Skip to main content
17 East 67th Street, No. 1A
New York, NY 10065
(212) 535 5767 | 917 742 7813
Artists Represented:
Amy Kann
Robert Engman
19th and 20th Century:
John White Alexander
Richmond Barthe
Antoine-Louis Barye
Thomas Hart Benton
Albert Bierstadt
Oscar Bluemner
Norman Bluhm
Isidore Bonheur
Rembrandt Bugatti
Jean-Baptiste Carpeaux
Frederic Church
Allan Clark
Abastenia St. Leger Eberle
Perle Fine
Harriet Frishmuth
Childe Hassam
Robert Henri
Malvina Hoffman
Mario Korbel
Boris Lovet-Lorski
Frederick MacMonnies
Paul Manship
Edward McCartan
P.J. Mene
Thomas Moran
Guy Pène du Bois
Henry Varnum Poor
Frederic Remington
Auguste Rodin
Charles M. Russell
Augustus Saint-Gaudens
Everett Shinn
Kimber Smith
Miklos Suba
Alexander Tatti
Paul Troubetzkoy
Jack Youngerman


Install view 1
Install view 2
> <

Past Exhibitions

Artist List: George Bellows, Karl Bitter, Allan Clark, Charles Demuth, Harriet Frishmuth, Henry Hering, Malvina Hoffman, Cecil de Blaquiere Howard, Henry Salem Hubbell, Carl Paul Jennewein, Leon Kroll, Frederick W. MacMonnies, Edward McCartan, Francis Luis Mora, Andrée Ruellan, Janet Scudder, Everett Shinn, John Sloan, Eugene Speicher, Joseph Stella, Benedict Tatti, Max Weber, Robert White, Wheeler Williams, and William Zorach

Figure and Form

July 20, 2022 - September 16, 2022
Figure and Form analyzes the artist’s interpretation of the human figure, focusing on work from the 20th century that persisted in realism and figuration amidst an art world that increasingly favored abstraction.

Rosamond Berg, Norman Bluhm, Ralph de Burgos, Lynne Drexler, Robert Engman, Gabriele Evertz, Raymond Jonson, Paul Jenkins, Ida Kohlmeyer, Seymour Lipton, Hayward Oubre, Ray Parker, Paul Resika, Jay Rosenblum, Sewell Sillman, Emerson Woelffer


March 17, 2022 - April 22, 2022
This Spring, the Gallery will exhibit a selection of American Modernist works that playfully approach the subject of color and form. A 1958 painting by Sewell Sillman, a student of Josef Albers, reminds of principles of Abstraction borne from the Bauhaus, compared to a 1972 painting by Ralph de Burgos, a Washington Color School affiliate, that takes a classic psychedelic appearance. A centerpiece of the show is a 1982 painting by Ida Kohlmeyer, a pioneer for women abstractionists, that uses her trademark symbolism to create a busy composition characteristic of the ‘80s. Fast forward 10 years to the 1990s, and you get a delineated geometric painting from Gabriele Evertz that preempts the transition to the new millennium. Canvases are complemented by Hayward Oubre’s wire sculptures, bringing form off the wall and into a three dimensional space. Figuration is represented in still life paintings by Paul Resika and Lynne Drexler to further illustrate the incorporation of color into more recognizable archetypes.

Sal Sirugo (Italian-American, 1920-2013)

Within Small See Large : Drawings by Sal Sirugo

January 21, 2022 - February 25, 2022
Graham Shay 1857 is pleased to present Within Small See Large, a discerning presentation of Sal Sirugo’s rarely shown Abstract Expressionist drawings. Ranging in date, many of these drawings are modest in size, and in some cases measure just 2 x 3 inches. Sirugo referred to these small scale drawings as “miniature universes'' — despite their size, they retain the presence and intricacy of earlier, larger works, condensing vast galaxies into tiny canvases. The absence of color in these ink drawings likewise converts the works into mesmerizing microcosms of space and time, evoking imaginary landscapes by surrendering form and saturation. The title of the exhibition comes from a 17th century album of Song and Yuan dynasty paintings that enchanted Sirugo, and the concept of “Within Small See Large” defined how he came to view his own work.

Shelly Malkin

Clouds in My Karma

October 6, 2021 - October 23, 2021
Graham Shay 1857 is pleased to present our new fall exhibition Clouds in My Karma, featuring recent paintings by the contemporary artist Shelly Malkin. Amongst many things, Shelly Malkin is an environmentalist and has worked on behalf of numerous environmental causes, including the New York Restoration Project and the Natural Resources Defense Council. She is also an avid outdoors woman with a passion for skiing and rock climbing that has taken her all over the world. The natural landscapes that she experiences on her adventures often provide an almost divine inspiration for her paintings; her large-scale watercolors sensitively combine mica and iridescent pigments to create sweeping panoramas that are simultaneously intimate and vast. In her past exhibits, accompanying each body of Shelly’s work, has been a series of small intimate subjects, an accent to the main body of work. The current exhibition is primarily based on this set of small works, the series here is clouds. None are specific representations, but instead are drawn from the artist’s memory catalogue of sights seen over a life spent in the open air. Each painting evokes a sense of nostalgia, examining the collective human relationship with nature by opting to portray an idea rather than a true-to-life depiction. As she says, “I don’t plan each piece beforehand, and I don’t really know what will be the end result, but the journey is exciting.” Shelly Malkin grew up in New York City and attended the Dalton School. She graduated from Princeton University with a degree in Art History and a minor in European Cultural Studies, and went on to teach at the Nightingale-Bamford School in New York. She studied painting at the School of Visual Arts and the National Academy of Design under Serge Hollerbach in New York City, and at the Silvermine Arts Center and the Renaissance Workshop of Dmitri Wright in Connecticut. She is a member of the Advisory Council of the Princeton University Art Museum. Malkin has participated in group shows at the National Academy of Design and at the Greenwich Art Society and has had a number of solo shows at Arcadia Gallery in Old Greenwich and at the Audubon Gallery. Her first New York solo show opened at the Graham Gallery on April 14th, 2013, followed by a second one in April, 2017. Her forthcoming exhibition: Shelly Malkin: Clouds in My Karma, is scheduled at GRAHAM SHAY 1857, October 6th through October 23rd, 2021. Contact: Cameron M. Shay GRAHAM SHAY 1857 17 E. 67th Street, No. 1A New York, NY 10065 Tel. 212 535 5767

Small Scale – Intimate Works of American Abstraction

May 15, 2021 - June 25, 2021
A unique presentation of smaller scale artworks, abstract paintings and sculpture, spanning a period from the 1940’s through the 1980’s. The focus of the exhibit is of moderate scale artworks, pieces that are sometimes overshadowed by their larger counterparts, as much of mid-century abstraction is impactful and large in scale. Accessible and intimate in size, the featured three-dimensional works are easily placed on a table, desk, bookshelf or in a vitrine. A painting or sculpture of smaller scale is often a sketch or study where the composition is being worked up to a larger scale. Including works by Avery, Bertoia, Bluhm, Bultman, Cramer, Engman, Ernst, Gottlieb, Gordin, Jenkins, Jonson, Lipton, Louis, Padovano, Parker, Pepper, Meadmore, Shahn, Shaw, Sirugo and Slobodkina

Benedict Tatti (1917 – 1993)

Sculpture and Paintings, 1940s through 1960s

March 10, 2021 - April 9, 2021
Artist Benedict Tatti combined the originality of a self-taught artist with the sophistication of a vanguard artist and the technical know-how of a trained artisan. In truth, he was not strictly any one of these things, but a bit of all of them. He was adept in the wide range of media and methodologies of 20th century sculpture, even including video art. Tatti’s “day” jobs may have been what kept his vision fresh, as they were tangential to but not in the thick of the art world: from 1952 to 1963, he worked for the influential design firm of Raymond Loewy, developing and making models for real-life and prototypical objects: following that, he taught sculpture to city kids at the High School for Art and Design in New York City, for which his temperament seemed marvelously suited. He attended Hans Hofmann’s classes on Eighth Street in New York for two-and-a-half years. Here he could pick up on contemporary currents , while benefiting from Hofmann’s critiques of students works. The result was a freeing up of Ben’s concepts of space, as well as a gradual lean towards abstraction. He was an inveterate learner. He visited the Met and the Modern, the Museum of Natural History and the Central Park Zoo – all fodder for his sculpture. A walk in the city was always a treasure hunt , with demolition sites yielding troves of sculptural media - from building materials to everyday objects.

Small Bronzes by Antoine-Louis Barye From Two Distinguished Private Collections

October 3, 2019 - November 5, 2019

American Modernism, 1915 - 1985

May 1, 2019 - June 28, 2019