Current Sale - Spring 2023

The JenneyArchivellc.com website is a 24/7 online gallery that offers works from the finest stable of veteran talents of Refined - Sophisticated America Realism and Abstraction - Today.

Its mission is to offer a group show of available works every fall and spring during the art seasons ahead.

For inquiries and in person viewings please contact us at:

(347) 631-9907 - mail@jenneyarchivellc.com - 69 Wooster St., 4th Floor, NY, NY 10012

Above: Samples

Ladda is the leading portrait artist in the New York scene today. These works are unique in that they are in fact a sculptural solution - involving a multi-step by step process that is his alone, which achieves a most enduring image in plaque form. These works are not painted - they are built with a process that is an unmatched and most timeless solution - the perfect method to capture likenesses of the "loved ones" in your life. - $35K, Down payment 50%

McNamara is the master of the vast panoramic image. His documentation of current and soon to be obsolete technologies of industrial installations is a priceless and poetic record. To master such requires judgment and disciplined stamina that few artists can achieve.

Left: “Gas Separator, Midway-Sunset Oil Field”, 2016, Oil on panel - On loan to New Britain Museum of American Art - Not for sale

Right: “Hudson River Barge”, 2019-2020, Oil on panel 32” x 38" - $40K

Lower: “Arkansas Bayou Clean Up Project” 2017 - 2018, oil on Panel 30 1/2 inches wide by 24 1/2 inches high by 2 inches deep, price $30K

Born in Brooklyn, Gilje trained as an art conservator from 1967 to 1971 at the Museo di Capodimonte in Naples, Italy. In the 1970s, she returned to New York and opened a conservation studio while pursuing her own artistic practice as a sculptor and painter. Inspired by her conservation of European Old Master paintings, Gilje has become known for "reworking" famous Renaissance and Neoclassicist paintings into satirical or metaphorical pieces.

“It Isn't the Mountains Ahead that Wear You Out, It’s the Pebble in Your Shoe” - Portrait of Mohammad Ali and his quotes after Hans Memlings Portrait of a Man against a Dark Backeround. 2013, Oil on wood, 22” x 27.25” x 2.25” - $80K

Above: “Mona Lisa, L.H.O.O.Q, Restored” 2015, Oil on panel, 40.75” x 31.5” x 2.25”

In 1919, French artist Marcel Duchamp (1887-1968) performed a seemingly adolescent prank using a postcard that represented the ideal of feminine beauty, Leonardo da Vinci's Mona Lisa. He drew a mustache and goatee on her face and added the letters "L.H.O.O.Q." The caption combines Duchamp's sense of wit with his love of wordplay eliding the letters in French sounds like, "Elle a chaud au cult ("There is fire down below"). The masculinized Mona Lisa introduces the theme of gender reversal, which was popular with Duchamp, who adopted his own female pseudonym, Rrose Sélavy.

In this painting, Kathleen Gilje "restores" L.H.O.O.Q. by enlarging the small postcard measurements to the Mona Lisa's original size, using Da Vinci's method of oil paint on wood panel and including Duchamp's irreverent moustache.

Above: “Earth as Martyr after Zurbaran's Martyrdom of Saint - Serapion”, 2020 - Oil on linen - 59” x 51” x 2” - $140K

In 1628, Spanish artist Francisco Zurbarán (1598-1664) painted The Martyrdom of Saint Serapion, a work that contemplates themes of sacrifice, death, and redemption. Nearly 400 years later, Kathleen Gilje took up the subject in Earth As Martyr After Zurbarán's Martyrdom Of Saint Serapion. Gilje remarks:

"One of the definitions of 'martyr is a person undergoing severe and constant suffering. In Zurbarán's Martyrdom of Saint Serapion, we see Serapion's arms pulled above his head with his wrists bound by ropes to an X-shaped cross and his head hanging low onto his body. In my version, Earth as Martyr, a heavy chain has been placed around Serapion's neck and attached to the chain is a globe being consumed by fire. Both the Serapion and the Earth have been undergoing severe and constant suffering, Serapion by his tormentors, Earth by the people that inhabit it. I have placed both martyrs against a black sky filled with stars, the vast and ominous universe, suggesting the vulnerability of both Man and Earth."

Lobe graduated from Oberlin College in 1967 and moved to 76 Jefferson Street, NYC in the summer of 1967. Lobe was always a sculptor and tended stylistically away from the Minimalist trends of the time - his brain was too active for reduction methods. In the late 60’s he built architectural constructs with ramps, steps and stuff called “Walk Ons”, Climb Ons” and “Drive Ons”, which referenced events called happenings - with physical and tactile associations. Lobe spent much time drawing proposed wooden volumes and at some point became inspired by stones, realizing that their form was caused by natural events, to become what they are, events like earthquakes, ice ages, and the effects of surging and freezing water. In 1976 he began his first efforts at Realism - doing portraits of stones in wood. These pieces were very successful as everyone loved them, but these works were exterior works and quickly decayed into nothingness. Only one survived. All this led him to hammer steel, galvanized steel, stainless steel, aluminum, copper and silver on trees and rock surfaces. This technique is called Repoussé. The Statue of Liberty was made using this method.

At this point Lobe is focused on repoussé wall pieces referencing stone and vegetation and exterior works called “Monumentals” in repoussé aluminum.

Above Left/Right - Hillside lawn “Monumental” piece, “Natures Clock”, 2005-2006, Prospect Park, Brooklyn - $450K

Left: “Buds”, 55”x58”x19”, Stone: pure aluminum, vegetation: stainless steel, This work is lighter than a painting - $70K

Right: “Stone Clones”, 1976, Battery Park City Landfill, NY - Not for sale

The notion that “Dogs are People too” is most endearingly presented by William Wegman’s works of 50 or so years ago in his “Humanized Canine Period”. These works were acknowleged by the Metropolitan Transit Authority of New York City when they commissioned Wegman to capture and permanently install images rendered with ceramic tiles at the 28th street station that serves the number 1 train on the 7th Avenue Line. The work that is currently available is of the deepest global concern, that some now call his “Climate Crisis Series”.

Above Left: “Minor Damage”, 2022, Acrylic and charcoal on wood panel, 11 1/2 x 14 1/2 in - Sold

Above Right: “Car Piece”, 2022, Acrylic and charcoal on wood panel, 15 x 18 in. - Sold

Above center - Renovation, 2022 - Acrylic and charcoal on wood panel - 72” x 60” - $75K

Kagan is a unique artist for any generation, as no one has ever created anything similar that I know of. To achieve such precsion by manipulating welded steel is for me an unattainable quandary. Art is the marriage of “what?” and “how?”. Considering “What?” is simple and direct by simply determining what is important to ones culture. But “How?” solutions require a unique awareness and command of the vision thing - and accomplishing it is always a trial and error. But with welded steel fine tuning adjustments is a challenging task. I’ve never inquired as to Kagan’s method because such technique is always a secret and telling is something a true magician never does - but the results speak for themselves.

Left: Abdel’s Hands, 2012, Steel and shadow, 28” x 33” x 8.25” - $35K

Center: La Petite Danseuse( Chiaroscuro Dancer), 2015, Steel and shadow, 47” x 34” x 13” - $40K

Right: “Mosquito VII”, 2007, Steel and shadow, 69” x 63” x 17” - $50K

Above: Cewzan Grayson and Tom Seaver 1988

Grayson’s baseball documentations (1980-1991) were approved and sanctioned each year by the New York Metropolitans and the New York Yankees. All images of hitters were shot from the first base and the third base photo positions that the daily and monthly publications use. Photos of pitchers were occasionally taken from the photo position in the mezzanine locations. At some point the National League and the American League realized that they had no control over these images and so determined that all players should be required to wear a league insignia on all uniforms. “Baseball is a combination of theory and mystery” said Keith Hernandez.   Both the Yankees and Mets granted her press credentials allowing her to photograph alongside sports photographers. Her photographs deconstruct the activities which have led to the canonization of the players and mythologies of this sport and American culture.  The players became iconic cultural heroes through process and procedure.  Her work references an art historical framework. Chronophotographers were credited as a source for ideas on methodology, process and structure in conceptual and minimal art.  The decisive moment is shown within the context of time. Although her photographs were made at the same time as the picture generation, she uses a subject that is a primary source of media rather than media images being the primary source. Learn More

Below: “Thomas Seaver, New York Metropolitans”, 74.125” x 56”, Photos mounted on masonite, Framed, Signed Cewzan Grayson - $80K

Below: “Carl Yastrzemski, Boston Red Sox”, 40” x 28”, Edition of 900, Signed Cewzan Grayson - $250

Below: “Jim Palmer, Baltimore Orioles”, 67.625'“ x 49.625”, Photos mounted on masonite, Framed, Signed Cewzan Grayson - $60K

Below: “Johnny Bench, Cincinnati Reds”, 96.625” x 51”, Photos mounted on masonite, Signed Cewzan Grayson - $60K

Kessler was discovered by the great Ivan Karp. Karp was the most important figure in post World War II Contemporary American Realism as he selected the stable of artists for the Leo Castelli Gallery in the early 1960’s. This group became the dominate force in American Realism. Karp also coined the unifying term for their productions as “The Popular Movement” A.K.A “Pop Art”. This term was his alone. Karp opened his first gallery in Provincetown Massachusetts in 1963, This space came with a sign that said “O.K. Harris”. Karp used this same name when he opened his new gallery in Lower Manhattan in 1969. This was the largest gallery in New York City (11,000 Sq. Ft.) and required four separate shows each month. Karp passed away in 2012 and O.K. Harris closed in 2014. Karp still holds the record for most shows given at a single location. Kessler’s water paintings are painted on Aluminum surfaces and have the added feature of being artfully sanded in strategic locations revealing the aluminum surface below and giving the effect of a watery reflection.

Above: “Sun Struck Surface”, 2021, Acrylic paint on abraded aluminum, 48” x 72” - $50K

Above: “Quicksilver”, 2015, Acrylic paint on abraded aluminum, 48” x 72” - $50K

Above: “Mystiqe Magic”, 2020, Acrylic paint on abraded aluminum, 72” x 48” - $50K

Hoffman’s marine seascape paintings have an interesting variety of formats. the smaller pieces contain a mix of fantasy and geometric designs. The most recent larger scale works have a unique combination of ocean activity with architectural foregrounds.

Left: “Home by the Sea”, 2022, Oil on panel, Artist’s frame, 66” x 96” - $65K

Center: “Bay”, 2011, Oil on panel, Artist’s frame, 21”x27” - $18K

Right: “The Serpent”, 2022, Oil on panel, Artist’s frame, 12” x 18” - $12K

Mercer’s images are varied and most innovative as his techniques presents larger works of “Fixed Graphite” on gessoed plywood and “Oil Paintings” on gessoed ply and smaller works with transferred images on Aluminum or Stainless Steel. All works are one of a kind.

Left: “Our Father Watches”, 2018, Fixed Graphite on Gessoed Ply, Artist’s Frame, 49.5"x34.25"x2.5 - $18K

Left: “Our Father Watches”, 2023, UV ink on abraded stainless steel, 43.125” x 20.25” x 2.25” - $3.5K

Right: “Feeling tired”, 2023, UV ink on abraded stainless steel, 43.125” x 20.25” x 2.25” - $3.5K

Dufresne is another one of Ivan Karp’s discoveries. Maybe his greatest discovery ever as Dufresne is the most American artist since Thomas Cole and Norman Rockwell.

Above Left: “First Family : Simple Recipe”, 2011-2012, Acrylic on panel, 14.25” x 18.25” x 1.75” - Sold

Above Right: “Sweeping”, 2011, Acrylic on panel, 11.25” x 14.25” x 2” - $32K

Above Left: “Renovation with Figures”, 2016, Acrylic on panel, 14.25” x 18.25” x 1.75” - $28K

Above Right: “Windows and Walls”, 2011, Acrylic on panel, 10.5” x 12.5” x 2” - $30K

Above: “Sawhorse” 2023, Acrylic on panel, 5” x 7” - $5.25K

Yoda’s works have a direct purity - a simple unaffected honesty of images that touch his heart like empty theaters, todays museum staff and friends at a lunch counter - wholesome and true.

Above Left: “Times Square Theater”, 2011, Oil on canvas, 30” x 40” - Not for sale

Above Center: “Cubiculum Nocturnum”, 2021, Oil on canvas, 40” x 30” - $25K

Above Right: “Dear Stephanie”, 2012, Oil on canvas, 30” x 40” - $25K

Above: “Charlie”, 2007, Oil on canvas, 60” x 72” - $60K

Jenney first arrived in New York City in 1966 and moved to 723 E 6th St. in January of 1967 - became Paul Thek’s assistant and produced “Linear Sculptures” that were shown by Richard Bellamy at the Noah Goldowsky Gallery at 1080 Madison Avenue in April of 67. He showed Environmental sculpture with Rudolf Zwirner in West Germany of 1968. In 1969 Jenney began his first efforts at Realism in what New Museum founder and Director Marsha Tucker first described as “Bad Painting”. In 1971 Jenney decided that the real quest was for “Good Painting” which continues to this day.

Above: “Evening at Our House”, 2021, Oil on wood, Artist’s frame, 18” x 32.25” x 3.25” - $60K

Above: “Daytime Diptych”, 2019, Oil on wood, Artist’s frame, 18” x 32.25” x 3.25” (each) - $120K

Above: (This depiction is only correct for the Northern Hemisphere)

Above: “North American Summer”, 2020, Oil on canvas, Artist frame, 37".5” x 34” x 3”

Above: “Leftway + Rightway”, 2023, Oil on canvas, Artist’s frame, 48” x 86.75” x 3.25”

Above: “Modern Africa #5”, Oil on Canvas, Artist’s frame, 71.5” x 97” x 3.5” - $1.2M

Above: “Modern Africa #1”, Oil on Canvas, Artist’s frame,” 67” x 97” x 3.5” - Not for Sale

(Moon light)

Yoder, after studying at Pratt, has been active in the New York City scene for many years. As Rauchenburg’s assist and curator and director of Castelli Graphics is currently President of the Artist Fellowship, a non-profit charitable foundation and always an active Realist painter and draftsman inspired by moonlight and snow scenes.

Above Left: “Bright Night”, 2010, Oil on masonite, 8” x 8” - $6.5K

Above Right: “Close Call” 2020, Charcoal on paper, 24” x 18” - $4K

Above Center: “Rhythm in Blue” 2013, Oil on canvas, 36” x 84” - $30K

Leger (a Connecticut artist) is dedicated to pure honest interpretation of his observations and to a disciplined technical precision in making of the completed works - so he works in the field - without a camera. His “Skyscape” Series has made him the most desired artist of the galleries on the coast of Maine - as his agent is the Littlefield Gallery at Winter Harbor. His work is the epitomy of Refined - Sophisticated Realism.

Above Left: “Unified Theory”, 2021, Oil on panel, Artist’s frame, 37” x 47.5” x 2.75” - $35K

Above Right: “Rapture”, 2017, Oil on panel, Artist’s frame, 54” x 64” x 3” - $35K

Above Center: “Symphony #4”, 2019, Oil on panel, Artist’s frame, 67” x 47” x 3” - Sold

Artist #16 Ki-yong Sung - Born Seoul, Korea - 1937-2020

Above - “Hasidic Rabbi” -2017, Oil on Canvas. 24” x 20” x 1.5” - Not for Sale

Above left: “Sung-Picasso”, 2007, 39.5” x 29.75” x 2.75” - 200K

Above right: “Sung-Picasso”, 2008, 38” x 29.75” x 2.75” - 200K

Claire Fergusson has been active for over 50 years in the New York scene. She first appeared at 112 Franklin Furnace in 1976 in a performance piece entitled “Morris Louis” and also showed with Richard Prince at the “Prints on Prince Street Gallery” in 1979.

Above left: “As the World Turns” 2014, Acrylic on canvas, 34” x 26” x 3” - $8K

Above left: “I Live, I Die” 1984, Tempera on Gessoed Muslin (performance piece “No Si No Bar” in NYC) - $8K

Above left: “Our Home” 1986, Acrylic on gessoed wood, 35” x 35” x 3” - $8K

Above right: “Statue of Puberty” 1987, Enamel and magic marker on gessoed 1/4” ply - $2.5K

Lang is the perfect example of a self taught primitive.

Above left: “Carol” 1959, Oil on masonite, 30” x 30” x 1” - $6K

Above right: “Trish Eating Lunch” 1982, Ink on paper, 20” x 16” x 1” - $2.5K

Above: “After the Affair #1” 1979, Oil on masonite, 27” x 53” x 2.25” - $10K

Above: “After the Affair #2” 1979, Oil on masonite, 36” x 49.5” x 1.5” - $10K

Blohm has been active on the New York scene for over 30 years. Her abstract vocabulary features a variety of squared variations. The square is a universal symbol of equality, stability and strength. This gives her work an integral and automatic expressive force and when combined with her subtle chromatic decisions, creates a compelling and appealing emotional charm that collecting connoisseurs find easy to live with.

Above: “Icarus” 2022, oil on linen, 65” x 53” - $21K

Above: “Ascension”, 2023, Oil on linen, 48” x 48” - 18K

Above: “Atlas” 2020, Oil on linen, 65” x 50” - 21K

Above: “Postman” 2021, Oil on linen, 65” x 50” - 21K

Above: “Echo Blue” 2019, Oil on linen, 65” x 50” - 21K