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Lincoln Glenn

Contact information, map and directions, contact form, opening hours, services, ratings, photos, videos and announcements from Lincoln Glenn, Art Gallery, 542 West 24th Street, New York, NY.

Lincoln Glenn Gallery presents American art from the 19th through late 20th centuries, with a focus on Abstract Expressionism and Color Field painting, and the artists who shaped these movements.

08/30/2026

Game, set, match! The U.S. Open has officially begun 🎾

In honor of the annual championship, we’re looking back at Frederick Macmonnies’ portrait of Marion Jones Farquhar, the first American woman to win a medal at the Olympic Games.

On July 9, 1900 during the Paris Summer Olympics, Jones won two bronze medals in tennis: one for the ladies’ singles event, and one for the mixed doubles event. Jones also won the U.S. women’s title twice, in 1899 and 1902, and the U.S. mixed doubles title in 1901. Jones was also the first non-British woman to ever play at Wimbledon, where she reached the quarter-finals in the 1900 ladies’ singles.

Artwork shown: Frederick William Macmonnies, “Marion Jones Farquhar,” 1905-11, oil on canvas, 24 x 20 inches

08/28/2026

Farewell, summer 🌅

As summer begins to wind down, explore a selection of works that capture the season's light, color, landscapes, and leisure. Whether recalling days spent by the water or the quiet hum of drawling afternoons, these works let you linger in the sun a little while longer.

Learn more and view additional works at the link in bio 🔗
DM for inquiry

Artworks shown:
Dennis Sheehan, “Sunset on the Marsh, Summer,” circa 2025, oil on canvas, 20 x 30 inches
Wolf Kahn, “Summer Studio,” 2012, pastel on paper, 9 x 11 ½ inches
Phillip Little, “Summer Pastoral, New England,” 1911, oil on canvas, 26 ¾ x 32 ½ inches
George Segal, “Summer Porch, Provincetown,” 1956, oil on canvas, 48 x 71 inches
Ernest Lawson, “Cheyenne Mountain (Summer in Colorado),” circa 1927-30, oil on canvas, 12 x 16 inches

08/26/2026

Did you know dachshunds have long been beloved subjects and companions in the history of art? 🐕

From the studio to the canvas, dogs have shared the lives of some of art history’s most celebrated artists. David Hockney’s dachshunds, Stanley and Boodgie, were his constant companions, inspiring 40 portraits between 1993 and 1995. Pablo Picasso’s dachshund, Lump, was a permanent fixture in his life and became a featured subject in his art. Andy Warhol had two dachshunds, Archie and later Amos; Archie was featured in his “Dogs” series in 1976. Pierre Bonnard’s dachshund, Ubu, frequently appeared in his domestic scenes. And in 1912, Italian Futurist Giacomo Balla captured the rapid movement of a dachshund in his famous “Dinamismo di un cane al guinzaglio (Dynamism of a Dog on a Leash).”

Check out these artists who loved the dachshund, as subject and companion ~ and swipe to see the gallery’s own favorite four-legged friend 🐾

📷:
1. David Hockney and his dachshunds, photo by Richard Schmitt, 1995
2. Pablo Picasso and Lump, photography by David Douglas Duncan
3. Andy Warhol with his dachshund Archie in 1973. © Jack Mitchell
4. Pierre Bonnard, “Fruit and Fruit Dishes,” 1930, oil on canvas, 23 9/16 x 27 ⅝ inches, © Artists Rights Society (ARS), New York. Collection of the Cleveland Museum of Art
5. Giacomo Balla, “Dinamismo di un cane al guinzaglio (Dynamism of a Dog on a Leash),” 1912, oil on canvas, 35 ⅜ x 43 ¼ inches, Collection of Buffalo AKG Art Museum, © Artists Rights Society (ARS), New York / SIAE, Rome
6. Wiggins mid-stretch, with De Cost Smith’s “Pack Horse Rose Bud Agency, South Dakota,” 1902, oil on panel, 11 ½ x 15 ½ inches

08/24/2026

In honor of American Artist Appreciation Month, we’re highlighting Robert Indiana, known for his iconic LOVE imagery and role in shaping American Pop Art. ❤️

Working across painting, sculpture, and printmaking, Robert Indiana (1928-2018) developed a visual vocabulary rooted in bold typography, graphic clarity, and the symbolism of American culture. In 1956, two years after moving to New York, Indiana met Ellsworth Kelly, and upon his recommendation, moved to Coenties Slip, a street at the southeastern edge of Manhattan where artists occupied former sailmaking and industrial lofts.

Like other artists in the neighborhood, Indiana scavenged the area for materials, eventually discovering 19th-century brass stencils. Their forms would become an important part of his visual vocabulary, inspiring the brightly colored numbers and words that became central to his work. Through strong color contrasts and crisp geometric forms, Indiana transformed familiar language into visual icons.

This poster for the exhibition “American Art since 1960” at the Princeton University Art Museum marked the first public appearance of another iconic image: Indiana’s ART design. Indiana created the poster and the catalogue cover for the exhibition, a survey of American art of the 1960s that brought together 40 artists, including Indiana himself.

Swipe to see the preparatory sketch for the poster; DM for inquiry.

📷:
1. Indiana’s design for the poster for the exhibition American Art Since 1960 at Princeton University Art Museum, Princeton, N.J., May 1970
2. Robert Indiana, Preparatory drawing for "American Art since 1960", 1970, colored pencil on paper, 11 x 8 1/2 inches
3. Poster for American Art since 1960, 1970. Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY
4. Robert Indiana, “ART,” 1970, oil on canvas, 24 × 24 in. (61 × 61 cm). Photo: Courtesy of Christie’s, New York; Artwork: © The Robert Indiana Legacy Initiative/Artists Rights Society (ARS), NY
5. Reproduction from original negative/ Hans Namuth Archive, Center for Creative Photography © Hans Namuth Estate

08/20/2026

On view in “Making Space” through August 22: “Semiotic 91-C” by Ida Kohlmeyer 🔶

Ida Kohlmeyer (1912-1997) began her career unusually late. In her late thirties and searching for purpose while raising a family, she received her MFA at Tulane University in New Orleans in 1956. Shortly after, she found a new language in abstraction.

A summer spent studying with Hans Hofmann in Provincetown, along with an encounter with Mark Rothko while he was a visiting artist at Tulane University and had established a studio at her family home in New Orleans, proved formative for Kohlmeyer’s artistic career. By the 1970s, Kohlmeyer developed a visual vocabulary of symbols, hieroglyphs, and shapes. Inspired in part by her admiration for Joan Miró, she often arranged these forms in grid-like patterns, as seen in “Semiotic 91-C”. These recurring forms became a personal language that she continued to explore in painting and sculpture throughout her career.

In Kohlmeyer’s own words, making art was a “compulsion, a withdrawal from much that is pleasurable in life, a need to work, for which no other activity can substitute, and a constant search for self.”

Swipe for some details. DM for inquiry.

Artwork shown: Ida Kohlmeyer, “Semiotic 91-C,” 1991, mixed media on canvas, 78 x 52 ¾ inches

08/19/2026

“A Bit of Stonington” by John Marin 🦞

John Marin (1870-1953) is widely regarded as one of the foremost innovators of watercolor in early twentieth-century American art. Working at the intersection of representation and abstraction, he developed a highly personal visual language that combined expressive brushwork with an experimental approach to form and space.

In the summer of 1922, Marin took his family to Stonington, a small village on Deer Isle, Maine, that became an important subject for him. He wrote of Stonington: “this place of mine, a village, where clustered about you can see if you look dream houses of a purity of whiteness, of a loveliness of proportion, of a sparingness of sensitive detail, rising up out of the greenest of grass sward.” In this watercolor, Marin brings together different components of the coastal landscape within a pictorial space. The painting shows Main Street’s mixed-use buildings, including the market J. A. Gott at 15 Main Street, a one-stop shop for everything from produce to appliances.

Swipe for details; DM for inquiry.

Artwork shown: John Marin, “A Bit of Stonington,” 1926, watercolor and charcoal on paper, 13 ¾ x 17 inches

08/18/2026

Opening September 10 | Sherron Francis: Beyond the Stain

Learn more: https://bit.ly/4gBHNGu

Sherron Francis: Beyond the Stain brings together nine paintings created between 1977 and 1983 by the acclaimed Color Field and Lyrical Abstraction painter Sherron Francis. On view through October 24, this remarkable group of works showcase a pivotal period of the artist's career, when she expanded the language of stain painting through increasingly complex surfaces, textures, and material experimentation. The exhibition includes White Shade of Pale, Pete's Neck, Fogbank, Zelda's Veldt, Doubling, and a selection of monumental untitled canvases dating primarily from 1979.

By the late 1970s, Francis had already achieved notable success within New York's art world. After exhibiting at the 1973 Whitney Biennial and receiving a pair of solo exhibitions at the legendary André Emmerich Gallery, she emerged as one of the most compelling voices among a generation of painters who revitalized abstraction in the wake of Abstract Expressionism. Critics praised her ability to create paintings that were simultaneously delicate and powerful, filled with subtle chromatic shifts and luminous atmospheric effects. Her work attracted collectors including Helen Frankenthaler and Clement Greenberg and was exhibited alongside many of the leading artists of the era.

The paintings in Beyond the Stain reveal Francis at a moment of transformation. While maintaining the radiant color relationships that distinguished her earlier stain paintings, she began incorporating acrylic gels, mixed media, and increasingly tactile surfaces. Forms become less defined and more elusive, emerging from layers of pigment that seem suspended within the canvas. Veils of pale lavender, rose, blue, ivory, and gold dissolve into one another, creating compositions that evoke weather, light, landscape, and memory without ever settling into representation.

The exhibition opens on September 10 with an opening reception from 6-8pm at 542 West 24th Street.

📷: Sherron Francis, “Fogbank,” 1979, acrylic and mixed media on canvas, 40 ½ x 23 inches

08/15/2026

ARTWORK HIGHLIGHT | Lynne Drexler, “Raked Off,” 1989, oil on canvas, 36 x 31 inches

Lynne Drexler (1928–1999) found her own language within Abstract Expressionism, combining Hans Hofmann’s lessons in color with her love of nature and music.

Born in Newport News, Virginia, Drexler began her study of art as a child. After attending the College of William and Mary, she became interested in contemporary art. In 1956, she moved to New York, where she immersed herself in the world of Abstract Expressionism, studying with Hofmann and Robert Motherwell. In 1983, Drexler moved permanently to Monhegan Island, Maine, which had a small summer art colony. There, the landscape and rhythms of island life influenced her artistic career. In this painting, a rake rests beside a vase of flowers: ordinary details transformed into Drexler’s vibrant, rhythmic arrangements of color and pattern. Her distinctive “blossoms” of color bring the everyday into the realm of abstraction.

Swipe for details. DM for inquiry.

08/14/2026

Last call for Making Space: American Women Artists and the Century of Change 🖼️

Bella Clemente, Marketing & Research Associate at Lincoln Glenn Gallery, shares some highlights of the show. The exhibition features over 25 works by artists who played key roles in pioneering major art movements of the 20th century. From abstraction and figuration to feminist and self-taught practices, “Making Space” highlights artists who helped shape the story of American art, including Mercedes Matter, Lynda Benglis, Lee Bontecou, Ida Kohlmeyer, Louise Nevelson, Virginia Berresford, Harmony Hammond, Diana Kurz, Joann Gedney, and Jane Freilicher.

See the exhibition before it closes August 22, open Tuesday through Saturday, 10am to 6pm.

08/12/2026

Sailboats and beach-goers set the scene in “The Beach, August 12” by Nathan Hoffman 🐚

This painting from August 12, 1947 was made over 80 years ago. Capturing the atmosphere of a summer day along New York’s coast, Hoffman frequently painted in Brooklyn at Brighton Beach, Coney Island, and elsewhere in New York City. Many of these works are small in size, perhaps hinting at being painted en-plein-air.

DM for inquiry.

Artwork shown: Nathan Hoffman, “The Beach, August 12,” 1947, oil on artist’s board, 16 x 20 inches

Address

542 West 24th Street
New York, NY
10011

Opening Hours

Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	12pm - 6pm

Telephone

+16467649065

Website

https://www.lincolnglenn.com/, https://linktr.ee/lincolnglenngallery

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