Skip to main content
17 East 67th Street, No. 1A
New York, NY 10065
(212) 535 5767 | 917 742 7813

Graham Shay 1857 is a private art gallery, specializing in fine American paintings and American and European sculpture, spanning a time-period from the 1840’s through the 20th Century. The elegant space, in a private apartment building, is steps off Madison Avenue, in the midst of the Upper East Side museum and gallery district.

Director Cameron M. Shay has been in the American art business for 40 years and has placed works in leading institutions and distinguished private collections. He is recognized for his expertise in American and European sculpture of the 19th and 20th Centuries. The Gallery has an active exhibition program and is looking forward to showing exemplary works in a fresh space. Amongst the genres shown at the Gallery are historic American art, important American sculpture, the Hudson River School, the Ashcan and New York school painters, Western and wildlife art, American modernism, abstract paintings and sculpture. Artists of particular focus include Guy Pene du Bois, Everett Shinn, John White Alexander, Helen Torr, Oscar Bluemner, Thomas Hart Benton, Frederic Remington, Harriet Frishmuth, Charles M. Russell, Antoine-Louis Barye, Rembrandt Bugatti, Norman Bluhm, Gertrude Vanderbilt Whitney, William Zorach and Paul Manship.

Artists Represented:
Contemporary:
 
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

Anna Walinska (American, 1906-1997)

Calligraphy of Line: The Drawings of Anna Walinska (1906-1997)



January 20, 2023 - January 24, 2023
A woman ahead of her time, Anna Walinska never let contemporary stigma stand in the way of artistic expression. Born in London to Russian activist parents in 1906, moving to Brooklyn in 1914, Walinska was destined to lead an unconventional life. She enrolled at the National Academy of Design to study painting at just 12 years old, moving from there to the Art Students League. Her oldest dated watercolor is from 1918, evincing a raw talent full of potential. Despite her father’s objections, the young artist was determined to study in Paris and secured funding from her father’s employer by offering to paint him a copy of a masterpiece in exchange for $2,000. She set out in 1926, taking up residence on the Left Bank at 67 Rue Madame, just around the corner from Gertrude Stein. Calligraphy of Line: The Drawings of Anna Walinska (1906-1997) brings together a dynamic selection of the daring artist’s works on paper from the 1920s and 1950s. At a time when women were expected to marry young and devote themselves to raising children, Walinska instead dedicated her life to the arts, unabashedly experimenting with different mediums and styles throughout her career. The influence of Picasso and Matisse on the young artist’s work is apparent, as both artists immediately captivated Walinska during her Parisian foray. In fact, Paris was the first place she was able to take a nude figure drawing class complete with live models, which she had wanted to do for years. She produced hundreds of line drawings, delicately capturing her subject’s form in visceral, unplanned sketches that hint at the artist’s natural grasp on composition. Walinska arguably would have been a champion of the body positivity movement today – beyond her admiration of the human form, she fearlessly painted nude self portraits and modeled for other artists. Corresponding with the 2023 edition of Master Drawings New York, Calligraphy of Line features a number of works on paper inspired by Walinska’s international travels. Two distinct series are represented: Nude figure drawings sketched from live modeling classes in Paris during the 1920s, and abstract works on paper inspired by Burma [now Myanmar] from the 1950s. The common thread between these bodies of work is a careful and intentional use of line; bold, thin, sweeping lines characterize the Paris drawings, while angles and curves weave together to form compelling compositions in the Burma pieces. By placing these series into conversation with one another, they can be compared and contrasted to highlight Walinska’s artistic evolution. The title of the show refers to the beginnings of her figurative work in Paris, about which she later said: “I developed the calligraphy of line that stayed with me from then on.”

Henry Glintenkamp, Ernest Lawson, Paul Cornoyer, Willard Metcalf, Harry Gottlieb, Everett Shinn

Winter Whites



December 5, 2022 - December 30, 2022
Winter Whites is comprised of a selection of fine American paintings depicting snowy land and cityscapes. These timeless scenes capture moments of transition, as New York embraces the winter months each year.

Antoine-Louis Barye

The Arabian Horse – By Antoine-Louis Barye (French, 1796–1875)



October 5, 2022 - November 11, 2022
Graham Shay 1857 is pleased to present The Arabian Horse – By Antoine-Louis Barye, a curated exhibition celebrating the grandeur and legacy of the Arabian horse as exquisitely modeled by the French sculptor, Antoine-Louis Barye (1796-1875). For thousands of years, the Arabian horse has been a prized breed, originally reared by Bedouin nomads in the Arabian Peninsula. In contrast to the stocky horses needed to carry heavily armored knights bred in Europe through the Medieval period, the Arabian was light, fast, and agile, moving unlike any other equine the continent had seen. As international trade and correspondence grew into the 1600s, leaders of the Ottoman Empire made it a practice to gift Arabian horses to European heads of state as a gesture of diplomacy. Three of these horses became the basis for the English Thoroughbred, and the majority of Thoroughbreds can be traced back to one of these sires today. Royalty of Europe drove up the demand for this Eastern breed, and certain royal families established notable studs from their breeding programs in the 1800s. The first Arabian stallion to cross the pond was imported into Virginia in 1725, and allegedly sired 300 foals from grade mares. This virile breed has appeared in some of the most notable moments of history and culture, serving King Solomon and the Queen of Sheba, Egyptian pharaohs, sheikhs and sultans of the Near East, Indian Maharajas, Napoleon Bonaparte, and U.S. Presidents, establishing themselves as a symbol of nobility, beauty, and prestige. It is no surprise that these horses became a popular subject for artists - the famous painting Napoleon Crossing the Alps (1801) by Jacques-Louis David features Napoleon atop his mighty steed Marengo, an Arabian stallion. In fact, much of our knowledge about the breed in its early years comes from ancient art; Egyptian tomb paintings from the New Kingdom (c. 1570 - c. 1069 BCE) show the characteristics of these horses where archeology falls short. In The Arabian Horse – By Antoine-Louis Barye, we bring together a distinguished selection of bronze sculpture illuminating the Arabian horse’s beauty, grace, nobility, and strength.

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

· COLOR ·



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 info@grahamshay.com

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