Alfredo PinaTorse D'AdolescentSigned behind left leg: A. Pina; Identified on base plaque: TORSE D'ADOLESCENT / PAR A. PINABronze44 1/2 H x 16 W inches- Frederic Porter VintonPortrait with Yellow Shawl and Fan, Circa 1880sIdentified on fragmentary labels on versoOil on canvas30 x 24 inches
Framed: 40 1/2 x 34 1/2 inches - Alfred Emile Leopold StevensTous les Bonheurs, 1880Signed and dated lower right: A. Stevens '80Oil on canvas44 1/2 x 33 1/2 inches
Framed: 54 3/4 x 43 3/4 inchesAccompanied by a letter of authenticity from William A. Coles, dated June 15, 1989 - Emile-René MénardBaigneuse au CrépusculeSigned lower rightOil on board10 1/2 x 14 3/8 inches
Framed: 17 3/4 x 21 3/4 inches - Joseph MozierSpring, 1869Signed and dated: J. Mozier. Sc: Rome 1869White marble31 1/2 H x 17 1/2 W inches
70 1/2 inches total height with base - Albert WeinNuage, 1969Carved Carrara Marble
Mounted on a Black Marble base10 1/2 H x 10 1/2 W x 4 3/8 D inchesUnique piece
Overview
Taylor | Graham once again joins a group of seventeen extraordinary Upper East Side dealers to participate in October Art Week. A walkabout reception will be held at the gallery building from 5-9 PM on October 25th. Visitors will also have the chance to explore neighbor galleries Didier Aaron and Hammer Galleries.
Posture & Posing
For any sculptor or painter, choosing a subject is often the first step in the process of creating a work of art. However, as an artist goes to execute a composition, his or her overriding concentration is on the pose. The artist concentrates on posture, movement, and the rhythm of how the piece lays out. These same attributes determine how we as viewers react to the finished work of art. It is in this context that we realize how critical the tilt of a head, height of an arm, or position of a leg can be—one slight quarter-inch shift in placement can make all the difference.