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Tuesday 10am - 6pm Wednesday 10am - 6pm Thursday 10am - 6pm Friday 10am - 6pm Saturday 12pm - 6pm

Lincoln Glenn

Art gallery specializing in American art of the 20th century, with a focus on Abstract Expressionism

07/31/2026

“Brighton Beach, July 31” by Nathan Hoffman 🏖️

On this day, eighty years ago, artist Nathan Hoffman painted “Brighton Beach, July 31.” Hoffman found endless inspiration along New York's shores. Throughout the twentieth century, he returned again and again to Brighton Beach, capturing its changing light, bustling boardwalks, and quiet moments by the water. Painted on a modest scale, many of his landscapes suggest the immediacy of working en plein air, preserving fleeting impressions of the city as it unfolded before him.

Born in Brooklyn to Russian immigrant parents, Hoffman remained deeply connected to New York throughout his life. Today, his paintings are intimate records of New York City’s neighborhoods and the everyday moments that defined them. Swipe for a peek at the reverse of the painting and Hoffman’s signature.

DM for inquiry.

Artwork shown: Nathan Hoffman, “Brighton Beach, July 31,” 1946, oil on artist’s board, 10 x 13 ½ inches

07/30/2026

Familiar faces at Femmes Artistes du Musée de Mougins 👋

Earlier this month, we visited and spotted “Alice by Alice (Self-portrait)”, c. 1932, by Alice Neel.

This early self-portrait reflects how Neel approached herself with the same honesty she brought to every sitter. Her precise draftsmanship and realism rejected notions of feminine beauty, instead revealing character through emotion, gesture, and physical presence. This graphite drawing offers a glimpse into the self-observation that would become a defining aspect of her practice.

FAMM is a private museum dedicated to celebrating women in the arts. Founded by , the collection includes more than 700 works by women artists, with approximately 100 on view at any given time on a constant rotation.

Artwork shown: Alice Neel, “Alice by Alice (Self-portrait), circa 1932, graphite on paper, 11 ⅞ x 7 ⅞ inches.

07/28/2026

“The artists featured in Making Space exemplify that the history of women in American art is not simply a story of exclusion, but one of persistence, reinvention, and collective advocacy. These artists did not form a singular movement nor share one unified ideology. Lee Bontecou rejected aesthetics she classified as “wimp feminine” in her work, while Diana Kurz marched in feminist protests. Jane Freilicher disregarded the pressure to chase avant-garde trends, whereas Lynda Benglis deliberately mobilized provocation and spectacle to confront entrenched sexism. Despite their differences in style, politics, and temperament, they were connected by a common reality: each encountered barriers that their male contemporaries rarely had to consider.”

As part of the exhibition catalogue for “Making Space,” curator Clanci Jo Conover wrote an accompanying essay exploring the histories of the artists on view and what it meant to build a career as a woman artist in the twentieth century.
Swipe for some highlights and read the full essay: https://issuu.com/lincolnglenngallery/docs/making_space_american_women_artists_and_the_centu
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Images:
Slide 1 & 3: Classes, teachers, and students, circa 1900-1950, National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
Slide 4: Louise Nevelson, "Female N**e," circa 1935, pencil on paper, 9 15/16 x 13 7/16 inches.
Slide 5: American sculptor Dorothy Dehner (1901 - 1994), New York City, 1985. (Photo by Chris Felver/Getty Images)
Slide 6: Lee Bontecou at the Leo Castelli Gallery in 1966, Fred W. McDarrah/MUUS Collection, via Getty Images.

07/27/2026

Happy birthday to Sally Michel Avery. Did you know she made hundreds of illustrations for children’s books and other publications?

Born in 1902, Sally Michel Avery knew by the age of five that she wanted to be an artist. While her husband, Milton Avery would become well-known in the art world, Sally was integral to both the success of his career and a style of “high modernist” painting that is often solely attributed to Milton’s hand. After meeting in 1924 in East Gloucester while painting in their summer studios, Sally and Milton became inseparable for the next forty years. They were each other’s model, collaborator, critic, and champion.

Sally did not make an effort to exhibit or sell her art during her lifetime. Instead, she managed Milton’s career and the Avery household. For many years, it was her work as an illustrator for The New York Times, children’s books, and other publications which supported the family. Swipe to see some of her beautiful illustrations. DM for inquiry.

Images:
“Best Friend,” circa 1975, oil on canvasboard, 17 5/8 x 13 3/4 inches (Private Collection, courtesy Lincoln Glenn Gallery); “Clock,” Watercolor on paper, 15 x 13 3/4 inches, “Postman,” Crayon on paper, 7 3/8 x 5 1/8 inches; “Elephant,” 7 x 5 1/2 inches; “Cocoa,” 7 3/8 x 5 ⅜ inches; “Rice,” 7 ⅛ 5 ⅛ inches; “Getting Food,” 7 ½ x 6 inches; Tiger illustration, graphite on paper, 9 ¼ x 7 ¼ inches.

07/23/2026

Wondering where you can see work by Emmi Whitehorse right now? At our Chelsea gallery and at the Parrish Art Museum 🖼️

Although they were made over twenty years apart, both “Keyah (Red)” (1993) in our “Making Space” exhibition and “Reseeding Chaco” (2026) at the reflect the artist’s experience of vast American landscapes. In “Reseeding Chaco,” Whitehorse evokes the desert through color and gesture, fields of pigment mingle with hand-drawn symbols and abstract marks, alluding to the hazy view of a dusty horizon. “My visual symbology are ambiguous and created to be at once illuminating and obscure,” Whitehorse explains, “Much like my memory, which comes back in bits and pieces.”

Images:
Emmi Whitehorse, “Keyah (Red)”, 1993, oil on paper mounted to canvas, 38 x 50 inches.
Installation view of FRESH PAINT: Emmi Whitehorse at the Parrish Art Museum, Water Mill, NY (June 4–September 28, 2026). Photo: Jenny Gorman.

07/22/2026

Happy Birthday to Alexander Calder, born on this day in 1898.

A close friend of Herbert and Mercedes Matter, Alexander Calder was a key figure of the twentieth century, known for his revolutionary kinetic sculptures. His practice extended far beyond sculpture, encompassing painting, tapestries, drawing, and jewelry, all centered on the idea of motion.

"Just as one can compose colors, or forms, so one can compose motions." – Alexander Calder

Images:
Alexander Calder in his studio at his home in Roxbury, Connecticut. Photo by Phillip Harrington / Alamy Archives.
Alexander Calder, Preliminary Drawing for the Spinner, 1966, felt-tip pen on paper, 27 × 15½ inches.
Alexander Calder, The Spinner, 1966, sheet metal, rod, bolts, and paint, 17 ft. 5 in. tall. Collection of the Walker Art Center, Minneapolis.

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07/21/2026

ACQUISITION HIGHLIGHT | Paul Jenkins, “Phenomenon Phoenix Plume,” 1975, watercolor on paper, 30 x 22 1/2 inches

Paul Jenkins, an artist originally associated with Abstract Expressionism, developed in his mature work a redefining of color, light, and space. Born in Kansas City, Missouri, Jenkins was first exposed to color intensity while working as a teenager in a ceramics factory. In the late 1940s, he studied at the Art Students League under the G.I. Bill, where he met Jackson Po***ck and befriended Mark Rothko. There, he adopted a chance-driven approach to painting, rarely using brushwork and instead allowing paint to roll, pool, and bleed across the canvas. In 1953, Jenkins worked at the American Artists Center in Paris, where he continued to experiment with flowing paint and poured pigment. In 1958, he began titling each work Phenomena, followed by additional identifying words, making each piece descriptive of the discovery process inherent in the work itself.

DM for inquiry.

07/18/2026

How the weather has us feeling in New York 🌧️

“Untitled (Seated Figure)” by Milton Avery was created during the economic hardships of the Great Depression in the 1930s. Both its dark colors and homemade canvas board reflect the material and chromatic economy Avery embraced to create work during challenging times.

Darker tones such as greens, browns, blacks, and whites were more affordable and accessible, and Avery often repurposed scrap paper, linen dish towels, and other materials into upcycled canvases. Similar qualities of this painting appear in other works he created during the 1930s, situating this painting within a period of experimentation shaped by constraint and invention.

Available for purchase. DM us for inquiries.

📷: Milton Avery, “Untitled (Seated Figure),” early 1930s, oil on homemade canvas board, 11 1/4 x 8 1/4 inches.

07/13/2026

What do George Inness, Edward Mitchell Bannister, and Emily Cole have in common? Nature and plant life were central to each artist’s work. See paintings by all three, currently on view at CANADA in “Plants, Animals and Sky” through August 7.

Swipe for a closer look at the works in the exhibition 🔍

Artworks on view:
George Inness, “A Cloudy Day,” 1886, oil on canvas, 25 × 30 inches
E.M. Bannister, “Landscape on the Shore,” 1885–95, oil on canvas, 15 × 18 inches
Emily Cole, “Moss Rose,” circa 1890, watercolor on paper, 5½ × 3¾ inches

Installation images courtesy of .nyc

Address

542 West 24th Street
New York, NY
10011

Opening Hours

Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	12pm - 6pm

Telephone

+16467649065

Website

https://www.lincolnglenn.com/

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