March 12, 2019

Stephanie Herdrich (Metropolitan Museum of Art) and Theodore Barrow (Hudson River Museum) discuss Winslow Homer’s brief forays to Florida, Cuba, and the Bahamas – at a critical point in American history and a turning point in the master’s career. A group of extraordinary watercolors by Winslow Homer will be on view for this event. A 1-hour panel discussion begins at 6 PM at the gallery, followed by a refreshments and book signing. Admission is free but seating is limited: please RSVP to info@msfineart.com.

Through March 1, 2019

In the early 1910s, John Marin made a turn towards modernism, embracing elements of cubism, fauvism and expressionism to forge a style that would quickly consolidate as a unique voice in American art. In these same years, Charles Burchfield was charting a parallel path in Cleveland, Ohio. Like Marin, Burchfield explored landscape in watercolor for its expressive potential, quickly finding a vernacular both novel and intimate, distinctly American and distinctly modern. Marin would peregrinate between New York City and Maine, while Burchfield chronicled the American Scene in Cleveland and then Buffalo, New York. They both worked into the mid-century, enjoying the support and praise of generations of collectors and younger artists. While their styles are notably distinct, many of their goals and habits were the same—not least among these a preference for watercolor as a primary means of expression.

Menconi + Schoelkopf will highlight these two painters with by presenting a dozen watercolors and oils by each. A rare Burchfield oil will join several examples on canvas by Marin, while the show will be dominated by their prodigious collective output in their shared medium of choice.

Through March 1 at 22 E 80^th Street, New York, NY, 10075. For more information, visit us at www.msfineart.com, (212) 879-8815, or info@msfineart.com.

September 20 - October 6, 2017

Menconi + Schoelkopf is pleased to present a group of works by American painter and sculptor Charles Biederman (1906-2004). Born in Cleveland in 1906, the painter became an early and powerful proponent of radical abstraction in the 1930s. By mid-decade, he was showing with Alexander Calder and A. E. Gallatin, working in a mature style that combined non-objective surrealism with an increasing interest in geometric abstraction. In a sudden and decisive break, he gave up painting in 1938, in favor sculpture and wall relief. While he abandoned canvas as a dead art form, the architectonic forms he devised in oil profoundly influenced his relief work, and remain a fascinating document of an important turning point in modern art. The rest of his career—which continued until his death in the early twenty-first century—would see his tireless reinterpretation of de Stijl-inspired constructions. Menconi + Schoelkopf presents a concise survey of Biederman’s oils and constructions from across his career. September 20 through October 7, 2017.

April 30, 2017

A new exhibition at the Thomas Cole National Historic Site in Catskill, New York, opens at the end of April, examining Sanford Robinson Gifford’s work in the Catskills.

Join Dr. Kevin Avery, Senior Research Scholar at The Metropolitan Museum of Art and curator of the Thomas Cole Site 2017 exhibition “Sanford R. Gifford in the Catskills,” to discuss the exhibition featuring paintings by 19th-Century landscape painter Sanford Gifford, whose work was Inspired by Cole. The exhibition will be presented in the New Studio gallery at the Thomas Cole National Historic Site and will be open to the public from 11am to 12pm on Sunday, April 30th.

The lecture will take place at 2pm at the Temple Israel located at 220 Spring Street, Catskill, NY 12414. The Temple is adjacent to the Thomas Cole National Historic Site located at 218 Spring Street, Catskill, NY 12414.

Saturday, April 29th, 2017

This year, Menconi + Schoelkopf will participate in ArtNews’s Madison Avenue Gallery Walk. On the Saturday preceding Frieze New York and the TEFAF New York fairs, the Madison Avenue Gallery Walk will give the public time and space to visit the over 100 galleries that span Madison Avenue and its adjacent side streets from East 57th St. up to East 86th St.

January 9 – January 31, 2017

On view through the end of the month, Menconi + Schoelkopf presents American Impressionism. The exhibition spans the late nineteenth century into the twentieth century including several jewel-like watercolors by Maurice Brazil Prendergast, a masterwork in oil by Everett Shinn, and an important garden landscape by John Singer Sargent, among others.

We hope you will join us here at the gallery to see these exceptional works of art.

November 21, 2016

Join us for the autumn edition of Just Off Madison, a neighborhood-wide open-house of art dealers and galleries near Madison Avenue on New York’s Upper East Side. Our doors will be open to the public between 10:00 AM and 2:00 PM, Monday, November 21st.

June 1 - July 1, 2016

From June 1 through July 1, 2016, Menconi + Schoelkopf presents Stuart Davis (1892-1964), including ten important works from across the long and varied career of this important American modernist.

Stuart Davis (1892-1964) is a compact retrospective of one of the twentieth-century’s most celebrated visionaries. Stuart Davis’s career traces the growth of American art from turn-of-the-century Ashcan School to mid-century abstraction. His reinterpretation of cubism in the forties, fifties, and sixties—hard-edged planes of bright, cool colors and proto-pop distillations of consumer culture—have been so fully absorbed into popular consciousness that they seem inseparable from their era. This sophisticated vision was the product of decades of careful synthesis as Davis grappled with the meanings and means of modernism.

Stuart Davis remained active until the end of his life in 1964, helping to usher in a total transformation of American art. He was one of the youngest painters to be represented at the pivotal 1913 Armory Show, and was included in the Whitney Studio Club’s 1918 “Indigenous” American show. By 1964, New York had taken its place as the center of the art world, and the brisk abstraction Davis had helped invent was dominant. His embrace of consumer culture and graphic design anticipated Pop Art and its progeny, from Andy Warhol to Jean Michel Basquiat. As early as 1921, he was using the “Ben-Day” dots that would make Roy Lichtenstein famous, while his calligraphic black line can be found even in Keith Haring’s work. The soul of his work remains the carefully resolved picture: the balance of color, line, plane, and icon that tethers back to the early days of American modernism with persistent relevance today.

Menconi + Schoelkopf presents signal works in various media from each stage of Davis’s career, including little-seen masterworks from 1916 and germinal works from the Ashcan period. Davis turned his refocused his practice on drawing around 1930: works on canvas and paper will demonstrate his synthesis of line and plane. Also on view, works on canvas and paper from the last stage of Davis’s career, during which time he devoted himself to the interpretation of “the glamour of packaging,” developing his own lexicon of forms and pictograms to express the commercial landscape.