Provenance

Mr. and Mrs. Burton G. Tremaine, Sr.

Tremaine, Burton G. and Emily Hall

American, he: 1902 - 1991; she: 1908 - 1987

Explore selected works

See all 56 works of art
This painting shows a grid of sixteen faint, light gray squares arranged across the canvas. The squares feature subtle variations in texture and shading, with visible brushstrokes resembling wood grain.
Mary Corse, Untitled, 1971, glass microspheres in acrylic on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1977.75.1

Untitled

Mary Corse · 1971 · glass microspheres in acrylic on canvas ·  Accession ID  1977.75.1

In this painting, vertical lines of varying color and thickness have been painted on the center-left side of a light-colored canvas. The stripes are deep blue-green, brown, vivid orange, dark blue, bright yellow, dark red, light green, purple, and dark green. These stripes have been painted next to one another with no space in between. They stretch in straight lines from the bottom of the canvas almost to the top, with a small gap in between. Blank, off-white canvas is visible on either side of this group of lines, with more space on the left than on the right. The lines are mostly straight, although there are some small areas of imperfection where the colors slightly overlap or blend together.
Morris Louis, 1-33, 1962, acrylic on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1976.64.1

1-33

Morris Louis · 1962 · acrylic on canvas ·  Accession ID  1976.64.1

This vertical painting imitates the front page of a newspaper, with mostly black text in different sizes against a white background. The bottom two-thirds is dominated by a black and white photograph of a woman and three lines of a single, large headline. To our left, the narrow, vertical portrait shows a smiling woman looking off to our left from the corners of her eyes. She has prominent, arching eyebrows and wears a white, possibly fuzzy hat over dark hair. The background behind her is charcoal gray. The largest text on the page fills the space next to her, to our right. It reads, “A BOY FOR MEG” in slanted letters. Under her portrait is the caption, “See Page 3” in small text. Moving to the top third of the painting: at the top left is a square portrait showing just the face of a man wearing a fedora, done in sky and royal blue. The caption under the portrait reads, “In the Magazine.” The headline that runs next to it has white text against ocean blue, and it reads, “Sinatra and his ‘Rat Pack’ TODAY: The Leader Himself (Con’t).” In the horizontal zone beneath the blue banner and above the portrait and headline about Meg, the title of the newspaper is the “New York Post.” To the left, a box reads, “WEATHER Fog tonight. in the 60s. Tomorrow: cloudy and warm, chance of showers.” In a box under the newspaper name, it reads, “NEW YORK, FRIDAY, NOVEMBER 3, 1961 10 Cents.” A secondary headline, to our right, reads, “LATEST STOCK PRICES Pages 85-88.”
Andy Warhol, A Boy for Meg, 1962, oil and egg emulsion on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1971.87.11

A Boy for Meg

Andy Warhol · 1962 · oil and egg emulsion on canvas ·  Accession ID  1971.87.11

I. Rice Pereira, Transfluent Lines, 1946, mixed media on corrugated glass and fiberboard, Gift of Mr. and Mrs. Burton Tremaine, 1973.71.2

Transfluent Lines

I. Rice Pereira · 1946 · mixed media on corrugated glass and fiberboard ·  Accession ID  1973.71.2

In this painting, bold black lines intersect to form angular shapes against a vivid blue background. White and black lines radiate from the center, resembling beams or rays. There is a large section of gray below the blue section, and between those sections are triangles of bright yellow. Two large, gray shapes on the left stand out against the blocks of color.
Ralston Crawford, Lights in an Aircraft Plant, 1945, oil on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1971.87.1

Lights in an Aircraft Plant

Ralston Crawford · 1945 · oil on canvas ·  Accession ID  1971.87.1

This abstract painting displays a variety of geometric shapes and diagonal lines. There are triangles and circles in turquoise, yellow, and light green. These shapes stand out against other areas of gray that include small dots of blue, red, and yellow. These colors have been blended into the gray, giving the impression of motion. At the top of the painting is a black oval with the outline of two arrows, one pointing up and one pointing down.
Matta, Genesis, 1942, oil on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1971.87.6

Genesis

Matta · 1942 · oil on canvas ·  Accession ID  1971.87.6

The sculpture features stylized human figures walking within a rectangular frame. The figures have elongated limbs and no distinct facial features, capturing a sense of movement. The sculpture is made of bronze and mounted on a solid, textured base. The design is abstract, with the figures resembling drawings brought into three-dimensional form, suggesting a playful interaction between the figures and the boundary of the frame.
Mary Callery, Amity, 1947, bronze, Gift of Mr. and Mrs. Burton Tremaine, 1977.75.7

Amity

Mary Callery · 1947 · bronze ·  Accession ID  1977.75.7

The image depicts a frontal drawing of a person with a slightly left inclination. The person has facial hair, a calm expression, visible eyes, and a high forehead. The hair is curly and sparse on top. They wear a dark, textured jacket that merges into a plain, light-colored background. There is no visible jewelry or objects held.
Auguste Renoir, Paul Cezanne, 1902, lithograph, Gift of Mr. and Mrs. Burton Tremaine, 1971.86.34

Paul Cezanne

Auguste Renoir · 1902 · lithograph ·  Accession ID  1971.86.34

The image shows a wooden dresser with ornate carvings against a floral wallpaper background. The color palette includes rich browns and reddish-browns for the wood, and muted greens, reds, and creams for the wallpaper. The dresser is centrally positioned, with floral motifs surrounding it, while the wood’s grain and details are prominently displayed in the middle section of the image.
Enrico Baj, Furniture Style, 1961, collage on tapestry, Gift of Mr. and Mrs. Burton Tremaine, 1969.13.1

Furniture Style

Enrico Baj · 1961 · collage on tapestry ·  Accession ID  1969.13.1

Bold black brushstrokes form vertical and diagonal lines on the canvas, with hues of orange and light gray in the background. Thicker vertical lines on the top half resemble trunks or structures, while the cross and bend at the bottom suggest an abstract shape. A splash of yellow near the center adds brightness to the composition.
Hans Hartung, Composition, 1952, oil on canvas, Gift of Mr. and Mrs. Burton Tremaine, 1971.87.3

Composition

Hans Hartung · 1952 · oil on canvas ·  Accession ID  1971.87.3

Bibliography

1947

  • Louchheim, Aline B. "Abstraction on the Assembly Line." Art News (December 1947): 25-26, 51-53.

1948

  • Painting Toward Architecture: The Miller Company Collection of Abstract Art. New York, 1948.

  • "Art for Architecture's Sake." Interiors and Industrial Design CVII, no. 7 (February 1948): 76-81, 151-153.

1988

  • Glueck, Grace. "Emily Hall Tremaine, Designer and Collector, Dies." The New York Times (17 December 1988):