Lincoln Glenn

Mary Jane Peale Portrait of Fanny Adam, 1857 A scanned photograph of the back of the canvas taken prior to relining shows the inscription "Fanny Adam / painted by / Mary J. Peale / P...

Jasper Johns Light Bulb, 1966 Signed and dated in pencil, numbered "36/45" in lower margin Lithograph on J. Whatman paper Image: 8 1/2 x 14 5/8 inches Sheet: 19 1/2 x 24 1/4 inches ...

William Littlefield Wildness Lies in Wait, 1956 Signed and dated lower left; signed, dated and titled on the reverse Oil on canvas 48 x 25 inches William Horace Littlefield was bor...

Dorothea M. Litzinger Peonies, circa 1929 Signed Upper Left Oil on canvas 40 x 30 inches Provenance Private Collection, NY Estate of the above, 2024 Born in Cambria County, Penn...

Pablita Velarde Two Pueblo Dancers, Santa Clara, 1993 Signed and dated lower right Casein on paper 7 1/2 x 7 1/4 inches Provenance Adobe Gallery, New Mexico Private Collection, Texa...

Howard Daum Untitled, 1972 Signed and dated on verso Oil on board 10 1/8 x 8 inches Howard Daum was born in Poland. His family lived in Lodz until he turned 14, when he and his mother left the counrtry. They settled in Montreal, Canada, where Daum learned from the artist Alexander Bercovitch from 1934 to 1937. In 1938, Daum and his mom traveled to New York and chose the Bronx as their home. After finishing high school in 1940, Daum received a scholarship to the Art Students League. There, he learned from teachers like Will Barnet, Cameron Booth, Morris Kantor, Harry Sternberg, and Vaclav Vytlacil, who was a key mentor. Vytlacil had studied under modern painter Hans Hofmann in Munich in 1921 and helped start the American Abstract Artists group in 1936. In 1943 and 1944, Daum served in the U. S. Army in Mississippi before coming back to New York. During 1944 and 1945, he had lessons with Hofmann at his school in Greenwich Village. Daum's art during this time became more abstract, using bold and bright colors with clear brushstrokes. The space in his work was very shallow, with objects like figures and easels overlapping each other. Some of Daum’s artist friends, such as Robert Barrell, Peter Busa, and Steve Wheeler...

Paul Sample Spanish Village, 1958 Signed lower right; titled on artist label affixed to the reverse Acrylic on Masonite 23 1/4 x 33 inches Provenace Milch Galleries, New York Privat...

Lowell Nesbitt White Calla Lily, 1983 Signed, titled and dated Colored pencil on paper Diameter 19 1/2 inches Lowell Blair Nesbitt (1933–1993) was a prolific American painter, draug...

Oskar Kokoschka Wer Liefert, circa 1917 Sanguine on paper 8 1/2 x 10 1/4 inches Throughout his career, Kokoschka demonstrated a thirst for independence and refrained from associati...

Cordray Simmons Ringling Brothers Barns, circa 1930 Signed lower right Oil on Masonite 24 x 30 inches Cordray Simmons was born July 10, 1888 in Jersey City, New Jersey. Christened ...

Armand Guillaumin Falaise aux environs de Dieppe, circa 1882 Signed lower right Oil on canvas 21 x 26 inches Provenance Galerie de L'Institut, Paris Jean-Baptiste-Armand Guillaumi...

Jules Olitski Abare, 1987 Signed and dated on the reverse Oil-based acrylic and water-based acrylic on plexiglass 44 3/4 x 23 5/8 inches Provenance The artist Andre Emmerich Gallery...

Ernest Lawson Cheyenne Mountain (Summer in Colorado), circa 1927-30 Signed lower center Oil on canvas 12 x 16 inches Provenance Mrs. Bertram H. Catzen Manor Circle Gallery, Pelham, ...

Herbert Zangs Knickfaltung (Folded), 1955 Signed and dated lower left Cotton cloth folded and painted with dispersion 42 x 32 inches Provenance Private Collection, Krefeld, Germany ...

Adelaide Lawson Gaylor Restaurant Signed lower right Oil on canvas 24 1/4 x 30 inches Modernist artist Adelaide Jaffrey Lawson Gaylor was born in New York City and studied at the A...

Friedel Dzubas Untitled, 1985 Acrylic on paper 24 1/2 x 30 inches A noted figure in the New York School, Friedel Dzubas was associated with the Color Field painting movement in the...

Yvonne Thomas Untitled, 1962 Signed with initials and dated lower right Oil on paper 8 3/4 x 12 inches Yvonne Patricia Thomas, born in Nice, France, in 1913, immigrated to the Unit...

George Morrison 18 Cornelia Street, 1944 Signed and dated "May 1944" lower left Ink on paper 8 1/4 x 5 1/4 inches Provenance The artist Carl Ashby Estate of the above Private Collec...

Taro Yamamoto Untitled, 1954 Signed lower right; signed and dated on the reverse Oil on canvas 25 x 30 inches Taro Yamamoto was involved in the Abstract Expressionist movement in N...

Mernet Larsen Untitled, 1988 Signed and dated lower right Oil and collage on paper Image 17 3/4 x 18 3/4 inches Sheet 19 x 24 inches For more than sixty years, Mernet Larsen has been making paintings that tell stories, showing sharp-edged, mysterious characters in a strange world full of tension and clever humor. She uses different ways to show space that sometimes don't match up. By mixing different perspectives, like reversed and traditional views, she turns everyday situations into a dizzying version of reality that feels familiar yet strange. Her influences come from many places, including geometric shapes from Russian Constructivism, Japanese Bunraku...

John La Farge The Sphynx is Weary, She Dreams o'er the World, 1865 Initialed and dated lower right Gouache, watercolor and black chalk on illustration board 10 1/4 x 12 3/8 inches P...

Sam Gilliam Arches, 2014 Signed, titled and dated lower left; signed, titled, and inscribed "to Necia" on the reverse Acrylic and glass on paper 10 1/4 x 14 inches Provenance The ar...

Perle Fine Untitled, circa 1945 Estate stamped and numbered "#632" on the reverse Gouache and pencil on Kraft paper 12 x 20 inches Provenance The artist Estate of the artist Thomas McCormick Gallery...

Harmony Hammond Ruffled Waters, 1980 Signed lower right Mixed media on paper 18 1/8 x 24 inches Provenance Private Collection, New York Heritage Auctions, Dallas, Contemporary Art W...

Macena Barton Untitled Signed lower right Oil on canvas 24 x 30 inches Provenance Private Collection, California Macena Alberta Barton was an American painter. Barton born in Uni...

Joseph Jefferson Fishing by the Bridge, circa 1885 Signed lower right Oil on canvas 15 x 21 inches Born in Philadelphia, Joseph Jefferson grew up in the theater. His first role was...

Joseph Jefferson Milldam on the Miramichi, 1894 Signed / Dated lower left "J.Jefferson 94" Oil on canvas 17 3/4 x 28 1/4 inches Born in Philadelphia, Joseph Jefferson grew up in th...

Albert Heckman Cubist Landscape Oil on canvas 16 x 20 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at the art w...

Mercedes Matter Reclining Nude, circa 1920 Signed "Mercedes Matter" on the overlap Oil on canvas 32 x 51 inches Born in New York in 1913 to famed Philadelphia Modernist, Arthur B. ...

Albert Heckman Cluster of Houses near Woodstock Signed lower right Oil on canvas 10 x 14 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New Yor...

Albert Heckman Cubist Landscape Signed lower right Oil on canvas 21 3/4 x 30 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to tr...

William Keith Western Wilderness Interior Signed lower left Watercolor on paper laid on artist board 14 1/2 x 19 inches A native of Scotland, William Keith became in the late 19th ...

Albert Heckman Untitled Signed lower left Oil on canvas 20 x 24 inches Albert Heckman was born in Meadville, Western Pennsylvania, 1893. He went to New York City to try his hand at...

William Quinlan Torrey Cliff, Palisades, New Jersey, 1939 Signed and dated lower right; titled on reverse Oil on artist board 10 x 8 inches Private collection, New York c. 1955 Esta...

Sarah Anne Freeman Clarke Interior Scene with Lady and Two Children, 1883 Signed lower right Oil on canvas 32 x 27 inches Sarah Anne Freeman Clarke was born in Massachusetts in 180...

Robert Indiana Love in Central Park, 1971-1972 Signed, titled and dated lower center Pen on ruled paper 10 x 8 inches Provenance Gifted by the artist, Vinalhaven, Maine Private coll...

Robert Indiana All White Love, 2000 Signed lower right, dated lower left Artist's marker on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collec...

Robert Indiana Preparatory drawing for "American Art since 1960", 1970 Signed lower left, dated lower right Colored pencil on paper 11 x 8 1/2 inches Provenance Gifted by the artist...

Robert Indiana Preparatory drawing for "American Art since 1960", 1970 Signed lower left, dated lower right Colored pencil on paper 11 x 8 1/2 inches Provenance Gifted by the artist...

Robert Indiana Preparatory drawing for "American Art since 1960", 1970 Signed lower left, dated lower right Colored pencil on paper 11 x 8 1/2 inches Provenance Gifted by the artist...

Robert Indiana Envelope Scribbles , 1975 Dated upper right Ink on paper 4 1/4 x 9 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Maine. Private Co...

Robert Indiana Love Montecarlo, 2014 Signed and dated lower center Artist's marker on paper 7 3/4 x 5 1/3 Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Main...

Robert Indiana Love Notebook Page, 2014 Signed and dated lower center Artist's marker and graphite on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Priv...

Robert Indiana Love Notebook Page 2, 2014 Signed lower left, dated lower right Artist's marker and graphite on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, M...

Robert Indiana Love Pen Drawing Signed lower left Artist's marker and ink on paper 6 3/4 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Maine....

Robert Indiana Love Scrap Paper, 2014 Signed and dated lower left Artist's marker and ink on paper 6 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collec...

Robert Indiana Love Scribbles, 2014 Signed and dated lower center Artist's marker on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, M...

Robert Indiana Love Stacked , 2014 Signed lower left, dated lower right Artist's marker on ruled paper 10 x 8 inches Provenance Gifted by the artist, Vinalhaven, Maine Private colle...

Harriet Peale Portrait of Rebecca, 1840 Inscribed verso, “Portrait of Rebecca Greenwood (?)/ Aged 25 years/ Painted by Harriet C. Cany/ May 1840” Oil on canvas 28 3/4 x 23 3/4 inches...

Robert Indiana 19 Love , circa 1973 Artist's marker on paper 11 x 8 1/2 inches Provenance Gifted by the artist, Vinalhaven, Maine Private collection, Maine. Private Collection, New ...

Larry Rivers Amboseli Elephants, 1968 Metal with airbrushing, acrylic 26 x 36 x 5 1/4 inches Provenance Private Collection, New York. C. 1970 Estate of the above, 2025 Born in Aug...

John F. Carlson Hyannis Pond, 1940 Signed lower left Oil on board 16 x 20 inches Provenance Vose Galleries Private Collection, New Jersey The native Swede John Fabian Carlson beca...

Seymour Franks No. 4, 1952 Signed upper left Dated on verso Oil on canvas American painter and designer, Seymour Franks, was born in New York City in 1916. Seymour Franks contracte...

Arthur Leipzig King of the Hill, 1943 Signed in pencil lower right margin Gelatin silver print 10 x 13 inches Arthur Leipzig (1918-2014) was born in Brooklyn, New York. His journey...

James Taylor Harwood Wasatch Range, Utah Inscribed "Wasatch Range, Utah" on the stretcher Oil on canvas 16 x 31 inches Provenance Blanche M. Swan Private Collection James Taylor Ha...

Seymour Franks Duo, 1947 Signed and dated lower right Oil on canvas 44 x 37 inches Seymour Franks, 1916-1981, originated from New York City, where he was born in 1916. At just 16 y...

Seymour Franks Untitled, circa 1948 Signed lower right Mixed media on panel 15 1/4 x 22 1/2 inches Seymour Franks, 1916-1981, originated from New York City, where he was born in 19...

Nat Fein Babe Bows Out, 1948 Signed lower right Gelatin silver print on paper Image size: 16 x 20 inches Mat size: 22 1/2 x 24 3/4 inches Nat Fein (1914–2000) was a prominent Ameri...

Aaron Bohrod City Park, Winter, circa 1945 Signed in pencil lower right margin Lithograph on wove paper Image 9 1/2 x 13 1/2 inches From the edition of 250 Aaron Bohrod's work has ...

Joe Jones Fishing Village, 1949 Signed in pencil lower right margin Lithograph on wove paper Image 9 5/16 x 12 9/16 inches Sheet 12 x 15 15/16 inches From the edition of 250 The initial details of Jones' career are sparse, and this is intentional. The young artist was engaged in a process of self-reinvention, crafting a persona. When he submitted a work to the Sixteen Cities Exhibition at New York City's Museum of Modern Art in 1933, he briefly characterized himself: "Born St. Louis, 1909, self-taught. " Jones intentionally portrayed himself to the art community as an authentic working-class figure, backed by a compelling history. He was the youngest of five children in a family led by a one-armed house painter from St. Louis, a Welsh immigrant, and his German American spouse. At the age of ten, Jones found himself in a Missouri reformatory due to authorities' concerns over his graffiti activities. After completing elementary school, he traveled by freight car to California and back, even being arrested for vagrancy in Pueblo, Colorado. Returning to St. Louis, he attempted to settle down by working alongside his father. Yet, Jones felt a profound restlessness and was drawn toward a more elevated artistic pursuit in his late teenage years. He discovered a local collective of budding artists that formed St. Louis’s "Little Bohemia," sharing a studio and providing mutual support until he managed to secure his own modest workspace in a vacant garage. Jones’s initial creations comprised still lifes, landscapes, and poignant portraits of those close to him. These subjects were not only accessible but also budget-friendly, as hiring models was beyond his means. He depicted himself, his father, mother, and eventually, his wife. In December 1930, at the age of 21, Jones wed Freda Sies, a modern dancer and political activist who was four years older than him. By 1933, Jones had started gaining noteworthy local recognition through a solo exhibition at the Artists’ Guild of Saint Louis. Of the twenty-five paintings on display, one, titled River Front (private collection, previously with Hirschl and Adler Galleries), was selected to illustrate a feature article about his show in The Art Digest (February 15, 1933, p. 9). Shortly before this exhibition, a young surgeon named Dr. Robert Elman took an interest in Jones’s art, purchasing several pieces and forming a group of potential patrons committed to providing the emerging artist with a monthly stipend in exchange for art. This group was officially known as the "Co-operative Art Society," but it was informally dubbed the "Joe Jones Club. " Jones became an active participant in the St. Louis artistic scene, particularly within its bohemian segments. He embraced modernism and was a founding member of the "New Hat" movement in 1931, a playful rebellion against the conservative and traditional mainstream art establishment. The summer of 1933 marked a significant shift in Jones’s journey. Sponsored by a dedicated ally, Mrs. Elizabeth Green, Jones, along with Freda and Green, embarked on an eastward road trip. In Washington, D. C., they explored the Corcoran Gallery of Art, the Freer Gallery (part of the Smithsonian Institution), the Library of Congress, and Mount Vernon. Following this whirlwind of art and American culture, they made their way to New York, where they visited various museums and galleries, including a stop at The New School for Social Research, which featured notable contemporary murals by fellow Missourian Thomas Hart Benton and the politically active Mexican artist, José Clemente Orozco. From June through August, Jones and Freda resided in the artist colony of Provincetown, Massachusetts, later returning home via Detroit to see Diego Rivera’s Detroit Industry mural housed at the Detroit Institute of Fine Arts. While Elizabeth Green allegedly hoped that Jones would refine his artistic skills under the guidance of Charles Hawthorne or Richard Miller in Provincetown, Jones followed a different path. Rather than pursuing conservative mentors, he connected with an engaging network of leftist intellectuals, writers, and artists who dedicated their time to reading Marx and applying his theories to the American landscape. Jones's reaction to the traditional culture of New England was captured in his statement to a reporter from the St. Louis Post Dispatch: “Class consciousness . . . that’s what I got of my trip to New England. Those people [New Englanders] are like the Chinese—ancestor worshipers. They made me realize where I belong” (September 21, 1933). The stark social divisions he witnessed there prompted him to embrace his working-class identity even more fervently. Upon returning to St. Louis, he prominently identified himself as a Communist. This newfound political stance created friction with some of his local supporters. Many of his middle-class advocates withdrew their backing, likely influenced not only by Jones’s politics but also by his flamboyant and confrontational demeanor. In December 1933, Jones initiated a complimentary art class for unemployed individuals in the Old Courthouse of St. Louis, the same location where the Dred Scott case was deliberated and where slave auctions formerly took place. Concurrently, the St. Louis Art League was offering paid courses. Emphasizing the theme of social activism, with a studio adorned with Soviet artwork, Jones’s institution operated for just over a year before being removed from the courthouse by local officials. The school’s political focus and unconventional teaching practices, along with its inclusion of a significant number of African American students during a period marked by rigid racial segregation, certainly contributed to its challenges. Under Jones’s guidance, the class created a large chalk pastel mural on board, measuring 16 by 37 feet, titled Social Unrest in St. Louis. Mural painting posed no challenge for the former housepainter, who was adept at handling large wall surfaces. His first significant commission in St. Louis in late 1931 was a mural that celebrated the city’s industrial and commercial fortitude for the local radio station, KMOX. This mural, aimed at conveying optimism amid severe economic hardship, showcased St. Louis's strengths in a modernist approach. When Jones resumed mural work in late 1933, his worldview had evolved considerably. The mural produced for the school in the courthouse, conceived by Jones, featured scenes of modern St. Louis selected to highlight political messages. Jones had observed the technique of utilizing self-contained scenes to craft visual narratives in the murals he encountered in the East. More locally, this compositional strategy was commonly employed by the renowned Missouri artist...