Our New York gallery is located at the epicenter of the art world, on the Upper East Side of Manhattan, on 75th between Park and Madison. The town house provides an intimate setting, open by appointment only, and contains a selection of our top artworks from a variety of genres. Whether you collect Impressionist and Modern, or cutting-edge Contemporary, or Post War Abstract Expressionism, our New York space displays some of the best examples of highly sought-after artists from every era.

42 East 75th Street
New York, NY 10021
(646) 858-1085

Hours:
Monday – Friday 10am – 6pm

Irving Norman Estate
CURRENT

Irving Norman Estate

October 1, 2019 - October 31, 2020
de Kooning x de Kooning
ARCHIVE

de Kooning x de Kooning

November 8, 2018 - February 28, 2019
Herb Alpert: A Visual Melody
ARCHIVE

Herb Alpert: A Visual Melody

October 11 - November 1, 2018
Wojciech Fangor: The Early 1960s
ARCHIVE

Wojciech Fangor: The Early 1960s

April 19 - June 30, 2018
EDWARD HOPPER - Farm House at Essex - watercolor on paper - 14 x 19 15/16 in

EDWARD HOPPER

Tom Wesselmann’s supercharged colors mirror popular advertising while the lounging female forms allude to Western art history’s classic figurative motif. A wonderful example of this synthesis is the 1997 painting 1962 Plus 35 Nude Sketch II. Here, the reclining woman’s eyes are barely visible beneath the surface of the paint, yet her lips are a bold red with a thick black outline. The hyper-sexualized presentation of the female body seems to address the consumer culture of Post War America – the commoditization of the flesh. Wesselmann’s dazzling paintings bring together elements of art historical tradition and 1960s imagination, creating a singular style.

TOM WESSELMANN

N.C. Wyeth created this painting as an illustration for Daniel Defoe’s Robinson Crusoe (p. 270), part of the Scribner’s Classics series. The painting represents a pivotal scene in the novel in which Crusoe meets and rescues Friday, the indigenous man who becomes his companion. The scene here depicts Friday expressing his gratitude to Crusoe. Among the most noteworthy illustrators the United States has ever produced, Wyeth is also the patriarch of one of America’s most esteemed artistic dynasties. His son Andrew Wyeth produced some of the most celebrated realist works of 20th-century American art, admired for the emotional impact of their stories. N.C. Wyeth's mastery of visual narrative is on full display in this 1920 scene from classic literature.

N.C. WYETH

KURT SCHWITTERS - Ohne Titel (Merzbild Mit Schuhsohle) - oil and relief assemblage on plywood - 21 1/4 x 17 3/4 in.

KURT SCHWITTERS

American painter John Marin set up his studio in Paris where he drew upon ideas from both the Post-Impressionists and the budding Modernism of the early 20th century. Championed and supported by renowned gallerist Alfred Stieglitz and photographer Edward Steichen, Marin returned to the United States, bringing with him the avant-garde European style of painting that he rooted in the natural landscape. Marin made annual trips to Maine, inspired by its coast and landscape. In Cape Split, Maine, Marin captures the stark ruggedness of the seacoast.

JOHN MARIN

SAM FRANCIS - Yellow, Blue & Orange - watercolor on paper - 22 1/8 x 30 1/8 in.

SAM FRANCIS

SAM FRANCIS - New York, New York - gouache/egg tempera on gessoed French paper - 39 3/4 x 27 in.

SAM FRANCIS

CAMILLE PISSARRO - Les Gardeuses de Vaches - mixed media, gouache and watercolor with charcoal - 11 1/2  x 8 1/2 in.

CAMILLE PISSARRO

DAMIEN HIRST - Overwhelming Love - household gloss, butterflies - 36 x 60 in

DAMIEN HIRST

N.C. WYETH - With a Quick, Noiseless Stride, He Crossed the Narrow Space - oil on canvas - 30 1/4 x 20 1/8 in.

N.C. WYETH

Jasper Johns is a seminal figure of modern art in America for his association with Neo-Dadaism and Pop art. Johns utilized familiar iconography as well as contradictory or paradoxical elements in his works, including flags, targets, letters, and numbers. This piece is one of the few sculptures from an artist who has had a large impact on the development of American art after WWII. The sculpture is both a satirical comment on critics who speak more than they see but also an exploration of art and language.

JASPER JOHNS

Alex Katz is a pivotal figure in American figurative art. His colorful, stylized, flat portraiture and paintings stand in stark contrast to the Abstract Expressionism in which he came of age. Not quite minimalist, his deadpan figures have qualities that also lends comparisons to pop culture and commercial design. This painting of a man playing the ukulele highlights the sort of gatherings of young people that would interest Katz giving both the sense of cool detachment but also cool hipness.

ALEX KATZ

ANSELM KIEFER - The Fertile Crescent - mixed media on board - 39 1/2 x 29 1/2 in.

ANSELM KIEFER

Argentinian-born artist Leonor Fini worked alongside surrealists in Paris, and her work exudes surrealistic themes and fantastical imagery that engages with the unconscious. Throughout her work there are themes of magic and myths that showcase women not as object, but as agents of their own desires, exemplified here in Sphinx Ariene from c. 1970. The Sphinx is an archetype that she uses often in her work, which is about women as active and powerful beings. Fini is considered among the 20th century’s greatest surrealist artists. Three of her works were included in the landmark exhibition “Fantastic Art, Dada, Surrealism” in 1936 at the Museum of Modern Art.

LEONOR FINI

SAM FRANCIS - Untitled 1985, San Leandro - acrylic on canvas mounted on board - 44 x 52 in.

SAM FRANCIS

Richard Tuttle is a seminal American postminimalist artist. Tuttle’s work is conceptual and meditative, crossing the boundary of sculpture, painting, and poetry, and often challenging the viewer. Untitled (Cloth and Paint Work #2) from 1973, a pivotal period in the artist’s career, evokes the earlier minimalism of his career while pushing towards material-based conceptual art. In the work he pays homage to Marcel Duchamp’s readymades. Textiles, as in this piece, play a large role in his oeuvre and become sites on which to focus performance, engagement, and meaning.

RICHARD TUTTLE

Stanton Macdonald-Wright was a co-founder of the Synchromism movement, which combined abstraction and intense color. He was influenced by ideas that the qualities of color were connected to the qualities of music. He stopped painting this way in the 1920s, but his work experienced a revitalization in the 1950s, following a retrospective of his work at LACMA. Inspired by the renewed interest, Wright began producing works with increased passion; these works were considered Neo-Synchromism. La Gaîté is a phenomenal example of this period in Wright’s career, showcasing the brighter colors and larger canvases he favored during his personal renaissance.

STANTON MACDONALD-WRIGHT

CINDY SHERMAN - Untitled - color photograph - 34 x 23 1/4 in.

CINDY SHERMAN

MARVIN CONE - Barn Group Near Marion - oil on masonite - 11 1/2 X 23 7/8 in.

MARVIN CONE

HELMUT NEWTON - Rue Aubriot, Paris 1975 - vintage gelatin silver print - 13 1/4 x 8 7/8 in.

HELMUT NEWTON

HELMUT NEWTON - Woman into Man, Hotel George V, for French Vogue, 1979 - gelatin silver print - 18 1/2 x 12 in.

HELMUT NEWTON

HELMUT NEWTON - Portrait of Veruschka on the Terrace of the Presidential Suite, Hotel Meridien, Nice, 1975 - vintage gelatin silver print - 8 x 11 3/4 in.

HELMUT NEWTON