Levis Fine Art, Inc. specializes in the identification, acquisition, scholarship, exhibition and sale of Pre and Post-War modernist paintings and sculpture.
We pride ourselves in offering the finest examples by artists who were highly respected by their peers and museums, but are for the most part still relatively unknown to most collectors today. The reasons for their undeserved obscurity are diverse, and as such allow us to present significant opportunities for a wide range of collectors and museums.
As a third generation art collector, co- founder of the Fortress Corporation (the nation’s largest fine art storage and management services firm serving over 100 Museums and 6000 collectors and galleries) and owner of Levis Fine Art, Inc., Jim Levis has had the pleasure of working with collectors, corporations, artists’ estates and museums in the US and abroad for over 40 years.
Our inventory of art by these artists includes the best works of Nassos Daphnis, Dorothy Dehner, Beauford Delaney, Burgoyne Diller, George Grosz, Grace Hartigan, Budd Hopkins, Paul Jenkins, Elaine de Kooning, Ibram Lassaw, De Hirsch Margules, Milton Resnick, Jose de Rivera, James Rosati, Rolph Scarlett, Leon Polk Smith, Hedda Sterne, Yvonne Thomas, Mark Tobey Albert Wein, William Zorach, Marguerite Zorach and Francisco Zuniga.
We are proud to exhibit their art along side their highly visible peers including Alice Neel, Willem de Kooning, Milton Avery, Louise Bourgeois, Alexander Archipenko, Thomas Hart Benton, Kenneth Noland and Sam Francis.
Levis Fine Art takes pride in presenting works directly from the estates and/or families of Beauford Delaney, Maurice Golubov, Budd Hopkins and Elaine de Kooning. We have some of the finest works from their best periods. We have won the confidence of our consignors by demonstrating integrity in our frequent and open communication, transaction reporting and prompt payment. We have won the confidence of our clients who look to us for best examples in the best condition at a fair value.
Levis Fine Art has mounted or been instrumental in organizing several exhibitions over the past 10 years, including the 2008 retrospective on Albert Wein, N.A. at the Boston Athenaeum, and several exhibitions at it’s gallery in 2009 and 2010 and 2011 including: “The Fourth Dimension-the genius of Maurice Golubov”, “de Kooning -works by Willem de Kooning and Elaine de Kooning”, and “Form and Figure- Avery through Zuniga”. Jim Levis has authored numerous articles on mid-century modern art.
Levis Fine Art has participated in numerous national fine art fairs including Art20 New York, USArtists in Philadelphia, The Boston Fine Art Fair and The Los Angeles Fine Art Fair. Mr. Levis has been a speaker before museum groups and the World Presidents Organization, and is a member of the Chief Executives Organization.
Whether you’re interested in acquiring one painting or building a collection, we strive to make sure that each acquisition is not only visually and emotionally rewarding for you, but also can be viewed as an intelligent “wealth-preservation” asset.
Please view our website to get a glimpse of some of the artist’s works we currently have available. All works shown are subject to prior sale. We look forward to working with you in the near future. We operate by appointment only, so please call at 914-762-4880 or email us to schedule a viewing.
Hedda SterneBiography of the Artist
Acrylic on canvas
The entire body of Hedda Sterne’s work has been completely overlooked in the art historical narrative of the mid-20th century, especially considering her prominent placement as the only female member in the rebel group, “The Irascibles”. The year 1941 was a landmark year for Sterne as her move to New York was overshadowed by her inclusion in the Art of This Century exhibition, funded by Peggy Guggenheim. It was here where notable dealer Betty Parsons discovered Sterne’s work and gave her a solo exhibition at the Betty Parsons Gallery in 1943 and it was for this exhibition that Sterne first presented her use of circular canvases to create the Tondo Series. These tondos are mounted on a central axis so the viewer can turn them at will to gain varying perspectives. A pioneer in her use of both medium and form, Sterne used the tondo throughout the balance of her career. Similar to Pollock, Sterne was also recognized for her divergence from using mediums and forms contemporaneous with the times. The theme of Sterne’s works during the 1940’s and 1950’s was essentially machine-based, whether their nature was Surrealist or completely abstract. Some of her works, including New York Apt. #5, 1955, shown here, arepart of her New York series. Depicted in this series are “hurtling trains, derricks, and bridges as though they were looming monsters, in an attempt to portray the pace and power of the big city”. Both Pollock and his “drip” and Sterne and her spray paint had a unique relationship with their mediums; the precision of their objectives set the terms upon which their deliverance was so successful. Sterne’s use of acrylic spray paint allowed her to echo speed and motion while also discovering that illusion of depth could be achieved without the use of perspective. It was also during this time period that she became associated with the New York School, and as a result began using more primary and muted colors. As a result Sterne is also well-known for her semi-abstract cityscapes, and non-objective paintings with horizontal bands and stripes of color, as shown here. Sterne was primarily interested in the desire for invisibility and abandonment of self, in her work, in exchange for receptivity to her environment. While Sterne constantly changed her styles and techniques, regardless of the positive reviews she received, her resistance to imposing any kind of personal identity upon her work was an idea which contrasted sharply with her contemporaries and a desire which ultimately buried her successes as they came along. Sterne’s work is represented in the permanent collections of numerous museums including the Whitney, Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. Her work is seldom available.