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.
Milton ResnickBiography of the Artist
(1917 - 2004)
Oil on canvas
51 x 49 inches
Signed center, 1959
Private Collection, IL
(1917 - 2004)
Milton Resnick and Willem de Kooning met in 1938 and became close friends. By 1946, they were actively exchanging artistic ideas. They would debate the importance of drawing verus painting or discuss the salient critique by Arshile Gorky of the eyes in Willem’s figure painting, and how they should be removed. As a leading member of the Abstract Expressionist movement and “Club” member, Milton Resnick was able to develop his own artistic sensibilities using the dialogue within these forums as a means of theorizing about and critiquing his own work. The process of painting was much more personal than it had been in earlier decades. Artists painted the reflections of their belief structure, in essence their souls. Resnick, like many other artists, came to desire an “overall quality for his pictures”. He wanted to make paintings which had no specific focus, where one part of the canvas was not more important than another. “There is no eccentricity in the way I paint….I have processes. It is when I pull the brush across that I look for a painting. What I like is for a painting to act in many different directions at once, so strongly, that it will shatter itself and open up a small crack, which will suck the world in.” (Resnick, 2006) It was in the early 1960’s, after more than a full decade of painting, that Resnick found his niche. He had become obsessed with the viscosity of the paint, the fervor of total detachment of the recognizable, and the transient ability of sustaining snapshots of utter honesty within a work. With a new artistic impetus in movement, Resnick began creating a series of virtually monochromatic paintings which incorporated his invention of the wax-impregnated board and could hold almost double the amount of paint than that of the average canvas and stretcher. These monochromatic, heavily laden paintings provided only a glimpse or “key” of contrasting color; an ode to Resnick’s artistic premise. Resnick’s work is in included in the permanent collections of numerous museums including the National Gallery, the Whitney, and the Smithsonian.