March 5, 2018

ArtFix Daily reported that the Canton Museum of Art, Canton, Ohio, had recently acquired a masterpiece watercolor by Childe Hassam, writing:

“Max Barton, Executive Director of Canton Museum of Art, said, “We are thrilled to add this important, classic work of American Impressionism to our collection. A work by Hassam has long been on our search list, and we acquired a fine piece with an elegant subject and beautiful orchestration of color. Clearly inspired by Hassam’s exposure to the French style in the late 1800s, the painting is vibrant and crisp, and you feel as though you could step in and stroll the coastal waterway with the young lady.”

“Purchase [from a private collection] of “Bleak House, Broadstairs” was made through the Museum’s Accession Fund, which is restricted solely for the purchase of art.”

February 28, 2018

Sarah Hanson, writing for The Art Newspaper, took note of Menconi + Schoelkopf’s booth at the ADAA Art Show, writing:

“Andrew Schoelkopf, now a director at Menconi + Schoelkopf, was a youngster pressed into service by his dealer parents on opening night. “They’d never done an art fair before,” he says. “We had an extraordinary, big bronze by Elie Nadelman and a Stuart Davis. We sold three or four things that night. It was an exciting moment.”

“But only a few dealers saw a similar flurry of business during the Tuesday night preview. Sean Kelly found a dozen takers on clever new cut-out editions by Jose Dávila, which playfully reference Picasso and Calder ($18,000-$45,000). David Zwirner continued its 25th anniversary celebration with a salon-style hang of one work apiece by each of its 50 artists. They ranged from a drawing by new recruit Rose Wylie ($5,000) to a tiny, much-admired Fred Sandback relief ($250,000), with “quite a few” sales in the first few hours, according to director Veronique Ansorge. Schoelkopf, fielding inquiries on a Marsden Hartley ($1.85m) and a trio of Oscar Bluemner paintings on paper ($750,000-$2.45m), says the market for American Modernism is “the best it’s ever been”.” [ADAA’s Art Show misses Armory week crowds, but focused displays of challenging works still prove popular,” The Art Newspaper, February 28, 2018]

 

The March/April issue of American Fine Art Magazine, out now, features an article on our exhibition, Masterworks of American Art On Paper Vol. II. Pick up a copy on stands or at the gallery, through March 16th.

September 6, 2017

The Magazine Antiques ran an effusive article reviewing the Thomas Cole House exhibition of Sanford Robinson Gifford’s paintings of the Adirondacks. Bruce Weber writes:

“Among members of the Hudson River School of painting, Sanford Robinson Gifford (1823–1880) has long been considered one of the most brilliant painters of light and air. His art is the subject of the intimate, beautifully curated exhibition Sanford R. Gifford in the Catskills on view through October 29th at the Thomas Cole National Historic Site in Catskill, New York. Kevin J. Avery, a major specialist in the art of the Hudson River School, curated this showing of eighteen paintings of the region dating from 1846–1878, which range from Gifford’s earliest extant painting, a view of the famous Kaaterskill Falls in the Kaaterskill Clove gorge to View Near Kauterskill [sic, per the nineteenth-century spelling of the name], painted in 1878 when he was nearing the end of his life and adopted a looser and more painterly style. The exhibition purports to be the largest showing of Gifford’s work to be held so close to his childhood home in Hudson, the recently revitalized city laying directly across the Hudson River from Catskill, the home of pioneering landscape painter and dean of the Hudson River School Thomas Cole from 1825–1847.”

December 15, 2016

InCollect’s photoblog captured Menconi + Schoelkopf’s booths at TEFAF | New York and The American Art Fair this October and November.

December 2, 2016

The National Gallery’s Harry Cooper guided The Art Newspaper’s Pac Pobric through Art Basel | Miami Beach. The Expert Eye took time to linger on an early work by Stuart Davis Menconi + Schoelkopf’s booth, remarking:

Early in his career, Stuart Davis was enthralled by Vincent van Gogh, “but it wasn’t just a phase”, Cooper says. The US painter’s early interest in the Dutch post-Impressionist never deserted him, partly because Davis was a landscape and still-life painter. “But he worked even more quickly—there’s a lot of wet-on-wet technique in this painting—whereas Van Gogh made most of his paintings more deliberately.” Although this work speaks to Davis’s burgeoning self-confidence, it left significant room for growth. “This one is still a little immature,” Cooper says. “The yellow/purple complementarity is straight out of a textbook, and that warm brown chimney is more naturalist, an anomaly, as if out of a painting by Robert Henri [one of Davis’s teachers].”

October 25, 2016

The New York Observer’s review of the maiden voyage of the fair’s New York edition took time to praise Menconi + Schoelkopf’s booth. Andrew Schoelkopf was quoted praising the sophistication of the fair’s presentation:

“They did a great job setting up the fair,” said Andrew Schoelkopf, co-owner of Menconi + Schoelkopf Fine Art, a private dealer based in New York that had a booth showing American painting. “One of the most elegant ever in New York and so far the feedback is that people are delighted by it.”

Susan Menconi noted the high-level of connoisseurship in the fair’s vetting:

“We’re one of four dealers in American art,” added Schoelkopf’s partner, Susan Menconi.”

May 18, 2016

Am Fine Art Magazine 2016 Winslow Homer

The most recent issue of American Fine Art Magazine (No. 27, May/June 2016) features an extensive preview of Just Off Madison. Just Off Madison, a neighborhood-wide open-house, is on from 10 AM to 2 PM on Wednesday, May 18th at a dozen galleries and private dealers’ offices. American Fine Arts Magazine quotes M+S’s Jonathan Spies:

“The market feedback we’ve been receiving in 2016 has been very positive: strong interest in American Modernism leads a healthy appetite for the finest 19^th century paintings. But that doesn’t capture the interests and anxieties of new collectors and prospective collectors just at the edge of the field. There are substantial barriers to entry into the art market – not just price tag, but also information gaps and connoisseurship hurdles. We are eager to begin the discussion with those “wallflowers”: What’s keeping you from collecting, and how can we help make the art market less a thorny maze and more of a sunlit garden? Just Off Madison is always a great gateway for both sides of that discussion.”

The magazine’s coverage includes previews of several dealers’ offerings for JOM, as well as a helpful map of the participants.