Notable sales

  • Michael Corinne West

    Red Squares, 1971
    Westmoreland Museum of American Art, 2018

    This large-scale Michael West was purchased by and in honor of Judith O'Toole, the museum's Director and CEO, on the occasion of her departure from the museum following 25 years of leadership. As part of this gift, it joined the museum's Postwar collection alongside two other new acquisitions, a Larry Poons and a Mickalene Thomas.

  • Elizabeth Catlett

    Star Gazer
    A distinguished private collection, CA, 2018

    Catlett created versions of Star Gazer in both marble and bronze. This unique marble was included in—and the namesake of—the Brooklyn Museum's 2011 Catlett exhibition, Stargazers: Elizabeth Catlett in Conversation with 21 Contemporary Artists.

  • John Grillo

    Untitled, 1951
    Westmoreland Museum of American Art, 2018

    Untitled, 1951 exudes a unique and colorful sense of spontaneity that is characteristic of John Grillo’s mosaic paintings of the 1950’s. Throughout the decade, while working closely with such iconic artists as Willem de Kooning, Franz Kline, and Mark Rothko, Grillo painted this suite of works—also known as ‘slab’ paintings—deriving inspiration from his teacher, Hans Hofmann, and his theories of pictorial structure, spatial illusion, and color relationships.

  • Edward McCartan

    Diana, 1922
    A distinguished private Collection, Manhattan, 2018

    A cast of Diana was included in the prominent exhibition of American sculpture organized by the National Sculpture Society in 1923, and two years later was awarded the medal of honor from the Concord Art Association, Concord, Massachusetts. In 1923 the Metropolitan Museum purchased its bronze through Grand Central Art Galleries; according to the sculptor this was the first of three casts originally made. McCartan produced numerous casts of this Diana, and indeed the casting history is complex. In 1927 he said that he limited the edition to fifteen. Other located casts are at Brookgreen Gardens, Murrells Inlet, South Carolina; Canajoharie Library and Art Gallery, Canajoharie, New York; Elvehjem Museum of Art, Madison, Wisconsin; and Indianapolis Museum of Art, Indianapolis, Indiana. In 1928 McCartan enlarged Diana to a 7-foot bronze version for a Greenwich, Connecticut, estate.

  • Hermon Atkins MacNeil

    The Sun Vow, circa 1899
    Denver Art Museum, 2018

    A 72-inch version of The Sun Vow resides in the Metropolitan Museum of Art's American Sculpture Wing. This example, at 33 inches in height, can also be found in the collections of the Art Institute of Chicago, Chrysler Museum, and Brookgreen Gardens.

  • Moseley Greene

    Wounded Soldier
    Virginia Museum of Fine Arts, 2018

    Mosely Greene’s Wounded Soldier is a quintessential and rarae Civil War-era portrait of hero injured in battle. Clearly visible is his Union soldier uniform, complete with the classic navy gold-buttoned coat and belt buckle featuring the letters US.

  • Lynn Chadwick

    Beast, 1955
    An important private art advisory, London, 2017

    Cast in 1955, the year prior to his having won the International Prize at the Venice Biennale with the submission of Beast 1, this Beast is one of a series of “beasts” that Chadwick sculpted first in bronze in the mid 1950’s and later in steel all of which varied in size and were often monumental. It was the second in an edition of nine.

  • Bessie Potter Vonnoh

    The Intruder, 1913
    Birmingham Museum of Art, 2017

    Intruder is an example of one of Bessie Potter Vonnoh’s table fountains that were considered “de rigueur” as centerpieces in fashionable homes at the turn of the 20th century. These distinctive table fountains usually contained figures made of bronze as in our example that were set into a basin  made of a contrasting material such as silver, glass, or faience.

  • Jean-Baptiste Carpeaux

    Le Printemps, circa 1870s
    David T. Owsley Museum of Art at Ball State University, 2017

    Le Printemps is a rare bust by Jean-Baptiste Carpeaux, and along with La Candour it is one of his finest female busts in terms of beauty of form, energy and life. Many of these marbles were carved in the 1870s before he died in 1875. It was once a part of the private collection of antiquarian François Fabius, and sold to the Owsley Museum at TEFAF New York Fall 2017.

  • Gertrude Vanderbilt Whitney

    Wallflower, a Portrait of Barbara Whitney, 1913
    Cincinnati Art Museum, 2017

    Gertrude Whitney’s Wallflower is a tender portrait of the artist’s daughter Barbara, created when the child was ten years old. While the artist is better known for her monumental projects, this smaller-scale work showcases her versatility both in size and subject.

  • Charles M. Russell

    The Combat, 1908
    A distinguished private collection, Texas

    Russell was well familiar with the overhunting of Rocky Mountain sheep, which had reduced their range to the most mountainous territory. The Combat alludes not only to that rugged habitat but also to the vulnerability of the species.

  • Elizabeth Catlett

    Seated Mother and Child
    The Rockwell Museum, 2017

    Seated Mother and Child was an important theme in Catlett’s work. The theme for her seems to take on more than just a maternal depiction, and rather stands as well for a determined statement of persevering, dignity and hope for the future. This model was done in bronze and other mediums and can be traced in other versions that go back to 1978 for sure. 

  • Edwin Lord Weeks

    Across the Pool to the Golden Temple of Amritsar, circa 1886-90
    A distinguished private collection, Manhattan

    As one of the greatest achievements of the most important American Orientalist painter of the 19th century, Weeks’ canvas Across the Pool to the Golden Temple of Amritsar presents a striking study in light, architecture and culture, exuding both a mystery and a brilliance that qualify it as an expression of the divine. The work was undoubtedly inspired by Weeks’ second trip to India in 1886-87, during which he visited Amritsar, the holiest of all Sikh temples which was noted for its radiance and light.

  • Harry Bertoia

    Untitled, circa 1972 & Footed Sonambient, circa 1960s
    A distinguished Private Collection, Manhattan, June 2017

    These two exceptional sonambients, both featuring unique sets of cattails at their tops, were purchased as a pair by an Upper West Side Collector.

  • Sam Francis

    Untitled, 1980
    A distinguished Private Collection, Australia

    A reflection of his unique and personal experiments with color, Untitled, 1980 showcases Francis’s experimentations with color in which he chose each highly pigmented and saturated color with great care. Such vivid and intense choices have created a work that results in a composition that is anything but static.

  • Alexander Calder

    Black and Blue Petals, 1963
    Private Collection, California, February 2017

    Calder's works on paper, such as  Black and Blue Petals, are full of his familiar boldly-colored geometric shapes as well as concrete representational floral forms, all harmoniously balanced.

  • Jamie Wyeth

    Head-Tide Maine, 1991
    An Important Private Collection, Tennessee
  • John Quincy Adams Ward

    The Indian Hunter, 1860
    An Important Western Collection, Texas

    The large-scale version of the "Indian Hunter," located off the southwest corner of the Mall in Central Park, was purchased through subscription and presented to the City of New York in December of 1868. In February 1869, the statue was dedicated in Central Park, making it the first American sculpture to be erected there.

  • Cyrus E. Dallin

    Appeal to the Great Spirit, 1912
    An Important Private Western Art Advisory, 2016

    This lifetime casting is the rare, grand scale model, of the renowned sculpture, by Cyrus Dallin. Only nine castings were made in this size, between 1918 and 1927, at the Gorham Company Founders.

  • Frederick MacMonnies

    Nathan Hale, 1890
    Orlando Museum of Art, 2016

    In 1889 at age 26 Frederick MacMonnies sought and won a commission from the Sons of the American Revolution of New York State for a sculpture of Nathan Hale for City Hall Park in New York City. MacMonnies often used the two French foundries of Rouard and Gruet to cast his sculptures of Nathan Hale. While the sculptures are not numbered, it might be safe to assume that there were more than 10 cast and probably not more than 40.

  • Henri Martin

    Après-midi d’automne sur la maison du sabotier, 1934
    An Important Private Art Advisory, 2016

    This superb Martin canvas depicts a wooden shoemaker's house in Labastide-du-Vert, where the artist lived and worked during this period.

  • John Fery

    Milwaukee Looking Upon Lake Michigan, Circa 1903-11
    Rockwell Museum of Art, 2016

    Most probably Fery painted this vista from the western shore of Lake Michigan at McKinley Beach, one of the most popular weekend destinations for the citizens of Milwaukee.

  • Daniel Chester French

    The Concord Minuteman of 1775, 1889
    An Important Private Collection, Georgia

    In 1889, it was suggested by citizens of Concord to the Navy that a bronze reduction of the Minute Man monument be created for the new gunboat Concord. This bronze is not a reduction of the monument but a reworking of the statue. 

  • Elizabeth Catlett

    Mujer Reclinada, circa 1958-59
    An Important Private Collection, Chicago

    "Mujer Reclinada" is not about one individual, but rather about the dignity and the nobility of the universal man, woman, and child. Such works have become prized possessions of such notable museums as the Metropolitan Museum of Art and the Smithsonian American Art Museum, to name a few, and such prominent collectors as Oprah Winfrey and Bill Cosby.

  • Jean Metzinger

    Nature Morte, circa 1926
    An Important Private Art Advisory, 2016

    Nature Morte is a prime example of Jean Metzinger’s mature post-Cubist work. After 1923, his style veered toward Realism but maintained its central focus on form and color. This piece sold at TEFAF New York Fall 2016.

  • Tom Wesselmann

    Study for 'Bedroom Face,' 1976
    An Important Private Collection, Connecticut, 2016

    The Bedroom Paintings series, Wesselmann’s most important along with his Great American Nude series, deftly combines the artist’s two most important interests: a sexualized female figure in the throes of ecstatic abandon and a still life of ordinary household objects.

  • Robert Motherwell

    Where Have You Been, 1984
    Private Collection, Manhattan

    "Where Have You Been" incorporates fragments of a destroyed 1977 print, "Gesture I (State I)," as well as a destroyed 1967 drawing, "Oval (Black Calligraphy)." The sheet music in this collage is from the manuscript of the unidentified Stabat Mater used in several other collages.

  • Ibram Lassaw

    Procyon (A Polymorphous Space), 1950
    A distinguished private collection, California

    This is an important piece in Lassaw's history because it was the very first sculpture that he sold and with that money ($450) he was able to buy welding equipment. After Procyon he only made two other works using the same method, in the early spring of 1951, these were "Galaxy of Andromeda," bought by Nelson Rockefeller and currently in the museum on the Rockefeller estate, and "Alcor," 1951, bought by Laurence Rockefeller.

  • Ibram Lassaw

    Betelgeuse, 1951
    An important Private Collection, Long Island, 2015

    "Betelgeuse" makes reference to the ninth-brightest star in the night sky which was also the second-brightest star in the constellation of Orion. Here Lassaw shows an interest in both horizontal and vertical elements.

  • Cindy Sherman

    Untitled #89, 1981
    Private Collection, Connecticut
  • Milton Resnick

    Epsilon, 1961
    An Important Private Art Advisory, 2015

    "Epsilon" (the fifth letter in the Greek alphabet) succeeds in enveloping the viewer with its feeling of expansiveness, simultaneously lyrical and frenzied. During the 1950s and 1960s, Resnick earned respect for his Abstract Expressionist paintings and also was unique for being one of the few New York artists to have a large working space for large-scale canvases.

  • Laurits Andersen Ring

    Winter Day, 1912
    National Gallery, London, 2015

    This is a painting that lays bear the stark reality of rural life, one of Ring’s village landscape scenes that are simultaneously filled with overt symbolic references to death. Taylor|Graham partnered with another Manhattan gallery in the disposition of this work.

  • Charles Schreyvogel

    The Last Drop, 1903
    Chrysler Museum of Art, 2015

    At the Museum's December 2015 Masterpiece Purchase gala, the top choice by society members was this Charles Schreyvogel sculpture, nominated by the Brock Curator of American Art, Crawford Alexander Mann III.

  • Harriet Whitney Frishmuth

    Humoresque, 1924
    Private Collection, 2015

    This example of "Humoresque" is one of nine castings executed by the artist during her lifetime, and her most significant work. The model Frishmuth used most frequently for her sculptures and who was the model for the majority of her most beautiful and well known works completed in the 1920’s was one particular popular concert dancer named Desha Delteil, who was reputedly able to hold difficult poses for significant periods of time.

  • Ferdinand du Puigaudeau

    La Charrette au Bord du Chemin, 1910-14
    Columbus Museum of Art, 2014

    La Charrette au Bord du chemin depicts a cart alongside a road near du Puigaudeau's home in Kervadu. Du Puigaudeau would often construct a series of paintings of a particular theme throughout various times in the day to catch all the variations of light and shadow.

  • Fernand Léger

    Composition Murale, 1950
    Private Collection, Manhattan
  • Tom Wesselmann

    Still Life with Two Oranges and Lichtenstein, 1992
    Private Collection, Connecticut, 2013
  • Jean-Michel Basquiat

    Untitled, 1981
    Private Collection, Connecticut, 2013
  • Carl Paul Jennewein

    Cupid and Gazelle, 1919
    Birmingham Museum of Art, October 2013

    Cupid and Gazelle, modeled after Jennewein's own son, was extremely well received after its exhibition at the Academy in Rome in 1920. It received an honorable mention at the Art institute of Chicago in 1921 and a replica was acquired by the Metropolitan Museum of Art in 1922. Ultimately, Jennwein cast thirteen examples produced for sale.

  • Harry Bertoia

    Tall Sonambient Sculpture, circa 1970s
    Crystal Bridges Museum of American Art, December 2012

    This is an early and exceptional example of Bertoia's taller Sonambients which was purchased directly from the artist by a collector in Omaha, Nebraska, where Bertoia was known to have worked from 1965-1975. Most of his tall works are all Beryllium Copper, as is the case here, and the base is a “classic Bertoia base” of brass—superlative in his work.

  • Henry Bouvet

    Les Falaises à Mesnil Val, circa 1895
    Columbus Museum of Art, July 2012

    The influence of Carrière can be seen in this painting in the darker rendition of the ocean, as the Symbolists tended to focus on the darker side of painting, whereas the effects of Philippe Roll are evident in the subject matter chosen. 

  • Solon Hannibal Borglum

    Burial on the Plans, 1899
    Museum of Nebraska Art, May 2012

    The critic Lorado Taft remarked of this piece, "in the tiny Burial on the Plains there is a mysterious emotional note which has been touched by few indeed of our sculptors, a sentiment that might easily have been dissipated by a more insistent technic." Borglum was particularly struck the year he modeled this work by epidemics such as smallpox that would sweep through the Sioux Indian encampments and daily claim lives.

  • Jean Alexandre Joseph Falguière

    Bust of Diana, circa 1882-1900
    Portland Museum of Art, February 2012

    Falguière's Bust of Diana was so popular at the end of the 19th century that numerous versions were made in at least three sizes and several media. A work of great presence, the bust would have appealed to its audiences for its portraitlike realism and its unusual and arresting pose. The bust as a separate art object was taken from a life-size full-figure Diana which Falguière had first exhibited in plaster to great acclaim at the Paris Salon of 1882.

  • Robert Ingersoll Aitken

    Lamb's Club Memorial
    National Gallery of Art, Summer 2011

    The Lambs Theatre Club, founded in 1874, was America’s first professional organization committed to the arts. During World War One, after four American lambs were tragically killed, the club commissioned Aitken, a lifelong member, to design a memorial sculpture. The shepherd, the symbol of the club, transcends and crosses time.

  • Robert Motherwell

    Waiting for Samuel Beckett, 1979
    Private Collection, Connecticut, 2011
  • Lee Krasner

    Blue Painting, 1946
    Private Collection, Connecticut, 2011
  • Richard Pousette-Dart

    Fantasie, 1944-45
    Private Collection, Connecticut
  • Chauncey Bradley Ives

    The Piper, circa 1850s
    Los Angeles County Museum of Art, Summer 2011

    The Piper is a classic theme that was a favorite among American and European marble carvers as it incorporated the element of music and the gentleness of youth in a harmonious and appealing metaphor. The work achieved success as it was ordered seven times in the Ives records by various patrons.

  • Camille Pissarro

    Coin de Village, 1863
    Private Collection, Connecticut, 2010
  • Max Beckmann

    Frau mit Blumen, 1940
    Private Collection, Connecticut, 2009
  • Marc Chagall

    Le Jongleur de Paris, 1969
    Private Collection, Connecticut, 2009
  • Stanton MacDonald-Wright

    Untitled (Still Life with Fruit), 1917
    Crystal Bridges Museum of American Art, 2009

    This early work on paper evidences MacDonald-Wright's early exploration of what would later develop into the  Syncromism movement.

  • Léon Augustin L'hermitte

    La Moisson dans la Vallée, 1904
    Speed Art Museum, 2008

    This piece depicting a harvest in the valley of Mont-Saint-Père was first exhibited at the 1904 Paris Salon and passed through numerous reputable French Private Collections prior to its museum sale.

  • Hans Thoma

    Die Quelle (The Spring), 1895
    Los Angeles County Museum of Art, 2007

    This canvas was purchased by way of LACMA's European Art Acquisition Fund, and is currently on view on the third floor of the museum's Ahmanson Building.

  • Jean-François Millet

    Les Moissoneurs Endormis
    Private Collection, New York, 2006

    This important and pivotal Millet canvas marked the artist's move toward realism. It was exhibited in Kyoto, Tokyo, and Nagoya, and passed through the private collection of former Third Republic French President Paul Casimir-Périer, before selling to a Manhattan collector.

  • Jean-Léon Gérôme

    Two Italian Peasant Woman and an Infant, 1849
    Musée D'Orsay, 2007

    Using his Italian drawings, studies of casts, and notes from paintings he saw, Gérôme constructed this group without the use of live models. The monumental size and placement of the figural group is unusual in the artist's oeuvre. This work is of great importance in his body of work.

  • Gen'ichiro Inokuma

    Broadway (Longest Street), 1966
    Los Angeles County Museum of Art (LACMA), 2004

    By the time Inokuma painted Broadway (Longest Street) in the 1960s, he had moved to New York and his painting became more abstract, taking on the feeling of this great city. Broadway was painted while the artist was living at 115 E. 95th Street, and the composition's complex grid patterns were inspired by a “bird’s eye view” of New York streets.

  • Richard Saltonstall Greenough

    Bust of Young Columbus, 1856
    Fort Wayne Museum of Art, 2006

    Greenough chose to capture the famous explorer at a young age, prior to his coming to America. The figure speaks of vision and greatness yet to come. The work acts as a metaphor for the birth of a young nation not yet realized.

  • Auguste Rodin

    Bust of Alexandre Van Berckelaer, 1875
    National Gallery of Art, 2002

    In March of 1871, Auguste Rodin, not being eligible for service in the war, followed fellow Parisian artists, such as Carrier-Belleuse, northward to the relative safety of Brussels. During the four years which followed, Rodin sculpted a small number of busts. One of which was a portrait of Belgian pharmacist and early patron, Dr. Alexandre Van Berckelaer, who had offered Rodin his friendship and support during struggling times. Rodin repaid this kindness through the creation of this bust, which he described as "one of the best I ever executed."

  • Fritz Thaulow

    The Ice Cutters
    Lillehammer Kunstmuseum

    Formerly a part of the collection of Harvey Dow Gibson, President & CEO of Manufacturers Bank, this piece  was  gifted to a New Hampshire Church prior to its sale by the gallery to the Lillehammer Museum in Norway.

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