise of Abstract Expressionism, nineteenth-century American narrative and genre paintings were at the nadir of their reputation among critics and collectors. Paraphrasing, particularly the paraphrasing of despised images, became a paramount feature of Lichtenstein’s art. Well before finding his signature mode of expression in 1961, Lichtenstein called attention to the artifice of conventions and taste that permeated art and society. What others dismissed as trivial fascinated him as classic and idealized—in his words, “a purely American mythological subject matter.”ii Lichtenstein’s teaching contract at OSU was not renewed for the 1951–52 academic year, and in the autumn of 1951 he and Isabel moved to Cleveland. Isabel Lichtenstein became an interior decorator specializing in modern design, with a clientele drawn from wealthy Cleveland families. Whereas her career blossomed, Lichtenstein did not continue to teach at the university level. He had a series of part-time jobs, including industrial draftsman, furniture designer, window dresser and rendering mechanical dials for an electrical instrument company. In response to these experiences, he introduced quirkily rendered motors, valves and other mechanical elements into his paintings and prints. In 1954, the Lichtensteins’ first son, David, was born; two years later, their second child, Mitchell, followed. Despite the relative lack of interest in his work in Cleveland, Lichtenstein did place his work with New York dealers, which always mattered immensely to him. He had his first solo show at the Carlebach Gallery in New York in 1951, followed by representation with the John Heller Gallery from 1952 to 1957. To reclaim his academic career and get closer to New York, Lichtenstein accepted a position as an assistant professor at the State University of New York at Oswego, in the northern reaches of the state. He was hired to teach industrial design, beginning in September 1957. Oswego turned out to be more geographically and aesthetically isolated than Cleveland ever was, but the move was propitious, for both his art and his career. Lichtenstein broke away from representation to a fully abstract style, applying broad swaths of pigment to the canvas by dragging the paint across its surface with a rag wrapped around his arm. At the same time, Lichtenstein was embedding comic-book characters figures such as Mickey Mouse and Donald Duck in brushy, expressionistic backgrounds. None of the proto-cartoon paintings from this period survive, but several pencil and pastel studies from that time, which he kept, document his intentions. Finally, when he was in Oswego, Lichtenstein met Reginald Neal, the new head of the art department at Douglass College, the women’s college of Rutgers University, in New Brunswick, New Jersey. The school was strengthening and expanding its studio art program, and when Neal needed to add a faculty member to his department, Lichtenstein was invited to apply for the job. Lichtenstein was offered the position of assistant professor, and he began teaching at Douglass in September 1960. At Douglass, Lichtenstein was thrown into a maelstrom of artistic ferment. With New York museums and galleries an hour away, and colleagues Geoffrey Hendricks and Robert Watts at Douglass and Allan Kaprow and George Segal at Rutgers, the environment could not help but galvanize him. In June 1961, Lichtenstein returned to the idea he had fooled around with in Oswego, which was to combine cartoon characters from comic books with abstract backgrounds. But, as Lichtenstein said, “[I]t occurred to me to do it by mimicking the cartoon style without the paint texture, calligraphic line, modulation—all the things involved in expressionism.”iii Most famously, Lichtenstein appropriated the Benday dots, the minute mechanical patterning used in commercial engraving, to convey texture and gradations of color—a stylistic language synonymous with his subject matter. The dots became a trademark device forever identified with Lichtenstein and Pop Art. Lichtenstein may not have calibrated the depth of his breakthrough immediately but he did realize that the flat affect and deadpan presentation of the comic-strip panel blown up and reorganized in the Sherman-inflected way “was just so much more compelling”iv than the gestural abstraction he had been practicing. Among the first extant paintings in this new mode—based on comic strips and illustrations from advertisements—were Popeye and Look Mickey, which were swiftly followed by The Engagement Ring, Girl with Ball and Step-on Can with Leg. Kaprow recognized the energy and radicalism of these canvases and arranged for Lichtenstein to show them to Ivan Karp, director of the Leo Castelli Gallery. Castelli was New York’s leading dealer in contemporary art, and he had staged landmark exhibitions of Jasper Johns and Robert Rauschenberg in 1958 and Frank Stella in 1960. Karp was immediately attracted to Lichtenstein’s paintings, but Castelli was slower to make a decision, partly on account of the paintings’ plebeian roots in commercial art, but also because, unknown to Lichtenstein, two other artists had recently come to his attention—Andy Warhol and James Rosenquist—and Castelli was only ready for one of them. After some deliberation, Castelli chose to represent Lichtenstein, and the first exhibition of the comic-book paintings was held at the gallery from February 10 to March 3, 1962. The show sold out and made Lichtenstein notorious. By the time of Lichtenstein’s second solo exhibition at Castelli in September 1963, his work had been showcased in museums and galleries around the country. He was usually grouped with Johns, Rauschenberg, Warhol, Rosenquist, Segal, Jim Dine, Claes Oldenburg, Robert Indiana and Tom Wesselmann. Taken together, their work was viewed as a slap in the face to Abstract Expressionism and, indeed, the Pop artists shifted attention away from many members of the New York School. With the advent of critical and commercial success, Lichtenstein made significant changes in his life and continued to investigate new possibilities in his art. After separating from his wife, he moved from New Jersey to Manhattan in 1963; in 1964, he resigned from his teaching position at Douglass to concentrate exclusively on his work. The artist also ventured beyond comic book subjects, essaying paintings based on oils by Cézanne, Mondrian and Picasso, as well as still lifes and landscapes. Lichtenstein became a prolific printmaker and expanded into sculpture, which he had not attempted since the mid-1950s, and in both two- and three-dimensional pieces, he employed a host of industrial or “non-art” materials, and designed mass-produced editioned objects that were less expensive than traditional paintings and sculpture. Participating in one such project—the American Supermarket show in 1964 at the Paul Bianchini Gallery, for which he designed a shopping bag—Lichtenstein met Dorothy Herzka (b. 1939), a gallery employee, whom he married in 1968. The late 1960s also saw Lichtenstein’s first museum surveys: in 1967 the Pasadena Art Museum initiated a traveling retrospective, in 1968 the Stedelijk Musem in Amsterdam presented his first European retrospective, and in 1969 he had his first New York retrospective, at the Solomon R. Guggenheim Museum. Wanting to grow, Lichtenstein turned away from the comic book subjects that had brought him prominence. In the late 1960s his work became less narrative and more abstract, as he continued to meditate on the nature of the art enterprise itself. He began to explore and deconstruct the notion of brushstrokes—the building blocks of Western painting. Brushstrokes are conventionally conceived as vehicles of expression, but Lichtenstein made them into a subject. Modern artists have typically maintained that the subject of a painting is painting itself. Lichtenstein took this idea one imaginative step further: a compositional element could serve as the subject matter of a work and make that bromide ring true. The search for new forms and sources was even more emphatic after 1970, when Roy and Dorothy Lichtenstein bought property in Southampton, New York, and made it their primary residence. During the fertile decade of the 1970s, Lichtenstein probed an aspect of perception that had steadily preoccupied him: how easily the unreal is validated as the real because viewers have accepted so many visual conceptions that they don’t analyze what they see. In the Mirror series, he dealt with light and shadow upon glass, and in the Entablature series, he considered the same phenomena by abstracting such Beaux-Art architectural elements as cornices, dentils, capitals and columns. Similarly, Lichtenstein created pioneering painted bronze sculpture that subverted the medium’s conventional three-dimensionality and permanence. The bronze forms were as flat and thin as possible, more related to line than volume, and they portrayed the most fugitive sensations—curls of steam, rays of light and reflections on glass. The steam, the reflections and the shadow were signs for themselves that would immediately be recognized as such by any viewer. Another entire panoply of works produced during the 1970s were complex encounters with Cubism, Futurism, Purism, Surrealism and Expressionism. Lichtenstein expanded his palette beyond red, blue, yellow, black, white and green, and invented and combined forms. He was not merely isolating found images, but juxtaposing, overlapping, fragmenting and recomposing them. In the words of art historian Jack Cowart, Lichtenstein’s virtuosic compositions were “a rich dialogue of forms—all intuitively modified and released from their nominal sources.”v In the early 1980s, which coincided with re-establishing a studio in New York City, Lichtenstein was also at the apex of a busy mural career. In the 1960s and 1970s, he had completed four murals; between 1983 and 1990, he created five. He also completed major commissions for public sculptures in Miami Beach, Columbus, Minneapolis, Paris, Barcelona and Singapore. Lichtenstein created three major series in the 1990s, each emblematic of his ongoing interest in solving pictorial problems. The Interiors, mural-sized canvases inspired by a miniscule advertisement in an Italian telephone...

JEFF KOONS Original Flower drawing on Michael Jackson and Bubbles poster (Hand Signed), 1992 Drawing done in marker on offset lithograph 25 × 39 inches Hand signed and dated '92 in b...

Allan D'Arcangelo Constellation, 1971 Acrylic on paper, mounted to canvas Hand signed and dated 1971 lower front Frame included Measurements: Framed: 23.75 x 23.75 x 1.25 inches Artw...

Paul Kohn - Man Smoking Pipe, Year: 1969, Medium: Watercolor and Graphite, signed and dated in pencil lower right, Size: 11 x 8.5 x 3 in. (27.94 x 21.59 x 7.62 cm), Frame Size: 1...

Richard Anuszkiewicz Near and Far Acuity, 1957 Gouache and watercolor painting on board Hand signed and dated 1957 by Richard Anuszkiewicz on the right front Frame included Anuszkie...

Emily Mason So Slight a Film (from the Lehman Brothers art collection), 1978 Oil on paper Abstract Expressionist painting Signed and dated 'Emily Mason '78' bottom right in pencil Fr...

Charles Hinman Untitled Minimalist Drawing (Mid-Century Modern), 1980 Pastel on off-white wove paper Signed in pencil and dated by the artist on the lower-right front. Jeffrey Fuller...

Joyce Kozloff Tepoztlan II, 1973 Gouache and colored pencil on paper Signed, dated and titled twice: once on the back of the work (shown) and once on the original board which has bee...

Max Epstein, Canadian (1932 - 2002) - Miss Canada, Year: 1975, Medium: Color Pencil and Graphite on Paper, signed and dated, Size: 24 in. x 21 in. (60.96 cm x 53.34 cm)

This is a hand painted oil and mixed media artwork on paper by internet sensation mad charcoal professionally He is represented by Krause Gallery NYC the artwork will be rolled and...

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. From 1949 to 1951 Hill attended the Brookl...

Gary Bukovnik, American (1947 -) - Spring Bloom, Year: 1983, Medium: Watercolor on Paper, signed and dated in pencil lower right, Size: 45 x 71 in. (114.3 x 180.34 cm), Frame Size...

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. In 1951 Hill studied at the Academie de la...

A large minimal abstract painting on paper by Yasmin Brandolini. Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: 17 Year: 1986 Medium: 40 x 60 in. (101.6 ...

Julian Schnabel, American (1951 - ) - Happier You Are... Happier You'll Be, Year: 2009, Medium: Archival pigment inks on 365 gsm fine art paper, Edition: AP, Size: 46 x 30 in. (1...

Jean-Michel Basquiat Lounge Lizards 1979:
 Impossibly rare original hand-drafted flyer by Basquiat for a performance by his close friend, John Lurie & t...

Superb provenance: gifted by Hunt Slonem to Andy Warhol muse Monique Van Vooren Hunt Slonem A Duck to Remember Your House By (inscribed and signed three times to Andy Warhol's friend Monique Van Vooren), 1991-2011 Watercolor on Paper Hand signed and dated recto, signed again verso; inscribed "Monique, a duck to remember your house by.Thank you for the birthday Love Hunt 2011" Unique work Frame included: held in the original artist's vintage wood frame Measurements: Framed: 12.5" x 10.5" x .5" Unframed 9.75" x 8" This work is hand signed three times by Hunt Slonem: once on the recto, once on the verso, and once following the written inscription. Provenance is impeccable as this cherished gift from Hunt Slonem was acquired from the estate of the actress and socialite Monique Van Vooren. The work was painted in 1991 (and dated 1991 on the recto), and was gifted by the artist to Monique in 2011, bearing a dated dedication verso. Monique Van Vooren (1927-2020) was a film and stage actress who enjoyed a long career with diverse roles ranging from the 1960s television series Batman to Andy Warhol’s Frankenstein...

Gloria Vanderbilt Untitled mother and child painting Gouache on paper Signed by the artist on the front Frame included A poignant painting of a mother and child from the 1960s. While the title is not known, some have suggested this could be a self-portrait of the artist with one of her sons – either her youngest, Anderson Cooper or eldest, Wyatt. Provenance: This work was originally sold by Hammer Galleries...

Jack Youngerman Untitled Study #26, 1967 Gouache painting on paper (with original JL Hudson and PACE Gallery labels) Hand signed and dated '67 on the front; J.L. Hudson Gallery Label on Verso. Unique Abstract Expressionist work on paper Frame included Framed Measurements: Framed: 15 inches by 15 inches by 1.5 inch Artwork: 7.75 inches by 7.5 inches Provenance From the estate of Anne Markley Spivak J. L. Hudson Gallery Label affixed to verso (back). The J.L. Hudson Gallery, Detroit, Michigan This 1967 unique, signed gouache painting by renowned abstract expressionist painter Jack Youngerman was acquired from the estate of Anne Markley Spivak. It is held in the original vintage metal frame with the original J.L. Hudson Gallery label, as well as the PACE gallery label on the verso The artwork has been newly loated and framed in a museum quality white wood frame; the original labels from the original back board have been affixed to the back to preserve provenance. Jack Youngerman Biography Jack Youngerman was born in St. Louis, Missouri on March 25, 1926. He moved to Louisville, Kentucky in 1929 and studied at the University of Missouri, Columbia from 1944 to 1946 under a wartime navy training program. He graduated from the University of North Carolina Chapel Hill in 1947 and, that same year, he returned to Missouri to finish his Bachelor’s degree in Journalism before moving to Paris on a G.I. scholarship. In Paris, Youngerman enrolled at the Ecole des Beaux-Arts, studying drawing with Jean Souverbie. He explored Paris, taking in the cathedrals, museums, and history in order to grasp a greater sense of art history. He also traveled to the Netherlands, Spain, Belgium, Italy, and Greece on fine art excursions. In 1948, Youngerman became friends with Ellsworth Kelly, Eduardo Paolozzi, and Cesar – fellow students at Ecole des Beaux-Arts. He married Delphine Seyrig in 1950, and later that year he had his first group exhibition at Galerie Maeght in Paris. He visited the studios of Constantín Brancusi and Jean Arp and became heavily influenced by the organic forms present in their work. He also met artist Alexander Calder through his father-in-law, Henri Seyrig, and experimental filmmaker and artist, Robert Breer...

James Childs (1945-2020) 2012 Signed and dated, l.l. Graphite and charcoal on paper 24 x 19 inches Contact gallery for price.

A large minimal abstract painting on paper by Yasmin Brandolini. Artist: Yasmin Brandolini d'Adda, South African/Italian (1929 - ) Title: B Year: 1984 Medium: Tempera on Paper, sig...

Larry Poons Midget Racer, 1963 Colored Pencil on Graph Paper Signed, titled, and dated by the artist on the lower right front Original frame with gallery label included Provenance: H...

Diane Burko Lily Pond at Giverny, 1990 Hand colored monoprint (lithograph with hand coloring) Hand signed and numbered 8/95 by the artist and bears publisher's stamp on the front 21 ...

Charmion von Wiegand Pillar of Zen #124, 1959 Gouache on paper painting Hand signed, titled and dated on the front Unique Provenance: Andre Zarre Gallery, with label verso (Estate of renowned gallerist Andre Zarre, ne Andre Sowulewski) Measurements: Framed 26.5 inches vertical by 25.5 horizontal by 2 inches Artwork: 21 inches vertical by 22 inches horizontal Mid century modern, geometric, spiritual abstraction, mystical The Estate of the celebrated artist Charmion Von Wiegand has been represented exclusively by Michael Rosenfeld Gallery since 1998. From March 3 to August 13, 2023, Charmion Von Wiegand was the subject of an acclaimed retrospective at the Kunstmuseum Basel, and she has received major attention in the price, including a June, 2023 ArtNews feature entitled, "Who Was Charmion von Wiegand and Why Is She Important?". Her work was also featured in a solo presentation by Rosenfeld Gallery at the New York Art Show held at the Park Avenue Armory, which also received critical acclaim. Artists Biography - courtesy of Michael Rosenfeld Gallery: Known for her vibrant, geometric paintings that originate a deeply personal language of spiritual enlightenment expressed through a constructivist mode of abstraction, Charmion von Wiegand (1896–1983) was born in Chicago but spent much of her childhood traveling. The daughter of a journalist for Hearst, von Wiegand eventually settled in New York in 1915 to attend Barnard College and Columbia University, where she took classes at the School of Journalism while nurturing a growing interest in art history. In 1925, von Wiegand realized that she wanted to be an artist and set up a studio in Greenwich Village, teaching herself how to paint while pursuing a career as a journalist. In 1929, she secured a position in Moscow as a foreign correspondent for Hearst, the only woman at the desk at the time. In 1932, von Wiegand returned to New York and married Russian émigré Joseph Freeman, who co-founded and edited the leftist journal New Masses. Von Wiegand began writing art criticism for New Masses as well as for other publications, including New Theatre, ARTnews, and Arts Magazine. When the Abstract American Artists (AAA) held their inaugural exhibition, von Wiegand reviewed it. An early champion of abstract art, von Wiegand became close friends with AAA founder Carl Holty. In 1941, Holty introduced von Wiegand to Piet Mondrian, who would have a profound impact on her art. Fascinated by Mondrian’s artistic philosophy, von Wiegand played a key role in the introduction of his work to American audiences, translating many of the Dutch artist’s writings into English and assisting in the composition of his influential article “Toward the True Vision of Reality” (1941). Through her friendship with Mondrian, von Wiegand re-kindled her interest in Theosophy (a religion established in the late 19th century that combines aspects of Hinduism, Buddhism, occultism, and esotericism) and embarked on an extended study of neoplasticism. In her artwork, she incorporated Mondrian’s iconic grid but rejected the constraints of pure neoplasticism and embraced a wide range of influences including surrealism and German expressionism. In 1942, von Wiegand became a member of the AAA, exhibiting regularly with the group and eventually serving as its president from 1951 to 1953. In the late 1940s, sculptor and fellow AAA member Ibram Lassaw gave her a translation of The Secret of the Golden Flower: A Chinese Book of Life, which inspired von Wiegand to immerse herself in a study of Buddhist art. She began incorporating Buddhist motifs such as stupas and mandalas into her paintings, and her spiritual practice steadily intensified throughout the 1950s. In 1953, her husband gifted her a copy of the Taoist I Ching Book of Changes, a guide for divining meaning from randomly derived numbers arranged in a hexagram—a form the artist readily incorporated into her painting. Von Wiegand’s study of Theosophy also intensified over these years, bolstered by her increased access to the religion’s primary sources composed by the religion’s founders and their successors at the New York Theosophical Society’s library. Von Wiegand’s search for the sacred and transcendent ultimately led her to Tibetan Buddhism and, in 1967, von Wiegand met Khyongla Rato Rinpoche, a Gelugpa monk who had recently arrived in New York, who would mentor her spiritual study in the tradition of Mahayana Buddhism until her death. Her travels in the 1960s and 1970s took her to Tibet and India, where she had an audience with the Dalai Lama, who was living in exile in Dharamsala. Many works from these decades incorporate symbols and schematics drawn from Theosophical prismatic color charts, Chinese astrology and tantric yoga. In 1978, she was the subject of a PBS documentary titled The Circle of Charmion von Wiegand, which was scored by Philip Glass. In 1980, von Wiegand was elected to the American Academy of Arts and Letters and in 1982, the Bass Museum of Art in Miami Beach (FL) organized her first retrospective exhibition. She died the following year in New York, bequeathing her estate to Khyongla Rato and the Tibet Center of New York. In 1998, Michael Rosenfeld Gallery became the sole representative of her estate and has presented her work in four solo and multiple group exhibitions. Recent notable exhibitions that have included her work are The Third Mind: American Artists Contemplate Asia (Solomon R. Guggenheim Museum, New York, NY, 2009) and Constructive Spirit: Abstract Art in South and North America (Newark Museum, NJ, 2010). In March 2023, the Kunstmuseum Basel (Switzerland) opened the first comprehensive museum retrospective of von Wiegand’s work in Europe. Von Wiegand’s work is represented in numerous museum collections including the Addison Gallery of American Art, Phillips Academy (Andover, MA); Albright-Knox Art Gallery (Buffalo, NY); Arithmeum, University of Bonn (Germany); Birmingham Museum of Art (Alabama); Blanton Museum of Art, The University of Texas at Austin; Brooklyn Museum (NY); Carnegie Museum of Art (Pittsburgh, PA); The Cleveland Museum of Art (OH); Indianapolis Museum of Art (IN); Fondazione Marguerite Arp (Locarno, Switzerland); Museum of Fine Arts, Boston (Massachusetts); The Metropolitan Museum of Art (New York, NY); The Museum of Modern Art (New York, NY); Newark Museum of Art (New Jersey); Seattle Art Museum (WA); Smithsonian American Art Museum (Washington, DC); Walker Art Center (Minneapolis, MN); Weatherspoon Art Museum, The University of North Carolina at Greensboro; Wellin Museum of Art at Hamilton College (Clinton, NY); Whitney Museum of American Art (New York, NY); and Yale University Art Gallery (New Haven, CT). More about gallerist Andre Zarre A tribute in the New Criterion: Dispatch August 11, 2020 Andre Zarre, 1942–2020 by Dana Gordon On the late New York gallery pioneer. Art should never be aggressively explained; art should be felt. —Andre Zarre, 1977 Often, in the starlit New York cultural mecca, a longtime important figure fades away through the penumbra and dies without notice. Such was the fate of Andre Zarre, the contemporary art dealer, who passed away a few weeks ago. Andy, as he wanted friends to call him, opened his eponymous gallery in 1974 just off Madison Avenue on Sixty-ninth Street. He soon moved it to the omphalos of the art world in that era, 41 East Fifty-seventh Street, the Fuller Building. Over the years he moved to SoHo and then to Chelsea, as fashion and real estate prices pushed the art souk hither and thither. To understand his importance, all you need do is take a look at a list of artists who had solo shows at the Andre Zarre Gallery. This includes such names, from an early generation, as Sonia Delaunay, Nassos Daphnis, Sari Dienes, and Perle Fine. Among a subsequent generation are Pat Lipsky, Jay Milder, Thornton Willis, and Kes Zapkus.1 And this list does not include the many knowns and unknowns who were in his lively group shows. Zarre had a real “eye” and was a champion of abstract art from the moment he founded his gallery—even among the gathering storms of conceptual and political art, which he eschewed. He showed a good deal of figurative art as well. His galleries were always spacious and unpretentious, oriented simply to show the art. In the words of Dee Shapiro, who showed with the Zarre gallery many times, “He had a photographic memory and knew a lot about art and was always interested in the artist’s life.” Reliable biographical information on Zarre is scarce, but he said of his background that he was born in Poland in 1942 and that his parents were a diplomat and a socialite. He left home for the United States at the age of fifteen. During his decades as an art dealer in New York, Zarre did not appear to accumulate wealth, though he acquired a collection and lived on Park Avenue. “He was not personally aggressive in that way. People had to come to him,” Dee Shapiro said. He was honest in his financial dealings with artists, which not all art dealers are. For a long time while running the gallery he had a second job as a supervisor in an airline office and he kept little to no additional staff in the gallery. He supported a brother who remained in Poland. Among artists, Zarre was known to be quite ornery. After my show at his gallery in 1997, I refused to enter it for seventeen years. Then I ran into him in Chelsea and he offered me another show, an opportunity I gladly accepted, but he remained just as disagreeable. He showed the work of many women, probably more than any other gallery, save those devoted to showing only women. Collectors, curators, and writers found him mostly friendly. As Peter Reginato put it, Zarre was a “strange guy but I liked him. I think he was a dealer who was more interested in the art than in making money, but somehow he lasted forty-plus years.” Zarre is not known to have kept extensive or extant records of his gallery’s long history, though these may emerge in time. Scouring the Internet, one may compile a partial list of more than eighty artists who had solo shows at the Andre Zarre Gallery:Nancy Azara, Ellen Banks, Mary Barnes, Tony Bechara, Juan Bernal, Stephanie Bernheim, Randy Bloom, Elena Borstein, Michael Boyd, Fritz Bultman, Ed Buonagurio, Yoan Capote, Sonia Delaunay, Nassos Daphnis, Cathy Diamond, Sari Dienes, Joseph Dolinsky, Beata Drozd, Ronnie Elliot, William Fares, Perle Fine, Lynne Frehm, Ben Georgia, Mikel Glass, Dana Gordon, Juanita Guccione, Fred Gutzeit, Don Hazlitt, Amy Hill, Clinton Hill, Monroe Hodder, Budd Hopkins, Arlan Huang, Richard Hunt, Rhia Hurt, Buffie Johnson, Alexander Kaletski, Robert Kaupelis...

Charles Pfahl, American (1946 - 2013) - Decomposition, Medium: Pencil drawing, signed in pencil lower right, Image Size: 8 x 8 inches, Frame Size: 19.75 x 21.25 inches

Raoul Dufy, French (1877 - 1953) - Tirez les Premiers, Messieurs les Francais, Year: 1915, Medium: Woodcut and Pencil Drawing, signed, dated and numbered in pencil, Edition: 25/10...

5186 NYC skyline lithograph

Graham Nickson Orvieto "Black Sun", 2000 Watercolor painting on Lanaquarelle paper Hand signed, titled and dated by Graham Nickson on the back This exquisite watercolor painting dep...

Lyman Kipp Untitled drawing, 1993 Unique Colored Ink Drawing on paper with two deckled edges Hand signed, inscribed and dated by the artist on lower front 26 1/4 × 20 inches Unframed...

This original pen and ink drawing on paper, titled “Woman and Window,” is a rare and captivating example of Erté’s (Romain de Tirtoff’s) early work, showcasing his signature elegance...

Clinton Hill (1922-2003), created quintessential mid-century images, but figures are unusual in his work. This is from a very early period. In 1951 Hill studied at the Academie de la...

Roy Lichtenstein, ‘St. Macarius Before His Monastery,’ circa 1951: Included in the Roy Lichtenstein Foundation, Roy Lichtenstein: A Catalogue Raisonné - this unique, rare early sket...

Untitled (Two Standing Nudes) 2021 Signed and dated, recto Charcoal with red and white conté crayon on Rives BFK paper 30 x 20.5 inches (76.2 x 52.1 cm) $1,600 This work is offe...

Anthony Padovano Untitled Abstract Expressionist drawing, 1971 Ink wash on paper drawing Signed and dated in ink wash Unique Original (unique) signed Abstract Expressionist ink wash ...

James Childs (1945-2020) Untitled (Standing Male Nude with Ropes and Arm Band) 2010 Signed and dated, l.l. Graphite and pastel crayon on paper 30.5 x 22 inches $3,125

Vivian Springford Untitled (Rice Paper Mounting), 1963-65 Signed lower left Ink, watercolor and acrylic on rice paper laid to canvas 27 1/4 x 53 3/8 inches A contributor to Abstrac...

Keith Haring Crawling Baby drawing circa 1983: This rare original, early 1980s Keith Haring drawing was executed by the artist on printed material from ...

Artist: George Grosz, German (1893 - 1959) Title: Sex Scene in Red Shoes (Erotic) Year: circa 1940 Medium: Watercolor, Pen and Ink on Paper, signed Size: 17...

Eve Nethercott, American (1925 - 2015) - Maine Seagull (38), Year: 1961, Medium: Watercolor, Size: 11 in. x 15 in. (27.94 cm x 38.1 cm), Description: Perched on a wooden post, ...

This drawing by James Childs is offered by CLAMP in New York City.

Jerome Witkin Proof that a Cat is a Snake with Fur, from the Patrick Eddington Cat Project, ca. 2004 Marker on paper drawing Boldly signed by Jerome Wit...

Keith Haring Original Handwritten, hand signed Letter, ca. 1987 Ink on Haring's Private letterhead Stationery, Hand written and hand signed by Keith...

Paul Allen Reed Untitled #31, 1982 Oil pastel on paper Pencil signed dated and annotated "7 10 79 1" by Paul Reed on the lower front Frame included: This work is elegantly floated an...

David Morrison's freshly bloomed Magnolia and Iris drawings further his play with artifice and hyperrealism. Cream and rose-colored blossoms seem to jump boldly from their branches. ...

Ellsworth Kelly Drawing of Cyclamen III, and collage for Conques (Untitled), exhibited at the Johnson Museum of Art, Cornell University, 1987 Graphite drawing, and mixed media collag...

Tony Abeyta’s striking watercolor, Chamisa Bend, beautifully captures the dynamic energy and natural beauty of the American Southwest. Renowned for fusing ...

This work features a photographic portrait of Helen Frankenthaler, taken by renowned musician and photographer Jim Arkatov, founder of the Los Angeles Chamber Orchester, and author of the 1998 book "The Creative Personality". The photograph is hand signed and dated '92 by Jim Arkatov. Framed alongside the photograph is a typed letter, hand signed in marker with a personal annotation ("Thanks again!!") by Helen Frankenthaler, thanking Mr. Arkatov for sending her glossy prints of his photograph and stating that she looks forward to seeing his book. Arkatov's original signed portrait, along with Frankenthaler's original signed letter, are elegantly framed in a museum quality wood frame under UV plexiglass. There is also a die-cut window in the back of the frame to reveal Arkatov's signature on the back of his photograph. Measurements: Framed 14.25 inches (vertical) by 19.75 inches (horizontal) by 1.75 inches (depth) Photographic portrait of Helen Frankenthaler: 9.25 inches (vertical) by 7.25 inches (horizontal) Letter from Frankenthaler to Arkatov: 7 inches (vertical) by 6.25 inches (horizontal) This collection was acquired from the Estate of Jim Arkatov. Below is an excerpt from his 2019 obituary in the Los Angeles Times: "...His was an immigrant’s story, a child from Russia who landed in San Francisco, befriended violinist Isaac Stern — whose fame was still to come — took up the cello and decided to pour his life into making music. James Arkatov found work with the Pittsburgh Symphony Orchestra and then with the philharmonic in San Francisco before coming to L.A. as a Hollywood studio musician who worked on movie soundtracks and backed up Ella Fitzgerald on some of her more memorable recordings, such as “Ella Fitzgerald Sings the George and Ira Gershwin Song Books.” Amazed at the dazzling talent around him in Hollywood, he came up with a simple but lasting idea — form their own orchestra. The Los Angeles Chamber Orchestra made its debut on an April evening in 1968, as hundreds squeezed into the newly built Mark Taper Forum. Arkatov played cello as usual as the ensemble drifted through the works of Mozart, Vivaldi, Haydn and other legends of the classics who’d written music specially for smaller orchestras. Arkatov, who lived long enough to see the orchestra celebrate its 50th anniversary, died Saturday at his home in Los Angeles. He was 98. “The orchestra represented a contextualized part of L.A. that had simply never been captured,” said his son, Alan Arkatov, the chair of the education and technology program at USC’s Rossier School of Education. “L.A. simply didn’t have this type of ensemble.” Arkatov was born in Odessa, Russia, on July 17, 1920, and moved around Europe before sailing with his family to San Francisco, where his father opened a photo studio. One of his early childhood friends was Stern, who would become an international star who performed on the world’s biggest stages. Arkatov, who began playing the cello when he was 9, formed a string quartet with Stern when they were teens. After stints as a cellist in San Francisco, Pittsburgh and Indianapolis, Arkatov became a member of the NBC Orchestra, the studio musicians who supplied the soundtracks for the movies that kept Hollywood humming. Pulling from the talent of Hollywood like an NFL team on draft day, he cobbled together a roster capable of handling the delicate and nuanced music written for chamber orchestras. In contrast to the L.A. Phil, which filled the stage with 100 or so musicians, the chamber orchestra was but half that size. The idea was to create a group that would play works written expressly for such an orchestra, many of them from the Baroque era. “The ensemble was never meant to compete with the Philharmonic,” Arkatov’s son said...." Helen Frankenthaler Biography: Helen Frankenthaler (1928-2011), whose career spanned six decades, has long been recognized as one of the great American artists of the twentieth century. She was eminent among the second generation of postwar American abstract painters and is widely credited for playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstract painting, while at times referencing figuration and landscape in unique ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Frankenthaler was born on December 12, 1928, and raised in New York City. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, Vermont, where she was a student of Paul Feeley. She later studied briefly with Hans Hofmann. Frankenthaler’s professional exhibition career began in 1950, when Adolph Gottlieb selected her painting Beach (1950) for inclusion in the exhibition titled Fifteen Unknowns: Selected by Artists of the Kootz Gallery. Her first solo exhibition was presented in 1951, at New York’s Tibor de Nagy Gallery, and that year she was also included in the landmark exhibition 9th St. Exhibition of Paintings and Sculpture. In 1952 Frankenthaler created Mountains and Sea, a breakthrough painting of American abstraction for which she poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent color. Mountains and Sea was immediately influential for the artists who formed the Color Field school of painting, notable among them Morris Louis and Kenneth Noland. As early as 1959, Frankenthaler began to be a regular presence in major international exhibitions. She won first prize at the Premiere Biennale de Paris that year, and in 1966 she represented the United States in the 33rd Venice Biennale, alongside Ellsworth Kelly, Roy Lichtenstein, and Jules Olitski. She had her first major museum exhibition in 1960, at New York’s Jewish Museum, and her second, in 1969, at the Whitney Museum of American Art, followed by an international tour. Frankenthaler experimented tirelessly throughout her long career. In addition to producing unique paintings on canvas and paper, she worked in a wide range of media, including ceramics, sculpture, tapestry, and especially printmaking. Hers was a significant voice in the mid-century “print renaissance” among American abstract painters, and she is particularly renowned for her woodcuts. She continued working productively through the opening years of this century. Frankenthaler’s distinguished, prolific career has been the subject of numerous monographic museum exhibitions. The Jewish Museum and Whitney Museum shows were succeeded by a major retrospective initiated by the Modern Art Museum of Fort Worth that traveled to The Museum of Modern Art, New York, the Los Angeles County Museum of Art, and the Detroit Institute of Arts, MI (1989); and those devoted to works on paper and prints organized by the National Gallery of Art, Washington, D.C. (1993), among others. Select recent important exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Giving Up One’s Mark: Helen Frankenthaler in the 1960s and 1970s (Albright-Knox Art Gallery, Buffalo, NY, 2014–15); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum, Brandeis University, Waltham, MA, 2015); As in Nature: Helen Frankenthaler, Paintings and No Rules: Helen Frankenthaler Woodcuts...

A colorful acrylic and oil pastel Picassoesque portrait of a woman with a daisy tiara, Marcita, 2025 by African American artist Bai is 15” x 11” drawing/painting on watercolor paper...

Wallace Putnam, American (1899 -1989) - Portrait of a Woman, Year: circa 1960, Medium: Graphite on Paper, signed in pencil lower left, Image Size: 10 x 8.5 inches, Size: 13 x 10 ...

Elfi Schuselka (Austrian, b. 1940), Surrealist Composition, Mixed Media on Paper, stamped "Studio / Elfi Schuselka" to verso, unframed. 39.75" H x 29.75" W. Provenance: From the Coll...

Tess Michalik Heavy Bounty, 2025 oil on yupo 38 x 25 in. (mic035)

David Hockney Hockney Paints the Stage (Signed and inscribed to Walker Museum trustees), 1983 Original acrylic, watercolor and ink painting done on title page of monograph (Signed an...

Artist: Roberto Estopiñan, Cuban (1921 - 2015) Title: Homenaje de Camilla Claudel 5 Year: 1992 Medium: Conte Crayon and Pencil Drawing on Alcantara h...

Mixed Media Boxed Set includes original signed and inscribed drawing plus limited edition plate held in bespoke Bernardaud presentation plate Jeff Koons ...

Sailboats on Shore I Charles Levier, French (1920–2003) Date: circa 1965 Watercolor on Paper, signed l.r. Image Size: 11 x 16 inches Size: 19.5 x 25 in. (49.53 x 63.5 cm)

Untitled (Two Men, Sitting and Standing) 2017 Signed and dated, l.r. Charcoal with red and white conté crayon on Rives BFK paper 30 x 21 inches (76.2 x 53.3 cm) $1,600 This work ...

James Childs (1945-2020) 1975 Inscribed, l.l. Graphite on paper 28 x 17.75 inches  $3,125

Artist: Will Barnet, American (1911 - 2012) Title: Spirit of Youth Year: circa 1980 Medium: Watercolor and Pastel on Paper, signed and dedicated Size: 11 in. x 7.5 in. (27.94 cm ...

Ceri Richards Lyre Bird (Design for the cover of Poetry London), 1943 Ink, gouache and pastel on paper Bears original Jonathan Clark & Co. label on the back of the frame Unique Frame...

This gouache painting on illustration board was created by American artist Jack Leynnwood. Fascinated by aviation from a young age, Leynnwood did kit illustrations of everything from military aircraft to rigged ships, Rat Finks, Flash Gordon, space ships and Ed “Big Daddy...