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From the Collection:Selected Works

The Isaac Bell of the Old Dominion Steamship CompanyOil on canvas, 1876; H. 22 inches, W. 36 inches. Photo: Dave Chance Photography

The Isaac Bell of the Old Dominion Steamship Company
Antonio Nicolo Gasparo Jacobsen (Danish-American, 1850-1921)

This early work by the fashionable marine painter Antonio Jacobsen portrays the Isaac Bell, a large a side-paddle steamer owned by the Old Dominion Steamship Company, braving a rough sea off the coast of Sandy Hook. The pilot schooner No. 16 Christian Bergh approaches in the distance, ready to guide her into New York harbor. The painting was commissioned in 1876, after the Isaac Bell was renovated to accommodate an increased demand in transportation by Southern travelers to the Centennial Exposition in Philadelphia.


Girl Carrying DollOil on canvas, 1908-1915; H. 24.25 inches; W. 20.25 inches. Photo: Dave Chance Photography

Girl Carrying Doll
George Luks (American, 1867-1933)

A first generation immigrant, George Luks became a leading mind of the Ashcan school of artists, a loosely formed Social Realist movement intent on truthfully capturing contemporary urban realities. Luks' work often focused on the laborers living in the slums of Manhattan's Lower East Side. Of special interest to him were the "Little Mothers" of the city's ghettos, very young girls left by their laboring parents to care for their baby siblings. Girl Carrying a Doll both references the innocence of childhood as well as a time in American history when little girls shouldered adult responsibilities.


The Cagnes Road, VenceOil on panel, about 1926; H. 18.12 inches; W. 14.62 inches. Photo: Dave Chance Photography

The Cagnes Road, Vence
Marsden Hartley (American, 1877-1943)

Beginning around 1910 through the 1940s, American painters replaced colors found in nature with a palette that expressed personal feelings and imagination. Marsden Hartley's painting, from circa 1926, summarizes the mood of the winding road in Vence leading to Cagnes in Southern France, rendering the tonality of the forest opening to farmland in muted tones. The barely contained dynamism of this scene is characteristic of Hartley's later period: while still representational, the work explores an abstracted view of the world that owes much to both Matisse and Cézanne.


The KissKiln-cast glass, 1963; H. 6.25 inches; W. 5.75 inches; D. 3 inches. Photo: Dave Chance Photography

The Kiss
Jaroslava Brychtová (Czech, b. 1924),
Stanislav Libenský, (Czech, 1922-2002)

The Kiss represents one of the early collaborations between Libenský and Brychtová, who successfully take advantage of the optical qualities of glass, along with negative space, to create the illusion of a couple caught in an embrace. The sculpture is a seminal work of their illustrious careers, cast the same year Libenský was named Professor of Glass at the Academy of Applied Arts in Prague and he and Brychtová married.


Flight ScriberWater-based acrylic on canvas, 1990. Photo: Dave Chance Photography

Flight Scriber
Jules Olitski (American, 1922-2007)

Often associated with the Color Field painters and Post-Painterly Abstraction, Russian-born Olitski differentiated himself from these schools in his commitment to the tactile and the painterly in the face of impersonal and "cool" abstract painting. In the 1980s, Olitski's surfaces became increasingly physical and substantial. By smearing paint onto canvas with a gloved hand, as in Flight Scriber, he created thick, sweeping impasto paintings that in many cases bordered on relief.


Finestre No. 9 (Coda di Pavone) VaseBlown glass canes, 2007; H. 9 inches; W. 5.5 inches; D. 5.62 inches. Photo: Dave Chance Photography

Finestre No. 9 (Coda di Pavone) Vase
Yoichi Ohira (Japanese, born 1946)
Executed in Murano, Italy, by Maestros Andrea Zilio and Giacomo Barbini

Ohira, educated in Japan, moved to Venice in 1973 to study at the Accademia di Belle Arti and has since collaborated with some of the most accomplished Venetian glass masters. This lobed vessel allows views through a window (Italian: finestre), cut into the densely colored design of its exterior by Mastro Giacomo Barbini, to reveal patterns resembling peacock feathers. The object combines the restrained design sensibility of his native Japan with the sophisticated patterning imparted by complex Venetian glass canes.


Malaria (Series 2)Flame-worked borosilicate glass; 2015; H. 10.25 inches; W. 17.75 inches; D. 6.75 inches. Photo: Dave Chance Photography

Malaria (Series 2)
Luke Jerram (British, born 1974)

This spiky, transparent sculpture represents the Malaria parasite (Plasmodium falciparum Merozoite) before it has entered a human red blood cell. The artist, who is colorblind, was drawn to the true visual properties of viruses. He says, "For me the transparent and colorless glassworks consider how the artificial coloring of scientific microbiological imagery affects our understanding of these phenomena. By extracting the color from the imagery and creating jewel-like beautiful sculptures in glass, a complex tension arises between the artworks' beauty and what they represent..."


Orange Cylinder SegmentationOptical glass, cast, cut, laminated, carved and ground by hand, 2017; H. 5.7 inches, Diam. 11.5 inches. Photo: The artist

Orange Cylinder Segmentation
Jiyong Lee (South-Korean, born 1971)

The object is part of the Segmentation Series, Jiyong Lee's subtle yet structurally complex sculptures inspired by the process of gel electrophoresis-a method for the separation and analysis of macromolecules, such as DNA, RNA and proteins. The artist received the 2017 Gold Medal (Bayerischer Staatspreis) in Germany for this work.