New York - Contemporary Art

Matisse Picasso by Anne Baldassari, Elizabeth Cowling, John Elderfield, Isabelle Monod-Fontaine and Kirk Varnedoe. Published by Tate Gallery Publishing ...

Basquiat: Boom for Real by Eleanor Nairne and Dieter Buchhart. 1st Ed hardcover no dust jacket as issued. Published by Prestel, Munich, 2017, for exhibitions in London and Frankfurt....

Gumdrop Mirror by Courtney Kinnare 2024 Resin, Acrylic, & Ink on Mirror Dia 24" The Gumdrop Mirror features vibrant, candy-like orbs in rich cherry and blush tones, adding a scul...

An original artwork by Marcel Vertes for a poster of Lily Pons (1898-1976) the famous coloratura soprano for a concert at Carnegie hall. The medium is gouach...

Dancing with my Shadow by Courtney Kinnare 2024 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" Inspired by a long night getting lost in the dark desert and findi...

Vintage original artwork features an abstract landscape with silhouettes of three gnarly threes standing on what appears to be either riverbank or a road. Soft, muted palette in sha...

Adam Fuss: Mask by Adam Fuss and Peter Lamborn Wilson. Published by Baldwin Gallery, 2005. 1st Ed hardcover with slipcase exhibition catalog. The photograms ...

This mid century decorative glass wall art is hand cut and made by hand by skillful artisans in Brooklyn, and framed in natural solid oak. Resistant to fading and aging. Limited e...

Art Now: From Abstract Expressionism to Superrealism by Edward Smith. Published by William Morrow & Co, 1977. 1st Ed hardcover with dust jacket. "The author as noted in the introduct...

The new exclusive series of limited edition collages by acclaimed American artist Mickalene Thomas comes in two series of 10 unique collage prints. Phaidon, Artspace, and Avant Arte...

Joan Miró 1917–1934: I'm Going to Smash Their Guitar by Agnes De La Beaumelle. Published by Paul Holberton Publishing, DACS London, and Paris: Editions du Centre Pompidou, 2004. 1st ...

Untitled Print B1 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

Introducing "Les Étoiles," a limited-edition fine art print from Lemieux Et Cie, inspired by the ephemeral beauty of the night sky and the ethereal glow of the northern lights. Creat...

Joan Miro color plate lithograph from 1968, approximately 20 x 24" Professionally framed, includes certificate on frame back.

Vibrant abstract painting titled "Yellow" by American artist Rebecca Ruoff, 2018.

An expressive and graphic vintage serigraph depicting an abstracted group of red-wing blackbirds in flight. Signed in pencil by the artist.

"Les Femmes Un" is a gorgeous limited edition fine art print that exemplifies the essence of modernist portraiture. Capturing the allure and sophistication of a seated woman, the art...

Introducing "CHAMP DE COULEUR" - Our newest limited-release art print series. This first work in the collection is an interplay of colors and geometry. "Champ De Couleur" skillfully ...

Stephen Cimini Artwork tittle "Stepping Up To Paradise" part of his early work collection, in very good condition.

We are thrilled to announce the launch of "Les Femmes Deux," the latest stunning addition to our beloved series of female abstract portraits. This exquisite limited edition fine art ...

"Les Femmes Un" is a gorgeous limited edition fine art print that exemplifies the essence of modernist portraiture. Capturing the allure and sophistication of a seated woman, the art...

Discover Sansui, a captivating new piece that embodies the quiet beauty and profound depth of Japanese aesthetics. With its intricate play of lines and rich contrasts, this piece evokes the spirit of traditional Japanese ink wash painting, reimagined through a contemporary lens. The sweeping curves and textured details suggest a landscape in motion—perhaps the wind over water or the flow of a mountain stream—drawing the viewer into a meditative exploration of form and rhythm. The palette, dominated by a luminous interplay of blacks, silvers, and muted golds, captures the essence of wabi-sabi: the beauty of imperfection and the passage of time. Sansui resonates with an artful sophistication, perfect for spaces that seek to balance modernity with a sense of the timeless. From the same studio that brought you Les Terrains...

Contemporary Belgian artist Diane Petry creates her own three layer canvas using pima cotton, gauze and fine paper. Raw edges and applied threads add texture and dimension. Colors are cream, blue and rust. All artwork can be commissioned for any size and color adjustments. Archivally mounted on museum board in an anodized black aluminum frame with acrylic. We have a large collection of paintings...

A black and white zebra animal photo print with white handcrafted frame, from London-based gallery, William Stafford, circa 21st century, England. Ava...

Jean-Michel Basquiat, Keith Haring, Roy Lichtenstein: The Paris Review 1982-1992: Vintage editions of The Paris Review, with one uniquely featuring an...

WCS2106 is a one-of-a-kind work of art and functional sconce made from cast bronze, Argentine goatskin and LED by artist and designer William C Stuart...

Introducing the dreamy "Rêve De Mahal," a historical limited release fine art diptych that promises to transport you to a world of history and beauty....

Mid-Century Modern abstract "Arau Potter" painting by Xavier Gonzalez, 1969 Signed and titled bya artist. Measures: Painting: 28.5"x 36". Provenance: From the personal collectio...

Untitled Print B1 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

Keith Haring cover art 1990: A rare Bulgarian arts publication featuring cover art by Keith Haring. The cover art appears to have been submitted by Haring in 1989, and was uniquely p...

Ember by Courtney Kinnare 2023 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of transluc...

Scatter size Persian Kilim from the late 20th century with a large lonely white pigeon getting cuddled by a boy and a girl on a blue field This was originally belonging to a private...

The highly anticipated final installment of the "Les Femmes" series, "Les Femmes Trois," is now available. This exquisite limited edition fine art print features a deep and rich yet ...

We are thrilled to announce the launch of "Les Femmes Deux," the latest stunning addition to our beloved series of female abstract portraits. This exquisite limited edition fine art ...

Untitled Print A2 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

A fine Neil Welliver aquatint on embossed Rives BFK paper, pencil signed, titled and numbered 32/500 in the lower margin. Professional framing in a natural wood frame and matting in ...

Wonderful Modern Art By Pope Noell 20TH Century "DIEP #21" 2003 Acrylic On Canvas On Board. Provenance: Arlene Bujese Gallery, East Hampton, NY. Dimensions: 48.50" H x 58" W. x 2" ...

A Wonderful Modern Art By David Gamble British Of Andy Warhol's Living Room NYC 2004, Chromogenic Print On Canvas. Numbered '1/25' Lower Left Corner/ Verso: Signed, Titled, Numbered,...

Print: Digital Print Size: 508 x 406 mm (20 x 16 in) Edition of 30 This work is signed (2015) Hungarian conceptual artist Agnes Denes was a pioneer of early environmental ar...

The launch of the newest diptych print titled "Bois de Boulogne" is part of our mission for the preservation and celebration of historical French artistry. Designed in the style of a classic French panorama, known as "Papier Peint," these exquisite prints capture the lush and detailed expanse of the Bois de Boulogne park, a beloved Parisian landscape. Each panel is a meticulous amalgamation of past and present art techniques, featuring elaborate woodland scenes that blend seamlessly across the two sections. The archival quality and limited edition of the prints ensure that the gorgeous tones and intricate details are preserved, offering an enduring glimpse into France's artistic heritage. This release not only pays homage to traditional French scenic...

Introducing "CHAMP DE COULEUR" - Our newest limited-release art print series. This first work in the collection is an interplay of colors and geometry. "Champ De Couleur" skillfully ...

Contemporary urban realism by local Philadelphia artist, Christopher Windle. Light and shadow, along with graphic perspective conveys a moody solitu...

The launch of the newest diptych print titled "Bois de Boulogne" is part of our mission for the preservation and celebration of historical French artistry. Designed in the style of a classic French panorama, known as "Papier Peint," these exquisite prints capture the lush and detailed expanse of the Bois de Boulogne park, a beloved Parisian landscape. Each panel is a meticulous amalgamation of past and present art techniques, featuring elaborate woodland scenes that blend seamlessly across the two sections. The archival quality and limited edition of the prints ensure that the gorgeous tones and intricate details are preserved, offering an enduring glimpse into France's artistic heritage. This release not only pays homage to traditional French scenic...

Untitled Print A1 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

Untitled Print A1 is a refined exploration of Pierre Emmanuel Martin’s signature technique and profound artistic vision. This limited-edition fine art print, one of only 10 in its se...

Contemporary French artist Joanne Casey paper abstract. Rows of strips of pastel colored paper folded in undulating chevron pattern. Strips are placed ...

The "Forêt de Lune" limited edition fine art print series marries the beauty of the art of chinoiserie with the lush forests of South East Asia. Each print features stylized scenes o...

Contemporary American ceramic artist Richard Hirsch's encaustic "Paintings of Nothing Series" #14, #16, #22 and #23 are made of ceramic raw materials, dry pigment and wax. Hirsch app...

Introducing "Le Fourré Deux" (The Thicket #2) - second design from our 3 part limited release art print series. Le Fourré is a stunning piece when hung alone, or paired with the othe...

The abstract portrait from 2017, shown here, is by contemporary artist Jean-Marc Louis. Titled "Petit Zom (Ref #7968)," it is pastel on paper and, like all of Louis's works, finished...

An original silver gelatin photograph by Erich Hartmann (American/German, 1922-1999) from his 'Writing With Light' series. It is presented in its original matte and frame, signed and...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #75 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

Keith Haring Cover Art 1982-1989: A set of 3 1980s books featuring original (offset) cover design by Keith Haring during his lifetime: Keith Haring 1982 for The Paris Review. Keith Haring 1986 for Brion Gysin The Last Museum. Keith Haring for AIDS: TRADING FEARS FOR FACTS (Hein). Medium: Set of 3 individual vintage books with offset illustrated cover art. 1982-1989. Measuring approximately: 4 x 7 inches each; soft cover books; the full edition of each; bound. Each in good to very good overall vintage condition. Minor age related wear. Each, unsigned from an edition of unknown. Highly collectible. _ Keith Haring (b. 1958 Reading, PA): Keith Haring’s first major works were his subway drawings. Haring produced a large number of these public works between 1980 and 1985, integrating his motifs outlined figures into everyday public space in a way that directly engaged its viewers. Haring's 1st solo exhibition was held at Westbeth Painters Space in 1981 and a celebrated show debuted at the historic Tony Shafrazi Gallery in New York the following year. Throughout the 1980s, Haring was committed to democratizing the art experience and along with paintings, he also created theater sets, billboards, murals, advertising campaigns and even a line of Swatch watches. In 1986 he opened the Pop Shop in SoHo, selling apparel, posters and toys bearing his drawings. This was a controversial move, as many galleries criticized Haring for “de-valuing” the art object while others, such as Andy Warhol, championed Haring’s insistence on making art accessible and affordable. Pop Shop was highly influential to contemporary crossovers of art and merchandise that are now so dominant, as in the work of Jeff Koons, Yayoi Kusama, KAWS and Takashi Murakami. In addition to this ideology of accessibility, Haring was also very socially engaged and used his striking imagery to promote awareness of various political and social campaigns. His many notable public works included a mural on the western side of the Berlin Wall, the Crack is Wack mural in New York, and a mural for the 100th anniversary of the Statue of Liberty in 1986. Haring was diagnosed with AIDS in 1988 and used his presence in the arts community to raise awareness of the crisis. In 1989, a year before his death, he established the Keith Haring Foundation, whose mission is to raise funds for AIDS organizations and children’s literacy and arts programs. Since his death in 1990, Haring has become one of the most widely-recognized and celebrated artists of the 20th century. Related categories: Keith Haring 1982. Keith Haring book...

Gerard Vulliamy (French, 1909-2005), Abstract Composition, Watercolor on Paper, 1954, signed in pencil and dated lower left, giltwood frame. Image: 16" H x 24.5" W; frame: 23" H x 31...

White on white paper cuts collage. Square white wood frame. Artist Nurit Amdur creates paper cuts and collages revolving around the journey of transition and turning something into “...

Oil on canvas. Painting by Hans Speidel, Berlin. Speidel was among a group of painters known as the 'Neue Sachlichkeit' (New Objectivity). This betwee...

Vintage 1980s Fairgrounds sign in a unique and bold oxblood base color with white font. Eye catching and fun, this piece has the trappings of Americana wall art...

Vintage Courrèges silk scarf in excellent condition found in Paris, France. Features bold contrasting colors in this beautiful abstract silk vinta...

Largely considered to be the founder of the British Pop Art Movement of the 1960s, Sir Peter Blake made a name for himself with colorful prints, collages, and paintings that combined the past and present. While best known for designing the iconic album cover to The Beatles' Sgt. Pepper's Lonely Hearts Club Band, "Leo '79" is part of his highly desirable print series titled, "Six French Postcards". Hand-signed and numbered 73 out of 75 by the artist. This piece is a wonderful investment that will impress and intrigue for years and years to come. Great for collectors of pop art, Beatles memorabilia...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...