Gallery owners and museum curators are invited to contact us about groups of works for either solo or thematic exhibitions — or even individual works in which they are interested. Once we discuss your particular interests, we will prepare a large selection of pertinent works. You will then be sent a link where you can examine them in our Private Viewing Room.
Robert Berry Gallery
New York —
Robert Berry, a premier New York City-based art gallery dedicated to ground-breaking art, announced its virtual exhibition, It’s Time to Stick Together: 60 years of Collage in America curated by American art expert Peter Hastings Falk, the Editor and Chief Curator of the online art magazine, Discoveries in American Art. There is something for everyone in this extraordinary collection of colorful, unique and thought-provoking collage works by diverse American artists. The show represents 20 artists — including Harry Bertschmann — and is a cross-section of artists in terms of diversity, age, geographical region and style. Collage is a medium that has always tended to defy being pigeon-holed, because the process of making collage encourages a greater amount of experimentation in construction than does the fear of a blank white canvas. Abstract Expressionism is a seminal force that drives many of these images, but so is Figurative Expressionism, Pop, Surrealism, Outsider, and recent developments in Contemporary expression. Clippings from magazines have traditionally been the most common elements of collage, but many other pieces of popular culture have also been utilized in innovative ways — such as fabrics, photographs, newspaper, commercial packaging, and a variety of found objects.
New York, NY —
Hollis Taggart will open Harry Bertschmann: The 1950s, an exhibition that sheds new light on the little-known Abstract Expressionist painter Harry Bertschmann. The exhibition will feature works from two of Bertschmann’s early series, The Magnolia Series and The Stuttgart Series, both of which were last publicly on view more than sixty years ago. Inspired by the artist’s travels in rural Iowa and his time spent serving at the U.S. Army base in Stuttgart, respectively, the two series capture Bertschmann’s dynamic use of color and line to create sensations of texture and subtle shifts in light within the surface plane. Bertschmann has remained a prolific painter, continuing to produce new works today, with The Magnolia and Stuttgart series serving as the foundation of his artistic output over the last seven decades.
New York —
The year 2018 has begun with the surprising rediscovery of a painter who is being added to the pantheon of significant abstract expressionist masters.
The Harry Bertschmann story first broke on Sunday, January 7th 2018 in The New York Times by writer Susan Chumsky, and has quickly achieved high acclaim from art historians while delighting collectors. Quogue Gallery will continue its rediscovery of the Harry Bertschmann Collection at the Art on Paper fair in Manhattan running from March 8–11. This follows the gallery’s successful launch of the abstract master’s works at the Art Palm Beach fair in January.
Peter Hastings Falk, Curator of the Bertschmann Collection, will be presenting at talk at the gallery’s booth on Saturday, March 10th at noon. Falk explains that the 87-year-old Bertschmann enjoyed many solo exhibitions at museums and galleries during the 1950s. In 1958 the jury of the prestigious Carnegie International selected him as its youngest exhibitor — and one of his large abstract expressionist paintings hung beside those by Mark Rothko, Franz Kline, Barnet Newman, Philip Guston, and Robert Motherwell. He was represented by the Howard Wise Gallery for eight years, and in 1961 Bertschmann’s solo exhibition followed one for Elaine de Kooning. But after settling in Greenwich Village in the early 1960s Bertschmann drifted from the gallery scene because he was leading a double life. His training at the famous Basel School of Design led him to become an innovator in graphic design, and many of his commercial logos and packaging have become pervasive in American culture. The logos and packaging for Kent and Newport cigarettes, Nestlé’s, and Bufferin are but a few of his creations. In 1997 the artist was honored with a retrospective in Basel. Despite earning a living from his commercial projects he was resolute in painting every day.
Art critic and historian Prof. Robert C. Morgan described Bertschmann’s vision as “abstract gestural signs that suggest a language.” He added, “Bertschmann is essentially an art world outsider looking inward. He is a seasoned artist, a highly creative artist, an articulate individual, and a nearly obsessive worker, always willing to stand back and examine what he does before moving ahead. He is also an exemplary draughtsman…His atelier is a phenomenon to behold.”
In a rarely-bestowed honor, Dr. Joyce F. Brown, President of the Fashion Institute of Technology will be presenting Bertschmann with a Lifetime Achievement Award at its May commencement ceremony at Radio City Music Hall. “The President’s Award is our way of acknowledging your passion, perseverance and productivity as an artist, your dedication to creative excellence — and commitment to the mission and high calling of art.”
The owners of the Quogue Gallery, Christy & Chester Murray, continue to be astounded upon every studio visit to the Bertschmann studio, as a large body of hidden works from the 1950s to now is uncovered. Stylistically unique and compelling, the artist’s works continue to open the eyes of seasoned art professionals. The rediscovery will continue in July when Quogue Gallery presents a solo exhibition for Bertschmann at its gallery in the Hamptons.
Palm Beach, FL —
At the outset of its founding in 2014, Quogue Gallery, located near Westhampton on Long Island, has earned a reputation for presenting discoveries of significance that rival those presented in Manhattan. From January 17th–21st one of those discoveries will delight viewers at Art ¬Palm Beach, the fair for Contemporary & Modern Art, which will feature Harry Bertschmann. This painter, whose name is entering the dialogue about discoveries, was born in Basel, Switzerland in 1931. He studied at the famous Basel School of Design in the late 1940s and immigrated to the U.S. in 1951. In 1958 the jury of the prestigious Carnegie International selected him as its youngest exhibitor — and one of his large abstract expressionist paintings hung beside those by Mark Rothko, Franz Kline, Barnet Newman, Philip Guston, and Robert Motherwell.
But Bertschmann led a double life. His training in Basel led him to become an innovator in graphic design, and many of his commercial logos and packaging have become pervasive in American culture. The logos and packaging for Kent and Newport cigarettes, Nestlé’s, and Bufferin are but a few of his creations. In 1997 the artist was honored with a retrospective in Basel. However, he never actively promoted his private paintings, which has grown to a large body of work spanning 7 decades.
Quogue Gallery is delighted to be the first to reveal canvases from two of Bertschmann’s most significant series. In the early 1960s the painter began creating The Subway Series, pioneering a unique graffiti style with text, figures, and symbols. Note that at that time Basquiat was just a toddler. Quogue is showing 4 large canvases from this series. They are also showing 3 large canvases from his AbEx Shapes Series from 1963–65. Art critic and historian Prof. Robert C. Morgan described the series as “abstract gestural signs that suggest a language.”
An article about Bertschmann appeared in the Sunday, January 7th 2018 issue of The New York Times. Writer Susan Chumsky lauded Christy & Chester Murray of the Quogue Gallery for taking the lead in bringing Bertschmann his long overdue recognition, beginning with the Art ¬Palm Beach show and followed up with a solo exhibition this summer.
“Bertschmann is essentially an art world outsider looking inward,” wrote Morgan. “He is a seasoned artist, a highly creative artist, an articulate individual, and a nearly obsessive worker, always willing to stand back and examine what he does before moving ahead. He is also an exemplary draughtsman…His atelier is a phenomenon to behold.”