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THE COLLECTOR AND THE ART DEALER: Jack Shear and David Nolan, A 20 Year Adventure with Drawings,

January 13 - February 11, 2023

THE COLLECTOR AND THE ART DEALER: Jack Shear and David Nolan, A 20 Year Adventure with Drawings

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    THE COLLECTOR AND THE ART DEALER, Jack Shear and David Nolan, A 20 Year Adventure with Drawings

    "I met Jack originally in Manhattan in the 1990s. He stood out from the crowd with his insatiable enthusiasm for art."

    David Nolan

    David Nolan Gallery is pleased to announce its upcoming exhibition, The Collector and the Art Dealer: Jack Shear and David Nolan, A 20 Year Adventure with Drawings, on view from January 13 - February 11, 2023. The show will feature a selection from the works that artist, curator, and President of the Ellsworth Kelly Foundation Jack Shear acquired in collaboration with gallerist David Nolan in building his extraordinary drawing collection. Formed mostly over a twenty-year period, Shear's collection consists in over seven hundred drawings dating from the 16th century to the present. A significant part of the collection is the result of Shear's personal and professional relationship with David Nolan. Over the past two decades, Nolan's eye and expertise have helped forge innovative connections among existing and subsequent acquisitions.

    "My gallery opened in the late 1980s to raise the consciousness of works on paper without any restrictions. This exhibition demonstrates the unlimited possibilities in putting together a collection of drawings today. Jack Shear's is arguably one of the great collections of drawings in private hands that has such challenging breath. and is still a very personal collection.  

    I met Jack originally in Manhattan in the 1990s. He stood out from the crowd with his insatiable enthusiasm for art. His generosity, warmth and unabashed quick-witted humor was, and remains, infectious. It was clear to me that he was attracted to rigorous art, particularly works on paper. Later I learnt of his parallel passion for photography (both his own and that of others), which I have always felt informed his eye.  

    The first works I sold to Jack, in 2002, were graphite drawings by American artist Jim Nutt (b. 1938), whom I have represented since the 1990s; a pencil and watercolor landscape by Swiss artist Friedrich Salathé (1793-1858); a red chalk drawing by Austrian artist Otto Greiner, Reclining Female Nude (1896); and a large sheet by Donald Judd, Plywood Boxes #280 (1976), revealing how sophisticated and eclectic Jack's eye was since the early days. Without realizing it, he and I embarked on a collaboration of works on paper that kept pushing the boundaries of art making over five hundred years. Not just masterpieces but investigative drawings that, in the words of Walter Bareiss (whose collection of drawings my gallery exhibited in the 1990s), give the spirit and essence of art making. In many cases, the collection showcases a number of examples by the same artist, telling a rich story. It has been a learning and exciting adventure as there are no parameter rules.  

    Over the past 6 years, with Jack's concentration becoming more intense, the collection has gained dramatic focus and momentum. After purchasing a great drawing by Marcel Duchamp, 2 nus: un fort et un vite (1912), we were offered a rare work from Richard Hamilton's formative years, Somersault (1952), that only improved when juxtaposed with the Duchamp drawing. When given the opportunity of acquiring an early large-scale double portrait by Kehinde Wiley from the artist's 2001 residency at the Studio Museum in Harlem, Jack immediately understood its power. Within a few weeks, he acquired the magnificent red chalk Portrait of a Youth by Giovanni Battista Tiepolo (1696-1770), that compares with any museum example in the world by the Venetian artist.

    From Jack's collection multiple exhibitions could be mounted to demonstrate a rich and varied examination of art history through works on paper. In 2021, Shear himself curated Drawn: From the Collection of Jack Shear, at the Blanton Museum of Art, Austin, TX, a show where not only the juxtapositions were unorthodox but also the topography of the installation forced a refreshing way to look at the drawings. In 2021-22, the Drawing Center in New York City mounted Ways of Seeing: Three Takes on the Jack Shear Drawing Collection, a three-part exhibition and an experiment in connoisseurship and exhibition-making, where artist Arlene Shechet, critic and curator Jarett Earnest, and Shear himself each presented an installation curated from Shear's holdings.  

    The exhibition at David Nolan Gallery will differ from the previous presentations in that it will highlight selected works that the Collector and the Dealer chose in unison. The show will be a collaborative installation between the two partners in this long adventure, tracing the chronology of and the reasoning behind Jack Shear's acquisition process."

    -David Nolan

  • Installation Views
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    • Jorinde Voigt Nexus-Studie III, 2 Horizonte; Mögliche Farben des Horizonts; Position; Himmelsrichtung; Externe Zentren; Rotation; Kontinentalgrenze; Territorium; Zentrum, 2011 colored pencil, graphite, and pen on paper 24 x 18 1/8 in (61 x 46 cm)
      Jorinde Voigt
      Nexus-Studie III, 2 Horizonte; Mögliche Farben des Horizonts; Position; Himmelsrichtung; Externe Zentren; Rotation; Kontinentalgrenze; Territorium; Zentrum, 2011
      colored pencil, graphite, and pen on paper
      24 x 18 1/8 in (61 x 46 cm)
    • Martin Kippenberger Untitled (Cacique Island Ibo Beach), 1994 crayon, ink and wash on hotel stationary 10 15/16 x 8 1/4 in (27.8 x 21 cm)
      Martin Kippenberger
      Untitled (Cacique Island Ibo Beach), 1994
      crayon, ink and wash on hotel stationary
      10 15/16 x 8 1/4 in (27.8 x 21 cm)
    • Jean-Baptiste-Camille Corot The Forum with the Temple of Venus and Roma, 1875 pencil on paper 6 3/4 x 13 5/8 in (17.1 x 34.6 cm)
      Jean-Baptiste-Camille Corot
      The Forum with the Temple of Venus and Roma, 1875
      pencil on paper
      6 3/4 x 13 5/8 in (17.1 x 34.6 cm)
    • Joseph Yetto Untitled (landscape), 2020 charcoal on paper 22 x 44 inches (55.9 x 111.8 cm)
      Joseph Yetto
      Untitled (landscape), 2020
      charcoal on paper
      22 x 44 inches (55.9 x 111.8 cm)
    • Christo Packed Public Building (Project for Allied Chemical Tower, No. 1 Times Square in NYC), 1968 graphite, wax crayon, charcoal, brush and grey wash on paper 28 x 22 in (71.1 x 55.9 cm)
      Christo
      Packed Public Building (Project for Allied Chemical Tower, No. 1 Times Square in NYC), 1968
      graphite, wax crayon, charcoal, brush and grey wash on paper
      28 x 22 in (71.1 x 55.9 cm)
    • attributed to Arapaho Artist Ledger Drawing (P4440), c. 1880 graphite and colored pencil on lined paper 5 1/4 x 11 3/4 in (13.3 x 29.8 cm)
      attributed to Arapaho Artist
      Ledger Drawing (P4440), c. 1880
      graphite and colored pencil on lined paper
      5 1/4 x 11 3/4 in (13.3 x 29.8 cm)
    • Piet Mondrian Iris Bloom in Bud Vase, 1909/1910 pencil on paper 22 x 11 in. (55.9 x 27.9 cm)
      Piet Mondrian
      Iris Bloom in Bud Vase, 1909/1910
      pencil on paper
      22 x 11 in. (55.9 x 27.9 cm)
    • Erhard Schön Jesters performing around a woman, 1542 pen and black ink over traces of black chalk 6¾ x 6⅛ in (17.1 x 15.6 cm)
      Erhard Schön
      Jesters performing around a woman, 1542
      pen and black ink over traces of black chalk
      6¾ x 6⅛ in (17.1 x 15.6 cm)
    • Edgar Degas A Study of a Young Boy with his Arms Raised about his Head, Preparatory for 'Young Spartans Exercising'' black chalk with small areas of stumping 14 1/8 x 9 1/4 in (35.9 x 23.3 cm)
      Edgar Degas
      A Study of a Young Boy with his Arms Raised about his Head, Preparatory for 'Young Spartans Exercising''
      black chalk with small areas of stumping
      14 1/8 x 9 1/4 in (35.9 x 23.3 cm)
    • Hermann Nitsch UNTITLED, 1986 ballpoint pen and colored pencil on paper 11 3/4 x 8 1/4 in (29.8 x 21 cm)
      Hermann Nitsch
      UNTITLED, 1986
      ballpoint pen and colored pencil on paper
      11 3/4 x 8 1/4 in (29.8 x 21 cm)
    • Rosemarie Trockel UNTITLED, 1996 pen and charcoal on paper 9 x 11 3/4 in (22.9 x 29.8 cm)
      Rosemarie Trockel
      UNTITLED, 1996
      pen and charcoal on paper
      9 x 11 3/4 in (22.9 x 29.8 cm)
    • Jim Nutt Oh Look!, 1975 graphite on paper 10 x 13 in (25.4 x 33 cm)
      Jim Nutt
      Oh Look!, 1975
      graphite on paper
      10 x 13 in (25.4 x 33 cm)
    • Jim Nutt Hee Pants, 1969 graphite on paper 25 3/4 x 23 in (65.4 x 58.4 cm)
      Jim Nutt
      Hee Pants, 1969
      graphite on paper
      25 3/4 x 23 in (65.4 x 58.4 cm)
    • Jim Nutt Look at this!, 1975 graphite on paper 10 1/2 x 12 7/8 in (26.7 x 32.7 cm)
      Jim Nutt
      Look at this!, 1975
      graphite on paper
      10 1/2 x 12 7/8 in (26.7 x 32.7 cm)
    • Richard Artschwager Door Window Table Basket Mirror Rug #10, 1974 graphite and ink on paper 22 3/4 x 31 1/4 in (57.8 x 79.4 cm)
      Richard Artschwager
      Door Window Table Basket Mirror Rug #10, 1974
      graphite and ink on paper
      22 3/4 x 31 1/4 in (57.8 x 79.4 cm)
    • Otto Greiner Liegender weiblicher Akt (Reclining Female Nude), 1896 red ochre, heightened white on paper 18 1/4 x 11 3/4 in (46.4 x 29.8 cm)
      Otto Greiner
      Liegender weiblicher Akt (Reclining Female Nude), 1896
      red ochre, heightened white on paper
      18 1/4 x 11 3/4 in (46.4 x 29.8 cm)
    • Albert Oehlen Untitled, 2003 graphite, ink and wash on paper 23 3/8 x 16 1/2 in (59.4 x 41.9 cm)
      Albert Oehlen
      Untitled, 2003
      graphite, ink and wash on paper
      23 3/8 x 16 1/2 in (59.4 x 41.9 cm)
    • Georg Baselitz Der neue Typ (The New Type), 1966-1967 pencil, charcoal and wash on paper 24 x 17 in (61 x 43.2 cm)
      Georg Baselitz
      Der neue Typ (The New Type), 1966-1967
      pencil, charcoal and wash on paper
      24 x 17 in (61 x 43.2 cm)
    • Donald Judd Plywood Boxes, #280, 1976 graphite on paper 22 3/4 x 31 in (57.8 x 78.7 cm)
      Donald Judd
      Plywood Boxes, #280, 1976
      graphite on paper
      22 3/4 x 31 in (57.8 x 78.7 cm)
    • Eugen Schönebeck Untitled, 1962 pen on paper (double-sided) 11 11/16 x 8 1/4 in (29.7 x 21 cm)
      Eugen Schönebeck
      Untitled, 1962
      pen on paper (double-sided)
      11 11/16 x 8 1/4 in (29.7 x 21 cm)
    • Eugen Schönebeck Ohne Titel (Ich bin nicht für Adepten - Breton), 1963 pen and Tusche wash on paper 11 11/16 x 16 9/16 in (29.7 x 42.1 cm)
      Eugen Schönebeck
      Ohne Titel (Ich bin nicht für Adepten - Breton), 1963
      pen and Tusche wash on paper
      11 11/16 x 16 9/16 in (29.7 x 42.1 cm)
    • Gabriel Orozco Fear Not, 2001 collage, acrylic and ink 11 x 8 1/2 in (27.9 x 21.6 cm)
      Gabriel Orozco
      Fear Not, 2001
      collage, acrylic and ink
      11 x 8 1/2 in (27.9 x 21.6 cm)
    • Louis I. Kahn Indian Institute of Management, Ahmedabad, Gujarat, India, 1964 pen and ink on yellow paper 9 x 11 in (22.9 x 27.9 cm)
      Louis I. Kahn
      Indian Institute of Management, Ahmedabad, Gujarat, India, 1964
      pen and ink on yellow paper
      9 x 11 in (22.9 x 27.9 cm)
    • Louis I. Kahn Franklin D. Roosevelt Four Freedoms Park, Roosevelt Island, New York, 1973 charcoal on yellow paper 12 x 18 in (30.5 x 45.7 cm)
      Louis I. Kahn
      Franklin D. Roosevelt Four Freedoms Park, Roosevelt Island, New York, 1973
      charcoal on yellow paper
      12 x 18 in (30.5 x 45.7 cm)
    • Jannis Kounellis Untitled (Berlino), 1982 graphite on paper 16 1/2 x 21 3/4 in (41.9 x 55.2 cm)
      Jannis Kounellis
      Untitled (Berlino), 1982
      graphite on paper
      16 1/2 x 21 3/4 in (41.9 x 55.2 cm)
    • Ray Yoshida Untitled, c. 1972 felt-tipped colored pen on paper 24 x 18 in (61 x 45.7 cm)
      Ray Yoshida
      Untitled, c. 1972
      felt-tipped colored pen on paper
      24 x 18 in (61 x 45.7 cm)
    • Lee Bontecou Untitled, 1968 soot and graphite on paper 28 1/2 x 22 1/2 in (72.4 x 57.2 cm)
      Lee Bontecou
      Untitled, 1968
      soot and graphite on paper
      28 1/2 x 22 1/2 in (72.4 x 57.2 cm)
    • Barry Le Va Parts in Sections (in 3 Different Perspectives), 1981 ink, graphite, paper collage and tape on paper 17 x 11 in (43.2 x 27.9 cm)
      Barry Le Va
      Parts in Sections (in 3 Different Perspectives), 1981
      ink, graphite, paper collage and tape on paper
      17 x 11 in (43.2 x 27.9 cm)
    • David Hockney Sleeping Beauty, 1968 ink on paper 23 x 16 3/4 in (58.4 x 42.5 cm)
      David Hockney
      Sleeping Beauty, 1968
      ink on paper
      23 x 16 3/4 in (58.4 x 42.5 cm)
    • Anne-Louis Girodet Héro et Léandre, c. 1800 pen, brush, brown ink, ink wash and white gouache on blue paper 8 11/16 x 7 1/16 in (22.1 x 18 cm)
      Anne-Louis Girodet
      Héro et Léandre, c. 1800
      pen, brush, brown ink, ink wash and white gouache on blue paper
      8 11/16 x 7 1/16 in (22.1 x 18 cm)
    • George Richmond Head of a Woman, circa 1860 black chalk and pencil 13 x 10 3/4 in (33.3 x 27.3 cm)
      George Richmond
      Head of a Woman, circa 1860
      black chalk and pencil
      13 x 10 3/4 in (33.3 x 27.3 cm)
    • Agnes Martin Untitled, c. 1960s ink and graphite on paper 8 1/16 x 8 15/16 in (20.5 x 22.7 cm)
      Agnes Martin
      Untitled, c. 1960s
      ink and graphite on paper
      8 1/16 x 8 15/16 in (20.5 x 22.7 cm)
    • Robert Bechtle RB on De Haro Street, 2004 charcoal on paper 22 1/8 x 29 3/4 in (56.2 x 75.6 cm)
      Robert Bechtle
      RB on De Haro Street, 2004
      charcoal on paper
      22 1/8 x 29 3/4 in (56.2 x 75.6 cm)
    • Johann Heinrich Wilhelm Tischbein The Blinding of Polyphemus, after Pellegrino Tibaldi, c. 1780s charcoal on paper 18 1/2 x 25 1/2 in (47 x 64.8 cm)
      Johann Heinrich Wilhelm Tischbein
      The Blinding of Polyphemus, after Pellegrino Tibaldi, c. 1780s
      charcoal on paper
      18 1/2 x 25 1/2 in (47 x 64.8 cm)
    • Robert Morris Study for 4" Interlocking Brass Rings, 1968 watercolor and graphite on graph paper 25 3/4 x 30 1/2 in (65.4 x 77.5 cm)
      Robert Morris
      Study for 4" Interlocking Brass Rings, 1968
      watercolor and graphite on graph paper
      25 3/4 x 30 1/2 in (65.4 x 77.5 cm)
    • Odilon Redon La Terrible / L'ange déchu, c. 1871 charcoal and black chalk, with stumping and erasing, on cream laid paper altered to a golden tone 16 3/4 x 13 1/4 in (42.5 x 33.5 cm)
      Odilon Redon
      La Terrible / L'ange déchu, c. 1871
      charcoal and black chalk, with stumping and erasing, on cream laid paper altered to a golden tone
      16 3/4 x 13 1/4 in (42.5 x 33.5 cm)
    • Leon Golub Untitled (Head with Wavy Hair), 1963 sanguine on vellum 23 1/2 x 18 1/2 in (59.7 x 47 cm)
      Leon Golub
      Untitled (Head with Wavy Hair), 1963
      sanguine on vellum
      23 1/2 x 18 1/2 in (59.7 x 47 cm)
    • Kasimir Malevich Suprematist Composition, c. 1915 charcoal on paper 6 1/2 x 4 1/2 in (16.5 x 11.5 cm)
      Kasimir Malevich
      Suprematist Composition, c. 1915
      charcoal on paper
      6 1/2 x 4 1/2 in (16.5 x 11.5 cm)
    • Ferdinand Hodler Standing Youth at a Water Source, 1900-01 pen and brush in black over graphite, partially with grey wash 13 3/4 x 9 1/8 in (35 x 23 cm) sheet: 16 3/4 x 11 3/8 in (42.5 x 29 cm)
      Ferdinand Hodler
      Standing Youth at a Water Source, 1900-01
      pen and brush in black over graphite, partially with grey wash
      13 3/4 x 9 1/8 in (35 x 23 cm)
      sheet:
      16 3/4 x 11 3/8 in (42.5 x 29 cm)
    • Bruce Nauman "A Rose Has No Teeth"/ Lead or bronze plaque to be attached/ to a tree in the woods so that it will/ be grown over, 1966 graphite on paper 18 7/8 x 24 in (47.9 x 61 cm)
      Bruce Nauman
      "A Rose Has No Teeth"/ Lead or bronze plaque to be attached/ to a tree in the woods so that it will/ be grown over, 1966
      graphite on paper
      18 7/8 x 24 in (47.9 x 61 cm)
    • Ludwig Meidner Selbstbildnis ‘Self-­‐Portrait’, 1913 pencil on paper 13 x 9 3/8 in (33 x 23.8 cm)
      Ludwig Meidner
      Selbstbildnis ‘Self-­‐Portrait’, 1913
      pencil on paper
      13 x 9 3/8 in (33 x 23.8 cm)
    • Stella Snead Untitled, early 1940's ink on paper paper: 11 x 13 3/4 in (27.9 x 34.9 cm) framed: 17 3/4 x 20 3/4 in (45.1 x 52.7 cm)
      Stella Snead
      Untitled, early 1940's
      ink on paper
      paper: 11 x 13 3/4 in (27.9 x 34.9 cm)
      framed: 17 3/4 x 20 3/4 in (45.1 x 52.7 cm)
    • Hans Bellmer Untitled, c. 1955 Chinese ink wash and pencil on paper 11 3/4 x 10 5/8 in (30 x 27 cm)
      Hans Bellmer
      Untitled, c. 1955
      Chinese ink wash and pencil on paper
      11 3/4 x 10 5/8 in (30 x 27 cm)
    • Öyvind Fahlström Notes 2 (WC'S), 1970 acrylic and ink on paper 16 1/2 x 14 in (41.9 x 35.6 cm)
      Öyvind Fahlström
      Notes 2 (WC'S), 1970
      acrylic and ink on paper
      16 1/2 x 14 in (41.9 x 35.6 cm)
    • Antonius Höckelmann Orgie I, 1967-68 charcoal, pencil, ink brush, and opaque white on Canson paper 61 1/4 x 98 1/2 in (155.5 x 250.3 cm)
      Antonius Höckelmann
      Orgie I, 1967-68
      charcoal, pencil, ink brush, and opaque white on Canson paper
      61 1/4 x 98 1/2 in (155.5 x 250.3 cm)
    • Thomas Rowlandson A gibbet on the river Thames, c. 1790 watercolor, pen, and ink on paper 5 3/4 x 9 1/8 in (14.6 x 23 cm)
      Thomas Rowlandson
      A gibbet on the river Thames, c. 1790
      watercolor, pen, and ink on paper
      5 3/4 x 9 1/8 in (14.6 x 23 cm)
    • Sir Edward Coley Burne-Jones A Head of a Knight from "The Briar Wood", c. 1874 white and black chalk on buff paper on canvas 12 5/8 x 13 in (32.1 x 33 cm)
      Sir Edward Coley Burne-Jones
      A Head of a Knight from "The Briar Wood", c. 1874
      white and black chalk on buff paper on canvas
      12 5/8 x 13 in (32.1 x 33 cm)
    • Simeon Solomon Queen Esther hearing the news of the intended massacre of the Jews, 1860 pen and ink with some lead white on paper main sheet with three narrow additions laid to board 11 1/4 x 13 3/4 in (28.6 x 34.9 cm)
      Simeon Solomon
      Queen Esther hearing the news of the intended massacre of the Jews, 1860
      pen and ink with some lead white on paper main sheet with three narrow additions laid to board
      11 1/4 x 13 3/4 in (28.6 x 34.9 cm)
    • Giorgio Vasari The Virgin and Child with the Infant Saint John the Baptist and Saint Elizabeth pen and brown ink, black chalk, on paper 7 3/4 x 6 3/4 in (19.7 x 17.1 cm)
      Giorgio Vasari
      The Virgin and Child with the Infant Saint John the Baptist and Saint Elizabeth
      pen and brown ink, black chalk, on paper
      7 3/4 x 6 3/4 in (19.7 x 17.1 cm)
    • Susan Rothenberg Untitled, 1979 acrylic and flashe on paper 23 3/8 x 18 3/4 in (59.4 x 47.6 cm) framed: 31 7/8 x 27 3/8 in (80.9 x 69.5 cm)
      Susan Rothenberg
      Untitled, 1979
      acrylic and flashe on paper
      23 3/8 x 18 3/4 in (59.4 x 47.6 cm)
      framed: 31 7/8 x 27 3/8 in (80.9 x 69.5 cm)
    • Kasimir Malevich Composition 3k, 1915 pencil on squared paper 4 3/8 x 6 3/8 in (11 x 16.2 cm)
      Kasimir Malevich
      Composition 3k, 1915
      pencil on squared paper
      4 3/8 x 6 3/8 in (11 x 16.2 cm)
    • Kurt Schwitters “für Herrn Dr. Bode“, 1924 collage on paper, in the mount of the artist 13 5/8 x 10 7/8 in (34.5 x 27.6 cm)
      Kurt Schwitters
      “für Herrn Dr. Bode“, 1924
      collage on paper, in the mount of the artist
      13 5/8 x 10 7/8 in (34.5 x 27.6 cm)
    • Blinky Palermo Untitled, 1969 India ink, opaque white, and gouache on brown paper 14 5/8 x 9 1/2 in (37 x 24 cm)
      Blinky Palermo
      Untitled, 1969
      India ink, opaque white, and gouache on brown paper
      14 5/8 x 9 1/2 in (37 x 24 cm)
    • Alice Neel REQUIEM, 1928 watercolor on paper 9 x 12 in (22.9 x 30.5 cm)
      Alice Neel
      REQUIEM, 1928
      watercolor on paper
      9 x 12 in (22.9 x 30.5 cm)
    • Hans Bellmer Pays sage (recto), and Rose ouverte la nuit (verso), 1934 pencil and white gouache on brown paper 10 1/4 x 9 1/2 in (26 x 24 cm)
      Hans Bellmer
      Pays sage (recto), and Rose ouverte la nuit (verso), 1934
      pencil and white gouache on brown paper
      10 1/4 x 9 1/2 in (26 x 24 cm)
    • Nancy Spero The Bomb, 1966 gouache and ink on paper 16 1/2 x 22 in (41.9 x 55.9 cm)
      Nancy Spero
      The Bomb, 1966
      gouache and ink on paper
      16 1/2 x 22 in (41.9 x 55.9 cm)
    • Albert Oehlen Untitled, 2009 etching, ink and mixed media collage on paper 12 1/2 x 10 in (31.8 x 25.4 cm)
      Albert Oehlen
      Untitled, 2009
      etching, ink and mixed media collage on paper
      12 1/2 x 10 in (31.8 x 25.4 cm)
    • Balthus Two Studies for "Nu devant la cheminée" (recto and verso), 1954 pencil on squared paper (recto); pencil on paper (verso) 11 3/4 x 7 3/4 in (30 x 19.7 cm)
      Balthus
      Two Studies for "Nu devant la cheminée" (recto and verso), 1954
      pencil on squared paper (recto); pencil on paper (verso)
      11 3/4 x 7 3/4 in (30 x 19.7 cm)
    • Jean Cocteau Illustration no. 3 pour Imaginary Letters de Mary Butts, 1928 ink on paper 10 3/8 x 7 7/8 in (26.5 x 20 cm)
      Jean Cocteau
      Illustration no. 3 pour Imaginary Letters de Mary Butts, 1928
      ink on paper
      10 3/8 x 7 7/8 in (26.5 x 20 cm)
    • Jean Cocteau Illustration no. 5 pour Imaginary Letters de Mary Butts, 1928 ink on paper 10 1/8 x 7 5/8 in (25.5 x 19.5 cm)
      Jean Cocteau
      Illustration no. 5 pour Imaginary Letters de Mary Butts, 1928
      ink on paper
      10 1/8 x 7 5/8 in (25.5 x 19.5 cm)
    • Rudolf von Alt Church of St. Nicholas, Bad Gastein, 1888 watercolor on cardboard 10 5/8 x 13 in (27 x 33 cm)
      Rudolf von Alt
      Church of St. Nicholas, Bad Gastein, 1888
      watercolor on cardboard
      10 5/8 x 13 in (27 x 33 cm)
    • Wardell Milan The Edge of Town: Hollywood Hills, 2021 charcoal, graphite, oil pastel, colored pencil, pastel, yupo paper, cut and pasted paper on inkjet print 41 x 42 3/8 in (104.1 x 107.6 cm)
      Wardell Milan
      The Edge of Town: Hollywood Hills, 2021
      charcoal, graphite, oil pastel, colored pencil, pastel, yupo paper, cut and pasted paper on inkjet print
      41 x 42 3/8 in (104.1 x 107.6 cm)
    • Théodore Chassériau A fainting woman held by an arm graphite and black chalk on paper 10 5/8 x 8 1/2 in (27.1 x 21.7 cm)
      Théodore Chassériau
      A fainting woman held by an arm
      graphite and black chalk on paper
      10 5/8 x 8 1/2 in (27.1 x 21.7 cm)
    • Gaetano Gandolfi The Martyrdom of St. Peter pen and brown ink, brown wash, over black chalk 11 3/4 x 7 3/4 in (30 x 19.7 cm)
      Gaetano Gandolfi
      The Martyrdom of St. Peter
      pen and brown ink, brown wash, over black chalk
      11 3/4 x 7 3/4 in (30 x 19.7 cm)
    • Théodore Géricault Study of a sick or dying man pencil on paper 8 7/8 x 12 3/8 in (22.5 x 31.5 cm)
      Théodore Géricault
      Study of a sick or dying man
      pencil on paper
      8 7/8 x 12 3/8 in (22.5 x 31.5 cm)
    • Brice Marden Untitled, 1963 charcoal on Arches paper 18 x 24 in (45.7 x 61 cm) Drawing inspected by Brice Marden in February 2022. Marden Studio has recent high-resolution images in its possession.
      Brice Marden
      Untitled, 1963
      charcoal on Arches paper
      18 x 24 in (45.7 x 61 cm)

      Drawing inspected by Brice Marden in February 2022. Marden Studio has recent high-resolution images in its possession.
    • Cameron Jamie Broke Stomp Boogie, 2007 ink on paper 25 3/4 x 19 7/8 in (65.5 x 50.5 cm)
      Cameron Jamie
      Broke Stomp Boogie, 2007
      ink on paper
      25 3/4 x 19 7/8 in (65.5 x 50.5 cm)
    • Vija Celmins Untitled (Ham Hock), 1964 gouache and graphite on paper 20 1/2 x 22 1/2 in (52.1 x 57.1 cm)
      Vija Celmins
      Untitled (Ham Hock), 1964
      gouache and graphite on paper
      20 1/2 x 22 1/2 in (52.1 x 57.1 cm)
    • Robert Gober Untitled, 1993 graphite on vellum 12 x 9 in (30.5 x 22.9 cm)
      Robert Gober
      Untitled, 1993
      graphite on vellum
      12 x 9 in (30.5 x 22.9 cm)
    • Claes Oldenburg Drum Pedal, 1973 watercolor on paper 29 1/8 x 23 in (74 x 58.4 cm)
      Claes Oldenburg
      Drum Pedal, 1973
      watercolor on paper
      29 1/8 x 23 in (74 x 58.4 cm)
    • Marcel Duchamp 2 nus: un fort et un vite, 1912 charcoal and graphite on paper 12 7/16 x 15 5/8 in (31.6 x 39.7 cm)
      Marcel Duchamp
      2 nus: un fort et un vite, 1912
      charcoal and graphite on paper
      12 7/16 x 15 5/8 in (31.6 x 39.7 cm)
    • Richard Hamilton Somersault, 1952 ink, watercolor and gouache 15 1/2 x 11 1/4 in (39.4 x 28.6 cm)
      Richard Hamilton
      Somersault, 1952
      ink, watercolor and gouache
      15 1/2 x 11 1/4 in (39.4 x 28.6 cm)
    • Erhard Schön Venus and Cupid ink on paper, cut out and laid down on paper 4 7/8 x 3 3/4 in (12.5 x 9.5 cm)
      Erhard Schön
      Venus and Cupid
      ink on paper, cut out and laid down on paper
      4 7/8 x 3 3/4 in (12.5 x 9.5 cm)
    • Joseph Beuys Der Tod und das Mädchen, 1970 watercolor and pencil on paper 6 1/4 x 3 1/8 in (16 x 8 cm)
      Joseph Beuys
      Der Tod und das Mädchen, 1970
      watercolor and pencil on paper
      6 1/4 x 3 1/8 in (16 x 8 cm)
    • Kehinde Wiley Untitled (Conspicuous Fraud series), 2001 gouache on paper 49 x 73 in (124.5 x 185.4 cm) framed: 58 x 86 in (147.3 x 218.4 cm)
      Kehinde Wiley
      Untitled (Conspicuous Fraud series), 2001
      gouache on paper
      49 x 73 in (124.5 x 185.4 cm)
      framed: 58 x 86 in (147.3 x 218.4 cm)
    • Giovanni Battista Tiepolo Head of a Youth red chalk on blue-grey paper 9 5/8 x 7 1/8 in (24.5 x 18 cm)
      Giovanni Battista Tiepolo
      Head of a Youth
      red chalk on blue-grey paper
      9 5/8 x 7 1/8 in (24.5 x 18 cm)
    • Konrad Klapheck Zeichnung zu der verhinderte Apostel (Drawing for Prevented Apostle), 1992 charcoal and pen on tracing paper 35 3⁄8 x 23 7⁄8 in (90 x 60.5 cm)
      Konrad Klapheck
      Zeichnung zu der verhinderte Apostel (Drawing for Prevented Apostle), 1992
      charcoal and pen on tracing paper
      35 3⁄8 x 23 7⁄8 in (90 x 60.5 cm)
    • Hermann Nitsch Untitled (Vienna Secession), 1987 mixed media and oil on board 36 1/4 x 35 1/2 in (92.1 x 90.2 cm)
      Hermann Nitsch
      Untitled (Vienna Secession), 1987
      mixed media and oil on board
      36 1/4 x 35 1/2 in (92.1 x 90.2 cm)
    • Jason Moran Living for the city, 2021 pigment on Gampi paper 26 x 38 1/2 in (66 x 97.8 cm) framed: 27 1/4 x 40 1/4 in (69.2 x 102.2 cm)
      Jason Moran
      Living for the city, 2021
      pigment on Gampi paper
      26 x 38 1/2 in (66 x 97.8 cm)
      framed: 27 1/4 x 40 1/4 in (69.2 x 102.2 cm)
    • Sir Thomas Lawrence, P.R.A. Satan as the Fallen Angel, ca. 1797 red, black and white chalks on paper 9 5/8 x 8 1/8 in (24.5 x 20.4 cm) framed: 19 x 17 in (48.3 x 43.2 cm)
      Sir Thomas Lawrence, P.R.A.
      Satan as the Fallen Angel, ca. 1797
      red, black and white chalks on paper
      9 5/8 x 8 1/8 in (24.5 x 20.4 cm)
      framed: 19 x 17 in (48.3 x 43.2 cm)
    • Dieter Roth Selbstbildnis als Traumer eines Stillebens, 1973 watercolor and pencil on paper 13 x 17 1/4 in (33 x 44 cm)
      Dieter Roth
      Selbstbildnis als Traumer eines Stillebens, 1973
      watercolor and pencil on paper
      13 x 17 1/4 in (33 x 44 cm)
    • Sonia Delaunay Projet d’Album No. 1 (Project for Album No. 1), 1916 watercolor 9 1/8 x 9 1/8 in (23 x 23 cm) Certificate: Sonia Delaunay, 10 February 1976
      Sonia Delaunay
      Projet d’Album No. 1 (Project for Album No. 1), 1916
      watercolor
      9 1/8 x 9 1/8 in (23 x 23 cm)
      Certificate: Sonia Delaunay, 10 February 1976
    • Max Ernst …un grain de froment pour en faire l’hostie de notre seconde communion., 1929/1930 collage on paper 9 1/2 x 7 5/8 in (24.1 x 19.4 cm)
      Max Ernst
      …un grain de froment pour en faire l’hostie de notre seconde communion., 1929/1930
      collage on paper
      9 1/2 x 7 5/8 in (24.1 x 19.4 cm)
    • Kasimir Malevich Rotating plane 12 i, 1915 pencil on squared paper 6 1/4 x 4 in (16 x 10 cm)
      Kasimir Malevich
      Rotating plane 12 i, 1915
      pencil on squared paper
      6 1/4 x 4 in (16 x 10 cm)
    • Fernand Léger Projet de Camouflage de la Tour Eiffel, 1937 pencil on paper 25 1/2 x 19 5/8 in (65 x 50 cm)
      Fernand Léger
      Projet de Camouflage de la Tour Eiffel, 1937
      pencil on paper
      25 1/2 x 19 5/8 in (65 x 50 cm)
  • Artist
    • RICHARD ARTSCHWAGER

      RICHARD ARTSCHWAGER

    • BARRY LE VA

      BARRY LE VA

    • JIM NUTT

      JIM NUTT

    • EUGEN SCHÖNEBECK

      EUGEN SCHÖNEBECK

    • JORINDE VOIGT

      JORINDE VOIGT

    • RAY YOSHIDA

      RAY YOSHIDA

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