• John Marin Tree, Beach and Sea, Small Point, Maine, 1917
      John Marin
      Tree, Beach and Sea, Small Point, Maine, 1917
    • John Marin Sands Dunes I, Small Point, Maine, c. 1917
      John Marin
      Sands Dunes I, Small Point, Maine, c. 1917
    • John Marin Rowe, Massachusetts, 1918
      John Marin
      Rowe, Massachusetts, 1918
  • “John Marin was possibly the first American artist to make abstract paintings. There are other candidates —among them Marsden Hartley and Georgia O’Keeffe —but it is thought that Marin got there first.”

     

    —Roberta Smith, The New York Times, 2011

    • John Marin Echo Lake District, Pennsylvania, 1916
      John Marin
      Echo Lake District, Pennsylvania, 1916
    • John Marin Rowe, Massachusetts, 1918
      John Marin
      Rowe, Massachusetts, 1918
  • Charles E. Burchfield, Long Shadows, 1915

    Charles E. Burchfield

    Long Shadows, 1915
    Charles E. Burchfield’s Long Shadows reflects the artist’s affinity for experimenting with light and color. A contemporaneous entry from Burchfield’s journals evidences his fascination with the temporal effects on the landscape: "A cold windy day – soft flaky windy day clouds move across the rich blue sky all day. … The sunsets at this season are romantic – to see long blue green shadows stretching out to yellow remotely sunlit distances is to live in another world."
    • Charles E. Burchfield Hemlock in November, 1947-66
      Charles E. Burchfield
      Hemlock in November, 1947-66
    • Charles E. Burchfield Dusk, 1915
      Charles E. Burchfield
      Dusk, 1915
  • Maurice Prendergast, Revere Beach, 1913

    Maurice Prendergast

    Revere Beach, 1913
    Watercolor, pastel and pencil on paper
    11 x 15⅜ inches
    27.9 x 39.1 cm
  • "The artist has a great responsibility not only to use himself honestly and know his medium profoundly, but to realize that he must communicate unique experiences so that they become unquestionably possible for the viewer, which are not dependent upon inappropriate rationales, but emerge in symbols clearly of his own time, and basic to the aesthetics of future times."       

    -Norman Lewis, c. 1950

    • Norman Lewis Untitled Abstraction, 1960
      Norman Lewis
      Untitled Abstraction, 1960
    • Norman Lewis Untitled, 1960
      Norman Lewis
      Untitled, 1960
  • Morris Graves, Mandala, 1970

    Morris Graves

    Mandala, 1970
    Mandala provides a quintessential example of the Eastern philosophical influences at the root of Morris Graves’ artistic practice. Mandala, the Sanskrit word for circle, is loosely defined as a geometric symbol or figure traditionally used in Eastern religions, including Hinduism and Buddhism, as a tool to aid meditation and spiritual practices. Mandalas can be figurative or abstracted, elaborate, or simple, and they often represent the universe, or a sacred space through which one conducts a spiritual journey. The mandala serves as a map for these spiritual rituals to be followed from the outer edges of the design continuing through the visual layers to its core.
    • Richard Estes Study XIII, Theater, 1997
      Richard Estes
      Study XIII, Theater, 1997
    • Richard Estes Detail, Times Square, 2000
      Richard Estes
      Detail, Times Square, 2000
    • Richard Estes Lincoln Center, 1996
      Richard Estes
      Lincoln Center, 1996
  • Richard Estes, EAT, 2022

    Richard Estes

    EAT, 2022

    EAT by Richard Estes is an ambitious 35-color lithograph. Richard Estes continues his long commitment to printmaking with EAT while exploring a new technique via color lithography, a medium that lends itself to the painter’s carefully balanced, symmetrical composition. In keeping with Estes’ celebrated paintings of New York City, the recognizable Madison Avenue storefront of Eli Zabar’s E.A.T. is the subject of the work, synthesizing two important recurring motifs in the artist’s visual lexicon — food and reflections.

  • Beauford Delaney, Untitled, 1960

    Beauford Delaney

    Untitled, 1960
    “The Abstraction ostensibly, is for me a penetration of something that is more profound in many ways than the rigidity of form. A form if it breathes some, if it has some enigma to it, it is also the enigma that is the abstract. I would think” 

    — Beauford Delaney, quoted in Richard A. Long et al., Beauford Delaney: A Retrospective (New York: The Studio Museum in Harlem, 1978), n.p. https://americanart.si.edu/artist/beauford-delaney-1186

    • Ralston Crawford Power Shovel, 1938
      Ralston Crawford
      Power Shovel, 1938
    • Ralston Crawford Coal Car, 1945
      Ralston Crawford
      Coal Car, 1945
    • Edmund Lewandowski Milling Machines A.K.T., c. 1982
      Edmund Lewandowski
      Milling Machines A.K.T., c. 1982
    • SOLD

      SOLD

  • If you would enjoy learning more about the available works, please contact Alana Ricca at (212) 879-8815, or alana@schoelkopfgallery.com. We look forward to being in touch.