Iconic works and intimate reflections, in the season that softens the city.

There’s a reason so many love stories are set in New York in the fall. Think of Meg Ryan and Billy Crystal strolling through a tree-lined path in When Harry Met Sally (1989), or Richard Gere and Winona Ryder wrapped in the fading light of Autumn in New York (2000). Central Park ablaze with colour, a scarf tugged tighter, a pause in conversation. These scenes live in our collective memory, not just because they’re romantic, but because they capture something real: how autumn softens the city, slows it, lets us see it - and each other - differently.

Meg Ryan and Billy Crystal in a scene from Rob Reiner's "When Harry Met Sally" (1989)

We took a walk, too.

Through subway stations, city icons and hidden walls, we followed a path shaped by three artists who have helped define the visual identity of New York: Alex Katz (b. 1927), Robert Indiana (1928 - 2018) and Peter Halley (b. 1953) . Their large-scale works are woven into the city’s architecture, but echoes of these monumental works are also available in collectible form, in editions that bring warmth, clarity, and emotional stillness into interior spaces. This is not just a walk through New York, it’s a walk through the day itself: morning, midday, afternoon, twilight... Each moment shifting with the light, each artwork offering a reflection of something fleeting and essential.

Discover the Collection:

The day begins underground. At the 57th Street station, while the city is in motion, Alex Katz gives us pause. His Metropolitan Faces murals (2019) lines the platform: large, calm portraits that seem to float above the clatter. A quiet counterpoint to the rhythm of the trains. Above ground, the sun filters through amber leaves.

That same quiet gaze lives in Katz’s portrait editions. In a domestic space, they radiate emotional presence: warm, comforting, essential. Works for interiors and inner worlds, companions to candlelight and the first sip of wine.

Metropolitan Faces
57th Street station, IND Sixth Avenue Line, New York City Subway

2019

By midday, the light is colder, clearer, reflected in steel and concrete. On Sixth Avenue, Robert Indiana’s HOPE sculpture (2014) stands firm. Familiar and bold, it draws people in, an invitation in bright red geometry. Amid the business-district pace, it holds a strangely personal presence.

Indiana’s language of love and hope, once monumental, feels intimate when scaled down, woven into fabric, softened into tapestry. It becomes less about the city, and more about the home. Less a landmark, more a companion.

Late afternoon, and the light begins to slant. At NYU’s Gallatin School, Peter Halley’s digital mural pulses in colour and form. His abstract splashes of colour, "cells" and "conduits" hum with controlled chaos, like a visual map of the city’s nervous system.

Halley’s works at home create a similar rhythm: structured, dynamic, alive. These editions echo the architecture of energy. They become a kind of visual architecture themselves, balancing the city’s pulse with domestic calm.

Like the last scene in a favorite film, the day lingers in memory: flickering, golden, just before the credits roll. And just as Autumn in New York (2000) leaves us with that aching mix of beauty and transience, so too does this season in the city.

The art we walked through, like the light itself, doesn’t ask for attention: it rewards those who pause, look closely, and let themselves feel.

If one of the pieces spoke to you, or if you'd like to see these pieces up close, we’d be happy to arrange a quiet moment just for you.

Richard Gere and Winona Ryder in a scene from Allison Burnett's "Autumn in New York" (2000)

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