Moeller Fine Art, 7 E 60th Street, New York, NY (2026)

07/24/2025

The exceptional watercolor (𝘉𝘢𝘳𝘲𝘶𝘦 𝘈𝘨𝘢𝘪𝘯𝘴𝘵 𝘉𝘭𝘶𝘦 𝘚𝘬𝘺), 1938 by Lyonel Feininger is a striking example of the artist’s mastery of line and form. The work has been exhibited around the world from institutions in New York to Munich, Graz, Salzburg, Berlin, and Prague to name a few.

“The most beautiful landscape cannot hold my fascinated attention as much as nature by the seaside and all that is connected with water.”

–Lyonel Feininger

Pictured: Lyonel Feininger (1871-1956) | (𝘉𝘢𝘳𝘲𝘶𝘦 𝘈𝘨𝘢𝘪𝘯𝘴𝘵 𝘉𝘭𝘶𝘦 𝘚𝘬𝘺), 1938 | Watercolor and ink on paper | 6 7/8 x 9 in. (17.4 x 23 cm) | Signed lower left: 𝘍𝘦𝘪𝘯𝘪𝘯𝘨𝘦𝘳 | Dated lower right: 1938

07/17/2025

Today we celebrate 154 years since the birth of Lyonel Feininger (1871–1956) with an introspective self-portrait from 1912, 𝘓𝘦𝘰 𝘚𝘦𝘭𝘣𝘴𝘵𝘱𝘰𝘳𝘵𝘳ä𝘵 (𝘓𝘦𝘰 𝘚𝘦𝘭𝘧-𝘗𝘰𝘳𝘵𝘳𝘢𝘪𝘵).

Feininger seldom made self-portraits, which makes this depiction all the more revealing and rare. The artist meets our gaze with sharp eyes behind wire-framed glasses, his slightly furrowed brows suggesting guardedness. With quick lines, he modeled his chiseled features and wavy hair, with an errant curl that breaks this otherwise composed image of himself. Through 𝘓𝘦𝘰 𝘚𝘦𝘭𝘣𝘴𝘵𝘱𝘰𝘳𝘵𝘳ä𝘵, the artist offers a rare glimpse into his state of mind—a moment of quiet self-reflection.

Pictured: Lyonel Feininger (1871–1956) | 𝘓𝘦𝘰 𝘚𝘦𝘭𝘣𝘴𝘵𝘱𝘰𝘳𝘵𝘳ä𝘵 (𝘓𝘦𝘰 𝘚𝘦𝘭𝘧-𝘗𝘰𝘳𝘵𝘳𝘢𝘪𝘵), 1912 | Pencil on paper | 7 15/16 x 6 7/16 in. (20.2 x 16.4 cm) | Inscribed lower right in crayon by Julia Feininger | Collection Achim Moeller

06/29/2025

My friend, the artist Piero Dorazio (1927–2005), would have been ninety-eight today.

The photograph was taken by Virginia Dortch Dorazio (1925–2010) during the 34th Venice Biennale in 1968.

Piero’s daring brilliance with color and structure continues to resonate.

Photo: Virginia Dortch (all rights reserved)

06/26/2025

To coincide with the exhibition 𝘎𝘦𝘳𝘮𝘢𝘯 𝘔𝘢𝘴𝘵𝘦𝘳𝘸𝘰𝘳𝘬𝘴, opening today at Neue Galerie, we’re highlighting (𝘠𝘢𝘤𝘩𝘵𝘪𝘯𝘨 𝘰𝘯 𝘓𝘢𝘬𝘦 𝘛𝘦𝘨𝘦𝘳𝘯), c. 1910 by August Macke (1887–1914) – a striking example of the artist’s early exploration of color and modern life.

We are fortunate to have placed numerous fine works of art in both private and public collections and continue to provide expert advice to collectors, guiding them with discretion and professionalism. We welcome you to explore the viewing rooms linked in our profile, which feature a selection of works.

Pictured: August Macke (1887–1914) | (𝘠𝘢𝘤𝘩𝘵𝘪𝘯𝘨 𝘰𝘯 𝘓𝘢𝘬𝘦 𝘛𝘦𝘨𝘦𝘳𝘯), c. 1910 | Oil on cardboard and wood

06/11/2025

Today we celebrate the birthday of Theodore Lux Feininger (1910–2011), an artist whose legacy as a painter, photographer, and scholar continues to inspire. I had the honor of meeting T. Lux in 1968, at the Marlborough-Gerson Gallery, when I was appointed to manage the Lyonel Feininger Estate. Over the past 57 years, the Feininger family’s artistic legacy has remained an integral and cherished part of my life.

T. Lux was the youngest son of Lyonel and Julia Feininger. Perhaps inspired by his father, he developed an interest in drawing at an early age. By fifteen, he was experimenting with photography. From 1926 to 1929, he studied at the Bauhaus under Oskar Schlemmer, Wassily Kandinsky, Paul Klee, and László Moholy-Nagy. While there, he played banjo and clarinet in the Bauhaus Band.

In 1929, T. Lux turned to painting. Much like his father, he gravitated toward maritime themes. He was given his first solo exhibition in the U.S. at the Julien Levy Gallery in 1947. Other exhibitions followed, including at my own galleries in New York and Berlin on his eighty-fifth and one-hundredth birthdays.

After venues in Quedlinburg and Erfurt, will host 𝘛. 𝘓𝘶𝘹 𝘍𝘦𝘪𝘯𝘪𝘯𝘨𝘦𝘳: 𝘔𝘰𝘥𝘦𝘳𝘯 𝘙𝘰𝘮𝘢𝘯𝘵𝘪𝘤𝘪𝘴𝘮, highlighting eight decades of the artist's creative exploration. It will be on view June 28–October 5, 2025.

Pictured: T. Lux Feininger (1910–2011) | 𝘔𝘦𝘯𝘵𝘰𝘯𝘦, 1976 | Oil on canvas | 18 1/4 x 25 1/8 in. (46.4 x 63.8 cm) | Signed lower left / signed, dated, and titled verso // 𝘊𝘶𝘣𝘪𝘴𝘵 𝘗𝘪𝘤𝘵𝘶𝘳𝘦 (𝘋𝘦𝘥𝘪𝘤𝘢𝘵𝘦𝘥 𝘵𝘰 𝘑𝘶𝘢𝘯 𝘎𝘳𝘪𝘴), 1974 | Oil on board | 19 x 24 in. (48.3 x 61 cm) | Signed lower right / signed, dated, and titled verso

05/26/2025

Today offers time to pause and reflect. May it inspire us to honor the sacrifices of past generations, embrace resilience and peace, and look forward with hope and compassion.

Pictured: Lothar Osterburg (b. 1961) | 𝘓𝘪𝘨𝘩𝘵𝘩𝘰𝘶𝘴𝘦, 2000 | Photogravure | 19 1/8 x 22 1/4 in. (48.6 x 56.5 cm) | Signed lower right: 𝘓. 𝘖𝘴𝘵𝘦𝘳𝘣𝘶𝘳𝘨 2000 | Numbered lower left: 4/15

05/22/2025

Today, we celebrate the birthday of my dear friend, Marisol (Maria Sol Escobar, 1930–2016). A visionary Venezuelan-American artist, Marisol was a trailblazer in the 1960s New York art scene. Her life-size wooden sculptures, which blended Pop, folk, and pre-Columbian influences, defied categorization and challenged the norms of a male-dominated art world.

In a 1965 New York Times interview, Andy Warhol once praised Marisol as “the first girl artist with glamour,” a testament to her distinct presence and undeniable impact on the Pop Art movement. Art historian Carolee Schneemann observed that her influence was subtle yet powerful: "She was the female artist star of pop art, but she dramatized it in a very subdued way, through her intensely quiet manner."

On this special day, we celebrate not only her artistry but also her legacy of quiet strength and innovation. Happy birthday, Marisol!

Pictured: Marisol (1930–2016) | 𝘛𝘩𝘦 𝘍𝘢𝘮𝘪𝘭𝘺, 1957 | Crayon and graphite on paper | 14 x 9 1/2 in. (35.6 x 24.1 cm) | Signed and dated lower right: 𝘔𝘈𝘙𝘐𝘚𝘖𝘓 1957

05/21/2025

We invite you to discover a drawing that Jean-François Millet (1814–1875) made in preparation for his beautiful pastel, 𝘓𝘦 𝘔𝘰𝘪𝘴𝘴𝘰𝘯𝘯𝘦𝘶𝘳 (𝘛𝘩𝘦 𝘔𝘰𝘸𝘦𝘳), 1866–67. Millet’s biographer, Alfred Sensier, observed about this leading artist and co-founder of the Barbizon School:

𝘍𝘰𝘳 𝘔𝘪𝘭𝘭𝘦𝘵, 𝘵𝘩𝘦 𝘮𝘢𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘰𝘪𝘭 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘴 𝘵𝘩𝘦 𝘸𝘩𝘰𝘭𝘦 𝘩𝘶𝘮𝘢𝘯 𝘧𝘢𝘮𝘪𝘭𝘺; 𝘵𝘩𝘦 𝘭𝘢𝘣𝘰𝘳𝘦𝘳 𝘨𝘢𝘷𝘦 𝘩𝘪𝘮 𝘵𝘩𝘦 𝘤𝘭𝘦𝘢𝘳𝘦𝘴𝘵 𝘵𝘺𝘱𝘦 𝘰𝘧 𝘰𝘶𝘳 𝘵𝘰𝘪𝘭 𝘢𝘯𝘥 𝘰𝘶𝘳 𝘴𝘶𝘧𝘧𝘦𝘳𝘪𝘯𝘨. 𝘛𝘩𝘦 𝘱𝘦𝘢𝘴𝘢𝘯𝘵 𝘪𝘴 𝘵𝘰 𝘩𝘪𝘮...𝘵𝘩𝘦 𝘴𝘺𝘮𝘣𝘰𝘭𝘪𝘤𝘢𝘭 𝘧𝘪𝘨𝘶𝘳𝘦 𝘰𝘧 𝘩𝘶𝘮𝘢𝘯𝘪𝘵𝘺. 𝘔𝘪𝘭𝘭𝘦𝘵, 𝘩𝘰𝘸𝘦𝘷𝘦𝘳, 𝘪𝘴 𝘯𝘦𝘪𝘵𝘩𝘦𝘳 𝘢 𝘥𝘪𝘴𝘤𝘰𝘶𝘳𝘢𝘨𝘦𝘥 𝘯𝘰𝘳 𝘢 𝘴𝘢𝘥 𝘮𝘢𝘯. 𝘏𝘦 𝘪𝘴 𝘢 𝘭𝘢𝘣𝘰𝘳𝘦𝘳 𝘸𝘩𝘰 𝘭𝘰𝘷𝘦𝘴 𝘩𝘪𝘴 𝘧𝘪𝘦𝘭𝘥—𝘱𝘭𝘰𝘸𝘴, 𝘴𝘰𝘸𝘴, 𝘢𝘯𝘥 𝘳𝘦𝘢𝘱𝘴 𝘪𝘵. 𝘏𝘪𝘴 𝘧𝘪𝘦𝘭𝘥 𝘪𝘴 𝘢𝘳𝘵. 𝘏𝘪𝘴 𝘪𝘯𝘴𝘱𝘪𝘳𝘢𝘵𝘪𝘰𝘯 𝘪𝘴 𝘭𝘪𝘧𝘦, 𝘪𝘴 𝘯𝘢𝘵𝘶𝘳𝘦—𝘸𝘩𝘪𝘤𝘩 𝘩𝘦 𝘭𝘰𝘷𝘦𝘥 𝘸𝘪𝘵𝘩 𝘢𝘭𝘭 𝘩𝘪𝘴 𝘴𝘵𝘳𝘦𝘯𝘨𝘵𝘩.

Millet’s sincere depictions of peasant life stood apart from the academic style of his time and anticipated the emerging Realist movement and, with it, the beginning of modern art. His mower faces away from the viewer, his head bent toward his crop, his body taut with the effort of the harvest. Millet captured the mower’s form with swift, intuitive strokes of charcoal.

Van Gogh emulated 𝘓𝘦 𝘔𝘰𝘪𝘴𝘴𝘰𝘯𝘯𝘦𝘶𝘳 in his own study of peasant life, 𝘛𝘩𝘦 𝘙𝘦𝘢𝘱𝘦𝘳 (𝘢𝘧𝘵𝘦𝘳 𝘔𝘪𝘭𝘭𝘦𝘵), 1889. He found Millet’s work so inspiring that in the fall and winter of 1889–90 alone, he made 20 paintings after works by the elder artist. Millet's honest representations of the countryside and its residents opened the door for later artists to embrace the world around them and portray it as they saw it.

Pictured: Jean-François Millet (1814–1875) | 𝘗𝘳𝘦𝘱𝘢𝘳𝘢𝘵𝘰𝘳𝘺 𝘥𝘳𝘢𝘸𝘪𝘯𝘨 𝘧𝘰𝘳 𝘓𝘦 𝘔𝘰𝘪𝘴𝘴𝘰𝘯𝘯𝘦𝘶𝘳 (𝘛𝘩𝘦 𝘔𝘰𝘸𝘦𝘳), c. 1855 | Charcoal on paper | 12 x 8 in. (30.5 x 20.3 cm)

05/19/2025

17 May, 2025

Today marks two decades since the passing of my friend Piero Dorazio (1927–2005), an artist whose vision of color, structure, and light helped shape postwar abstraction.

In the 1950s and 60s, Piero developed a distinct abstract language of luminous color fields, structured grids, and tensile textures. His watercolors from this period tether vibrant bands of color into compositions that feel both architectural and atmospheric. Piero painted with an acute sense of beauty and color. I always found it amazing that he could be so precise and yet still retain spontaneity in his brushstrokes.

I met Piero in 1969, at his show at the Marlborough-Gerson Gallery in New York. I was immediately attracted to his work as well as his personality, full of charisma, 𝘴𝘢𝘷𝘰𝘪𝘳 𝘷𝘪𝘷𝘳𝘦, and passion. I would say that he was a kind of Renaissance man. His work remains as fresh and resonant as ever—a testament to his enduring impact as an artist.

Piero was one of my closest friends. I deeply cherished our friendship, and I am grateful for his work.

Pictured: Piero Dorazio (1927–2005) | 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 1984 | Watercolor on paper | 20 1/16 x 39 1/4 in. (51 x 99.7 cm) | Signed and dated lower right: 𝘗𝘪𝘦𝘳𝘰 𝘋𝘰𝘳𝘢𝘻𝘪𝘰 1984

05/13/2025

Today we celebrate the birthday of my friend Hollis Jeffcoat (1952–2018), a vibrant and poetic voice in American abstract expressionism.

In 1973 she began her training at the New York Studio School before moving to France in 1976 to apprentice under Joan Mitchell. She emerged as a painter attuned to the emotional undercurrents of nature. Her work often conjured birds, mangroves, and forests––not as literal forms, but as echoes of light, movement, and space as she experienced them.

"I want to take the viewer with me on this journey. At the end of a painting or when I feel there’s nothing more to change, it’s as though all the emotion that was in me is now in the painting - I’ve been relieved of it."
–Hollis Jeffcoat

Pictured:

Hollis Jeffcoat (1952–2018) | 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 1988 | Oil on canvas | 45 5/8 x 35 in. (116 x 88.9 cm) // 𝘜𝘯𝘵𝘪𝘵𝘭𝘦𝘥, 1989 | Oil on canvas | 63 9/16 x 50 15/16 in. (161.5 x 129.3) // 𝘓𝘢 𝘗𝘭𝘢𝘤𝘦 𝘥𝘦𝘴 𝘝𝘰𝘴𝘨𝘦𝘴 𝘐𝘐, 1987 | Oil on linen | 57 1/4 x 44 3/4 in. (145.5 x 113.5 cm)

05/12/2025

Mothers are important every day—not just on Mother’s Day. This tender watercolor by Emil Nolde (1867–1956) captures the quiet strength and deep connection between mother and child. A timeless reminder of the love and resilience mothers bring into the world.

Pictured: Emil Nolde (1867–1956) | 𝘔𝘰𝘵𝘩𝘦𝘳 𝘢𝘯𝘥 𝘊𝘩𝘪𝘭𝘥, c. 1925–30 | Charcoal, crayon, and watercolor on paper | 16 1/4 x 13 1/2 in. (41.3 x 34.3 cm) | Signed lower left: 𝘕𝘰𝘭𝘥𝘦

05/06/2025

Today we celebrate the 145th birthday of Ernst Ludwig Kirchner (1880–1938), a founding member of Die Brücke and a pioneer of German Expressionism.

His vivid, emotionally charged style captured the pulse of modern life—especially in Berlin, where, as he wrote, colors gleamed “as if seen through a nacreous mist.” In 𝘞𝘦𝘪𝘣𝘭𝘪𝘤𝘩𝘦𝘳 𝘈𝘬𝘵 𝘪𝘮 𝘙𝘢𝘶𝘮 of c. 1914, Kirchner reflects both the sensuality and the mounting unease of a world on the brink of war.

Pictured:

Ernst Ludwig Kirchner (1880–1938) | 𝘞𝘦𝘪𝘣𝘭𝘪𝘤𝘩𝘦𝘳 𝘈𝘬𝘵 𝘪𝘮 𝘙𝘢𝘶𝘮, c. 1914 | Watercolor and gouache and pencil | 21 7/8 x 15 5/8 in. (55.7 x 39.6 cm)

Moeller Fine Art

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