Composed of paintings, sculptures and works on paper, as well as fine furniture, jewelry, rugs and decorative collectibles, the May auction promises exceptional treasure for every taste, said Serena Harragin of Gray's Auctioneers.
Auction highlights include a number of artworks by modern masters. Lot 22, Snake in a Landscape, is a fantastic, late-career Surrealist drawing by Salvador Dali done on stationary from Hotel Meurice, Paris.
Lots 20 and 21 are two engravings by Pablo Picasso from the Vollard Suite, a collection of superb prints made by the artist between 1930 and 1937 for the acclaimed art critic and dealer Ambroise Vollard. Both pieces depict scenes from an artist’s studio, a subject addressed frequently by Picasso in his body of work, and also highlight his love of sensual allusion and sly wit. Note, for instance, the intriguingly androgynous figure featured in the second picture, Seated Nude with Painted Sculpted Head.
The auction also features a dynamic, offset colored lithograph by renowned American painter and printmaker Frank Stella. This 1982 abstract artwork, Yellow Journal, is signed and dated by the artist and numbered print 14 of a 50 run series.
Another fine art piece featured in the sale is a striking allegorical figure pairing titled Vanity and Modesty, painted in oil by Giuseppe Mazzolani after Bernardino Luini. Working in the high Renaissance circle of Leonard da Vinci, Luini is known for his depictions of lovely, large-eyed women. Here, the personification of Vanity on the right demands the viewer’s attention with her gaze, while the humbly dressed embodiment of Modesty seated beside her points to the heavens in a gesture of reverence.
Another extremely elegant object included in the sale is Amedeo Gennarelli’s Tireur d’Arc, a fine work of sculpture in bronze featuring a superbly rendered archer poised to shoot. It has a legible foundry mark and artist signature on the base.
Gray’s is also delighted to offer a number of decorative arts, furniture, and jewelry pieces in the May sale. Notably, a stunning Art Deco ring and brooch in white gold with diamonds and onyx comprise lots 132 and 133.
A uniquely grand piece for the home is lot 180, a fire screen with delicate scrolling branches and wildlife in wrought iron attributed to Samuel Yellin. Yellin is considered one of America’s most masterful blacksmiths and preeminent designer of decorative architectural pieces.
Some of the most fascinating items in the sale are lots 147 through 149, a collection of medals awarded to Dr. George William Lewis, former director of aeronautical research at the National Advisory Committee for Aeronautics, better known today by its precedent organization, the National Aeronautics and Space Administration (NASA). Lewis managed the committee’s political and research technological endeavors during his tenure as director, and under his guidance, engineers at NACA’s Langley Research Center made outstanding advancements in the field of aerodynamics. The NASA John H. Glenn Research Center at Lewis Field in Cleveland is partly named after him.
Finally, Gray’s will be auctioning as lot 1 a gorgeous pair of Oscar de la Renta mahogany armchairs for the benefit of Girls with Sole, a Northeast Ohio charitable organization that helps to empower young women who have been victims of abuse through the physically and emotionally healing practice of fitness and athletics. There is no buyer’s premium for this purchase and 100 percent of the proceeds earned from the sale of the Oscar de la Renta armchairs will go to this worthy organization that Gray’s is proud to support.
2012年4月19日星期四
2012年4月18日星期三
Artistic license set loose at the All About Art exhibit
Art lovers will have a heyday this weekend when the All About Art Club hosts its annual art show and sale in the Yemassee Craft Center Art Room. Original oils, acrylics, ceramics, watercolors, pastels, photography and more will be on display, all from the eyes and hands of Sun City’s vast corps of talented artists.
Among the many artists preparing to hang their work are three who depict their vision in different media.
Pat Everson, who has worked in different formats, from oil to acrylic paints, now focuses on PanPastels, a palette-style method of creating paintings with chalk.
Denis Reshetar works on a very large scale, building wooden frames in various shapes around which he stretches canvas he then paints.
Mary Ann Putzier works in watercolor and porcelain, learning each time she prepares to teach a new class.
“Teaching always gets me going because if I am going to teach floral painting, then I have to paint fresh ones. I can’t bring up old paintings as examples,” Putzier said in her well-lighted studio. Among the classes she has taught at the community’s art room are “Saving your Whites” and making a watercolor canvas. Next year, she expects to teach how to paint reflections and possibly portraits, her favorite subject.
“Portraits are the most satisfying. Not only to capture the likeness but the personality,” she said.
Her mother and grandmother were quite artistic, Putzier said, and she and her eight siblings were raised on drawing.
“All of us have some kind of artistic skills, especially the girls,” she said. It taught her to see, to observe. “If you can’t see it, you can’t draw it and you can’t paint it. Of course, once you see it, you can take liberties like Picasso and others. They weren’t copyists. They took the truth and bent it.”
Reshetar thinks in the summer and then creates in the fall and winter.
“I usually have thoughts on paper — the shapes I want to do and the designs I want to paint on them,” he said. He builds his own wooden frames, sometimes taking one completely apart after the design fails to come together.
“It usually takes me a week of 10-12 hours when I get going,” he said. “I like big stuff, different shapes. Big or narrow, horizontal or vertical. And usually difficult to put into a house.”
He said he repainted one square vision four or five times until he finally started all over from scratch, scrapping the canvas and rebuilding the canvas frame into a different shape.
“I usually spend as much time making the frame as doing the painting,” he said. Originally a ceramicist and sculptor in college, Reshetar has taken some of those skills and reapplied them to both his frames and his painting technique.
One painting has a 3D effect as one side seems to pull away from the wall. A few paintings Reshetar has hanging in his home were created by what he calls the “lost wax” technique, a process used in making molds. Across the surface of the painting — a blending of colors that graduate to more intense hues from the center out — he adds the finishing touch, a deliberate splash or dripline of black paint.
“When it has dried enough that the edges are hard, I take it outside and hose it off,” he said. What remains behind is an outline of the splash, the painting’s colors popping back out.
Everson began attending the Silvermine Guild of Art in Connecticut when she was 12 and studied art through high school. An argument she no longer recalls with an art instructor turned her against her training and she earned a degree in psychology in college.
“Art was always with me. I couldn’t get away from it,” Everson said. “Even in the two 10-year stretches I abandoned it, it was always behind me, nagging me.”
Now concentrating on the use of pastels, she finds that keeping up with the ever-evolving techniques and resources is just a small part of being an artist.
“You have to keep current,” she said. Originally an oil painter, Everson acquired adult asthma and found that being in the presence of the chemicals used was unhealthy. She had to change her medium and moved to acrylic and has taught the subject to Sun City students.
That, too, became a problem with her asthma and now she has moved to pastels, a medium that uses no chemicals with which to create. In the process of researching these tools, Everson discovered a whole new concept in the use of PanPastels, a set of colored chalk discs that have low dust issues, one of the challenges of using chalk.
Rather than create the painting with pastel sticks, Everson is able to apply the chalk with sponge-tipped applicators. The different shaped heads allow for various results on the paper and stick pastels may still be used to provide an opaque sharp line, if desired.
It’s all part of Everson’s pursuit of perfection through practice.
“Once you learn to paint well, you learn to create well. I’ve become progressively more intent on pursuing art and you can’t just stick with the old ways,” she said. “You have to keep up with new products. You can have thoughts in your head but you technically have to be able to put those thoughts down on paper or canvas.”
Among the many artists preparing to hang their work are three who depict their vision in different media.
Pat Everson, who has worked in different formats, from oil to acrylic paints, now focuses on PanPastels, a palette-style method of creating paintings with chalk.
Denis Reshetar works on a very large scale, building wooden frames in various shapes around which he stretches canvas he then paints.
Mary Ann Putzier works in watercolor and porcelain, learning each time she prepares to teach a new class.
“Teaching always gets me going because if I am going to teach floral painting, then I have to paint fresh ones. I can’t bring up old paintings as examples,” Putzier said in her well-lighted studio. Among the classes she has taught at the community’s art room are “Saving your Whites” and making a watercolor canvas. Next year, she expects to teach how to paint reflections and possibly portraits, her favorite subject.
“Portraits are the most satisfying. Not only to capture the likeness but the personality,” she said.
Her mother and grandmother were quite artistic, Putzier said, and she and her eight siblings were raised on drawing.
“All of us have some kind of artistic skills, especially the girls,” she said. It taught her to see, to observe. “If you can’t see it, you can’t draw it and you can’t paint it. Of course, once you see it, you can take liberties like Picasso and others. They weren’t copyists. They took the truth and bent it.”
Reshetar thinks in the summer and then creates in the fall and winter.
“I usually have thoughts on paper — the shapes I want to do and the designs I want to paint on them,” he said. He builds his own wooden frames, sometimes taking one completely apart after the design fails to come together.
“It usually takes me a week of 10-12 hours when I get going,” he said. “I like big stuff, different shapes. Big or narrow, horizontal or vertical. And usually difficult to put into a house.”
He said he repainted one square vision four or five times until he finally started all over from scratch, scrapping the canvas and rebuilding the canvas frame into a different shape.
“I usually spend as much time making the frame as doing the painting,” he said. Originally a ceramicist and sculptor in college, Reshetar has taken some of those skills and reapplied them to both his frames and his painting technique.
One painting has a 3D effect as one side seems to pull away from the wall. A few paintings Reshetar has hanging in his home were created by what he calls the “lost wax” technique, a process used in making molds. Across the surface of the painting — a blending of colors that graduate to more intense hues from the center out — he adds the finishing touch, a deliberate splash or dripline of black paint.
“When it has dried enough that the edges are hard, I take it outside and hose it off,” he said. What remains behind is an outline of the splash, the painting’s colors popping back out.
Everson began attending the Silvermine Guild of Art in Connecticut when she was 12 and studied art through high school. An argument she no longer recalls with an art instructor turned her against her training and she earned a degree in psychology in college.
“Art was always with me. I couldn’t get away from it,” Everson said. “Even in the two 10-year stretches I abandoned it, it was always behind me, nagging me.”
Now concentrating on the use of pastels, she finds that keeping up with the ever-evolving techniques and resources is just a small part of being an artist.
“You have to keep current,” she said. Originally an oil painter, Everson acquired adult asthma and found that being in the presence of the chemicals used was unhealthy. She had to change her medium and moved to acrylic and has taught the subject to Sun City students.
That, too, became a problem with her asthma and now she has moved to pastels, a medium that uses no chemicals with which to create. In the process of researching these tools, Everson discovered a whole new concept in the use of PanPastels, a set of colored chalk discs that have low dust issues, one of the challenges of using chalk.
Rather than create the painting with pastel sticks, Everson is able to apply the chalk with sponge-tipped applicators. The different shaped heads allow for various results on the paper and stick pastels may still be used to provide an opaque sharp line, if desired.
It’s all part of Everson’s pursuit of perfection through practice.
“Once you learn to paint well, you learn to create well. I’ve become progressively more intent on pursuing art and you can’t just stick with the old ways,” she said. “You have to keep up with new products. You can have thoughts in your head but you technically have to be able to put those thoughts down on paper or canvas.”
2012年3月25日星期日
Former Corsicana man featured in Western Artists Show
Lee Herring, formerly of Corsicana, is one of the 68 professional artists bringing his work to the show and sale of the Western Artists of America at the end of March. Herring lived in Corsicana as a child, attending Sam Houston Elementary.
Although he’s best-known for the historical accuracy of his Western-themed paintings, Herring also paints still lifes, portraits and sculpts. The pieces he’s bringing to Corsicana include one of mustangs being roped, and of some Texas Rangers with a prisoner in custody. His work is currently on display at the Texas Rangers Hall of Fame in Waco, as well as in several galleries around the country.
His family’s roots are in Navarro County, having been farmers out near Emhouse, although Herring recalls living on Sycamore in Corsicana for awhile.
“I was always an artist. I was doing it on the wallpaper when I was a kid, and getting whipped for that,” he said. “But that’s how I started out. I’ve always been drawing something.”
Herring participated in the show/sale last year, the first time the Western Artists of America came to the Pierce, and curators were happy to see him return this year.
“We’ve dubbed him the storyteller for the show,” said Holly Beasley, director of the museum. “He did a piece called Britt Johnson, about a man out in West Texas who ‘The Searchers’ movie with John Wayne was based on. Every piece he does now has an in-depth story behind it.”
After leaving Corsicana, Herring continued his training as an artist, and attended East Texas State University, where he played football and earned both a bachelor’s and master’s degrees. After graduation, he taught in Australia, earned his pilot's license, and eventually returned to Texas to teach. He turned his hand to Western art in 1975, using both oil and watercolor.
Although he’s probably best known for his paintings of gorgeous scenery and cowboys, Herring has also depicted Bonnie and Clyde, children in bluebonnets, modern portraits, and even painted violins. The Bonnie and Clyde painting came about because of a conversation with a curator at the Rangers Hall of Fame museum.
“I’d been working with the Texas Rangers Hall of Fame guys here in Waco, getting a couple of ideas from them,” Herring explained. “They’ve got a couple of pieces of mine over there on loan. I went to them and said ‘what’s the most popular exhibit?’ and they said ‘Bonnie and Clyde.’”
The depiction of the famous criminal couple will be one of the pieces available at the sale on March 30 in Corsicana.
Herring will also be signing autographs as part of an autograph party being hosted at 10 a.m. Saturday in the Cook Center.
Although the show and sale isn’t officially open until next weekend, the art will be available for viewing starting Monday in the Pierce Museum of Western Art at the Cook Center on the Navarro College Corsicana campus.
Although he’s best-known for the historical accuracy of his Western-themed paintings, Herring also paints still lifes, portraits and sculpts. The pieces he’s bringing to Corsicana include one of mustangs being roped, and of some Texas Rangers with a prisoner in custody. His work is currently on display at the Texas Rangers Hall of Fame in Waco, as well as in several galleries around the country.
His family’s roots are in Navarro County, having been farmers out near Emhouse, although Herring recalls living on Sycamore in Corsicana for awhile.
“I was always an artist. I was doing it on the wallpaper when I was a kid, and getting whipped for that,” he said. “But that’s how I started out. I’ve always been drawing something.”
Herring participated in the show/sale last year, the first time the Western Artists of America came to the Pierce, and curators were happy to see him return this year.
“We’ve dubbed him the storyteller for the show,” said Holly Beasley, director of the museum. “He did a piece called Britt Johnson, about a man out in West Texas who ‘The Searchers’ movie with John Wayne was based on. Every piece he does now has an in-depth story behind it.”
After leaving Corsicana, Herring continued his training as an artist, and attended East Texas State University, where he played football and earned both a bachelor’s and master’s degrees. After graduation, he taught in Australia, earned his pilot's license, and eventually returned to Texas to teach. He turned his hand to Western art in 1975, using both oil and watercolor.
Although he’s probably best known for his paintings of gorgeous scenery and cowboys, Herring has also depicted Bonnie and Clyde, children in bluebonnets, modern portraits, and even painted violins. The Bonnie and Clyde painting came about because of a conversation with a curator at the Rangers Hall of Fame museum.
“I’d been working with the Texas Rangers Hall of Fame guys here in Waco, getting a couple of ideas from them,” Herring explained. “They’ve got a couple of pieces of mine over there on loan. I went to them and said ‘what’s the most popular exhibit?’ and they said ‘Bonnie and Clyde.’”
The depiction of the famous criminal couple will be one of the pieces available at the sale on March 30 in Corsicana.
Herring will also be signing autographs as part of an autograph party being hosted at 10 a.m. Saturday in the Cook Center.
Although the show and sale isn’t officially open until next weekend, the art will be available for viewing starting Monday in the Pierce Museum of Western Art at the Cook Center on the Navarro College Corsicana campus.
2012年2月27日星期一
Mobster Suspected Of Knowing About Art Heist Indicted On Drug Charges
Federal prosecutors signaled Monday that they may try to confiscate mobster Robert Gentile's Manchester home after indicting him and a partner for the illegal sale of prescription painkillers.
Outside of a forfeiture allegation directed at Gentile's suburban ranch and $22,000 in cash hidden in a grandfather clock, the indictment made public Monday by federal prosecutors appears to formalize the drug charges on which Gentile and partner Andrew Parente were arrested earlier in the month.
The Feb. 10 arrest of Gentile, 75, created a stir in legal circles because of the relatively small amount of illegal narcotics involved in the alleged sales and because law enforcement authorities suspect he may have information concerning the spectacular 1990 theft of hundreds of millions of dollars of paintings from the Isabella Stewart Gardner Museum in Boston.
Three Rembrandts, a Vermeer, a Manet and five drawings by Degas were among the works that vanished in the Gardner heist — the biggest art theft ever and, nearly 22 years later, one of the most baffling. Investigators assigned to the unsolved heist have encountered nothing but dead ends.
Two of the stolen paintings — "Storm on the Sea of Galilee," Rembrandt's only known seascape, and Vermeer's "The Concert" — could be worth than $50 million each in an open market. All the stolen artworks might be worth $300 million or more. But because of the notoriety of the missing pieces, any kind of sale would be difficult, if not impossible, to arrange.
Gentile, a made or sworn member of the Mafia, has repeatedly denied having knowledge of the theft or of the location of the paintings, according to sources. He is known to have associated with crime figures in Boston but was inducted into the Mafia through a faction of the Genovese crime family in Philadelphia, according to a variety of sources.
Documents detailing the drug charges against Gentile and Parente remained sealed to the public Monday. The six-count indictment made public by the U.S. Attorney's office accuses the two men of conspiring to possess and distribute prescription painkillers such as oxycodone. Parente, who lives in Hartford, has been a suspect in drug sales for decades, police sources said.
Parente is named in two counts of the indictment, charged with conspiracy to sell drugs and the sale of oxycodone in November. Gentile is named in all six counts related to drug sales.
All but one of the drug offenses allegedly took place in October and November.
Gentile was charged with a drug offense on Feb. 10, the date FBI agents discovered a relatively small amount of apparently illegally obtained pain medication during a search of his home. But the same search turned up what a federal judge called a "veritable arsenal" of weapons, including guns and silencers. The $22,000 in cash was found hidden with a set of brass knuckles.
A federal judge characterized Gentile as dangerous, based on an inventory of the search, and ordered him held without bail.
It is a crime for a convicted felon, such as Gentile, to possess weapons. He has not been charged with weapons offenses, according to the U.S. Attorney's office.
The forfeiture count in the indictment applies only to Gentile. It seeks to allow the government to confiscate property or money attributed to criminal activity. The forfeiture specifically lists Gentile's home and cash discovered during the search of his home.
Outside of a forfeiture allegation directed at Gentile's suburban ranch and $22,000 in cash hidden in a grandfather clock, the indictment made public Monday by federal prosecutors appears to formalize the drug charges on which Gentile and partner Andrew Parente were arrested earlier in the month.
The Feb. 10 arrest of Gentile, 75, created a stir in legal circles because of the relatively small amount of illegal narcotics involved in the alleged sales and because law enforcement authorities suspect he may have information concerning the spectacular 1990 theft of hundreds of millions of dollars of paintings from the Isabella Stewart Gardner Museum in Boston.
Three Rembrandts, a Vermeer, a Manet and five drawings by Degas were among the works that vanished in the Gardner heist — the biggest art theft ever and, nearly 22 years later, one of the most baffling. Investigators assigned to the unsolved heist have encountered nothing but dead ends.
Two of the stolen paintings — "Storm on the Sea of Galilee," Rembrandt's only known seascape, and Vermeer's "The Concert" — could be worth than $50 million each in an open market. All the stolen artworks might be worth $300 million or more. But because of the notoriety of the missing pieces, any kind of sale would be difficult, if not impossible, to arrange.
Gentile, a made or sworn member of the Mafia, has repeatedly denied having knowledge of the theft or of the location of the paintings, according to sources. He is known to have associated with crime figures in Boston but was inducted into the Mafia through a faction of the Genovese crime family in Philadelphia, according to a variety of sources.
Documents detailing the drug charges against Gentile and Parente remained sealed to the public Monday. The six-count indictment made public by the U.S. Attorney's office accuses the two men of conspiring to possess and distribute prescription painkillers such as oxycodone. Parente, who lives in Hartford, has been a suspect in drug sales for decades, police sources said.
Parente is named in two counts of the indictment, charged with conspiracy to sell drugs and the sale of oxycodone in November. Gentile is named in all six counts related to drug sales.
All but one of the drug offenses allegedly took place in October and November.
Gentile was charged with a drug offense on Feb. 10, the date FBI agents discovered a relatively small amount of apparently illegally obtained pain medication during a search of his home. But the same search turned up what a federal judge called a "veritable arsenal" of weapons, including guns and silencers. The $22,000 in cash was found hidden with a set of brass knuckles.
A federal judge characterized Gentile as dangerous, based on an inventory of the search, and ordered him held without bail.
It is a crime for a convicted felon, such as Gentile, to possess weapons. He has not been charged with weapons offenses, according to the U.S. Attorney's office.
The forfeiture count in the indictment applies only to Gentile. It seeks to allow the government to confiscate property or money attributed to criminal activity. The forfeiture specifically lists Gentile's home and cash discovered during the search of his home.
2012年2月22日星期三
Town should be arts hub
Art in Melton continues to thrive and our ambition to make the town an arts and crafts hub for the East Midlands is being realised writes Richard Cragg.
This week I want to look at the many talented local artists who are currently taking advantage of the new Melton Arts Venue initiative to display their work for sale at an increasing number of locations in the town centre.
On Tuesdays at the Cattle Market you can catch original art and craftwork with Melton artist Carol Hardisty’s oil paintings at the Market Tavern; Dawn Crafts Originals have home designed cards and craftwork on their regular market stall, while Asfordby artist Carol Warren sells her watercolours of birds and animals.
Also on Tuesdays, at the King’s Head in Nottingham Street, Michael Hughes displays his latest range of superb paintings and will take commissions as well.
Opposite the pub is Caf Caf in The Mall where owner Theresa Phizacklea has joined forces with Carol Warren to offer one of Carol’s paintings as a prize in a raffle to be held for the Day trust fund. There is more of her work displayed inside the cafe, together with photographs for sale by Melton design photographer Emma Wenham.
Still in Nottingham Street, behind the Hollings Head Wine Bar is one of the town’s hidden gems – Classic Picture Frames, which incorporates Christopher Wren’s Gallery. Here are examples of fine art by national and local artists, such as the late David Weston, Brian Hollingshead, Neil Cawthorne and Twyford’s Paula Chapman.
Another Asfordby artist, David Mellor, is currently exhibiting some of his latest paintings at The Melton building society, who have allowed space in the foyer to local artists in return for a donation to Help for Heroes.
On Leicester Street you will find Foxy Lots and another cornucopia of art and craftwork on sale. Local artists include Gay Mayes, Ruth Harvey, Jenny Wing and Sue Bagshaw, and there is also pottery, jewellery, ceramics, cushions, soaps and handbags.
Melton artist Yvonne Rylatt, who has sold her work in several countries and is president of the Nottingham Society of Artists has some of her work on display at County Crafts in Windsor Street and plans are in place to hold a solo exhibition later this year there, in its first floor gallery.
Art in cafes is increasing as proprietors recognise the benefit of displaying original artwork on their walls rather than prints.
In the Gallery at Wilton Road Coffee Shop, the present exhibition by illustrator and caricaturist Andrew Geeson of Gaddesby ends on Wednesday.
He will be succeeded by Melton artist Gladys Dinnacombe who will have her paintings and copies of her new book of poetry on display during March.
Brian Hodder may be Melton’s most prolific artist and you can enjoy his work in three of the town’s cafes – Manor Oven Cafe in Sherrard Street, Time Out Cafe in the Bell Centre and Deli Italia in Church Street.
Melton artist Sue Bagshaw continues her successful period as Artist in Residence at Deli Italia’s Upstairs Gallery. Sue has been joined by Twyford artist Elaine Underwood, selling her original paintings and ceramics, together with jewellery designer Becky Toughill.
This week I want to look at the many talented local artists who are currently taking advantage of the new Melton Arts Venue initiative to display their work for sale at an increasing number of locations in the town centre.
On Tuesdays at the Cattle Market you can catch original art and craftwork with Melton artist Carol Hardisty’s oil paintings at the Market Tavern; Dawn Crafts Originals have home designed cards and craftwork on their regular market stall, while Asfordby artist Carol Warren sells her watercolours of birds and animals.
Also on Tuesdays, at the King’s Head in Nottingham Street, Michael Hughes displays his latest range of superb paintings and will take commissions as well.
Opposite the pub is Caf Caf in The Mall where owner Theresa Phizacklea has joined forces with Carol Warren to offer one of Carol’s paintings as a prize in a raffle to be held for the Day trust fund. There is more of her work displayed inside the cafe, together with photographs for sale by Melton design photographer Emma Wenham.
Still in Nottingham Street, behind the Hollings Head Wine Bar is one of the town’s hidden gems – Classic Picture Frames, which incorporates Christopher Wren’s Gallery. Here are examples of fine art by national and local artists, such as the late David Weston, Brian Hollingshead, Neil Cawthorne and Twyford’s Paula Chapman.
Another Asfordby artist, David Mellor, is currently exhibiting some of his latest paintings at The Melton building society, who have allowed space in the foyer to local artists in return for a donation to Help for Heroes.
On Leicester Street you will find Foxy Lots and another cornucopia of art and craftwork on sale. Local artists include Gay Mayes, Ruth Harvey, Jenny Wing and Sue Bagshaw, and there is also pottery, jewellery, ceramics, cushions, soaps and handbags.
Melton artist Yvonne Rylatt, who has sold her work in several countries and is president of the Nottingham Society of Artists has some of her work on display at County Crafts in Windsor Street and plans are in place to hold a solo exhibition later this year there, in its first floor gallery.
Art in cafes is increasing as proprietors recognise the benefit of displaying original artwork on their walls rather than prints.
In the Gallery at Wilton Road Coffee Shop, the present exhibition by illustrator and caricaturist Andrew Geeson of Gaddesby ends on Wednesday.
He will be succeeded by Melton artist Gladys Dinnacombe who will have her paintings and copies of her new book of poetry on display during March.
Brian Hodder may be Melton’s most prolific artist and you can enjoy his work in three of the town’s cafes – Manor Oven Cafe in Sherrard Street, Time Out Cafe in the Bell Centre and Deli Italia in Church Street.
Melton artist Sue Bagshaw continues her successful period as Artist in Residence at Deli Italia’s Upstairs Gallery. Sue has been joined by Twyford artist Elaine Underwood, selling her original paintings and ceramics, together with jewellery designer Becky Toughill.
2012年2月5日星期日
‘Art for the Heart’ show supports University of Ottawa Heart Institute
February is Heart and Stroke month in Canada, the perfect time to organize an art show with a portion of the proceeds going to the University of Ottawa Heart Institute.
The second annual Art for the Heart show will be held on Sunday, Feb. 12, from 10 a.m. to 6 p.m. at the Barrhaven Legion Hall, 3500 Fallowfield Rd.
The show was the brainchild of local artist Sylvia Summers-Martyn. After chatting with several artists and Legion members, it became apparent how many people she knew who have been affected by heart disease.
One of the Legion’s own member’s life was saved in 2010 because the Legion had a defibrillator on the premises. So she decided to organize the first Art for the Heart show in 2011. Last year’s show was a success and as Summers-Martyn says: “and the beat goes on!!!”
This year there will be 12 local artists: Jill Alexander, Margaret Chwialkowska, Terry Cowan, Lianne Gour, Ann Gruchy, Linda Loder, Judi Miller, Fortunee Shugar, Sue Shuker, Sylvia Summers-Martyn, Donna Wiegand, and Sandy Woods. The artworks range from small to large, from abstract to realism, created in a wide variety of media: oil, acrylic, mixed media, photography, encaustic, watercolour, textile art and more.
It is thanks to volunteers and sponsors that this show is possible. This years sponsors are: The UPS Store, Barrhaven Mall; Ross’ Independent Grocer; Mill Street Florist; the Royal Canadian Legion 641, Barrhaven; EMC Community Newspaper; and Patrick Creppin, Creppin Realty Group.
The University of Ottawa Heart Institute will have a table at the show distributing educational material about heart and stroke disease.
The support received from the Heart Institute has been an integral component for the show’s popularity.
The organizers and sponsors are hoping that the public will come out once again to support the Heart Institute and to see the amazing art created by talented local artists. This unique show promises to deliver a memorable experience to all of those who visit.
Admission and parking are free and delicious refreshments will be served. What better way to enjoy a Sunday outing.
The second annual Art for the Heart show will be held on Sunday, Feb. 12, from 10 a.m. to 6 p.m. at the Barrhaven Legion Hall, 3500 Fallowfield Rd.
The show was the brainchild of local artist Sylvia Summers-Martyn. After chatting with several artists and Legion members, it became apparent how many people she knew who have been affected by heart disease.
One of the Legion’s own member’s life was saved in 2010 because the Legion had a defibrillator on the premises. So she decided to organize the first Art for the Heart show in 2011. Last year’s show was a success and as Summers-Martyn says: “and the beat goes on!!!”
This year there will be 12 local artists: Jill Alexander, Margaret Chwialkowska, Terry Cowan, Lianne Gour, Ann Gruchy, Linda Loder, Judi Miller, Fortunee Shugar, Sue Shuker, Sylvia Summers-Martyn, Donna Wiegand, and Sandy Woods. The artworks range from small to large, from abstract to realism, created in a wide variety of media: oil, acrylic, mixed media, photography, encaustic, watercolour, textile art and more.
It is thanks to volunteers and sponsors that this show is possible. This years sponsors are: The UPS Store, Barrhaven Mall; Ross’ Independent Grocer; Mill Street Florist; the Royal Canadian Legion 641, Barrhaven; EMC Community Newspaper; and Patrick Creppin, Creppin Realty Group.
The University of Ottawa Heart Institute will have a table at the show distributing educational material about heart and stroke disease.
The support received from the Heart Institute has been an integral component for the show’s popularity.
The organizers and sponsors are hoping that the public will come out once again to support the Heart Institute and to see the amazing art created by talented local artists. This unique show promises to deliver a memorable experience to all of those who visit.
Admission and parking are free and delicious refreshments will be served. What better way to enjoy a Sunday outing.
2011年12月4日星期日
What's your art?
Are you a cook, concrete specialist, bricklayer, building contractor, architect, musician, painter, illustrator, or sculptor? Do you sew, hook rugs, code html, draw or decorate seasonally or interiors? Creating is basic human nature whether a person's forte is making a pretty picture or making a comfortable home. Maybe this is why we have opposable thumbs, though animals create in their own sense. In particular, my pets usually create a mess, which is probably beauty to them.
As I sit in the quiet galleries at the Wassenberg Art Center on the eve of the holiday seasons the positive power of individuality silently echoes from each piece of work displayed under the gallery lights. I'm reminded of the power of good that there is in this world to create. The sculptures and paintings express a lack of fear and sense of pride residing in the artists who created them.
Individually they give voice and say this is who I am. Collectively, they say we are Van Wert, we are Northwest Ohio, we are Indiana, Toledo, Fort Wayne and the Tri-state area. They provide visual underscores to our culture. This is why art is so very important to our survival as a community, state and world.
So, what is your "art"? What do you create? The Wassenberg Art Center was established to provide this community the resources to find out, to help facilitate and to keep this crucial component of our identity alive and growing. So, in this time of thanksgiving and gift giving, consider the gift Charles Wassenberg left for this community and how you can say thank you by your participation.
The 22nd Annual Artists Exhibit and Sale, sponsored by Van Wert County Hospital and the Van Wert County Foundation, runs through Dec. 16. Our hours are, Tuesday-Sunday, 1-5 p.m. Stop in and give thought to the works representing the positive power of creation and identify us as community.
Tuesday night again is ArtNight from 6-8 p.m. Also starting Dec. 7 we'll begin offering ArtMorning! Wednesdays from 10 a.m.-noon. Nov. 30 starts, Beginning Oil Painting with Sally Geething. We still have a few openings, so if you are interested in signing up to explore the world of oil painting give us a call. The re-workability of oil paint and Sally's dynamic instruction technique and if the ruckus and sounds of laughter coming from the classroom is any indication, this class is pure fun.
As I sit in the quiet galleries at the Wassenberg Art Center on the eve of the holiday seasons the positive power of individuality silently echoes from each piece of work displayed under the gallery lights. I'm reminded of the power of good that there is in this world to create. The sculptures and paintings express a lack of fear and sense of pride residing in the artists who created them.
Individually they give voice and say this is who I am. Collectively, they say we are Van Wert, we are Northwest Ohio, we are Indiana, Toledo, Fort Wayne and the Tri-state area. They provide visual underscores to our culture. This is why art is so very important to our survival as a community, state and world.
So, what is your "art"? What do you create? The Wassenberg Art Center was established to provide this community the resources to find out, to help facilitate and to keep this crucial component of our identity alive and growing. So, in this time of thanksgiving and gift giving, consider the gift Charles Wassenberg left for this community and how you can say thank you by your participation.
The 22nd Annual Artists Exhibit and Sale, sponsored by Van Wert County Hospital and the Van Wert County Foundation, runs through Dec. 16. Our hours are, Tuesday-Sunday, 1-5 p.m. Stop in and give thought to the works representing the positive power of creation and identify us as community.
Tuesday night again is ArtNight from 6-8 p.m. Also starting Dec. 7 we'll begin offering ArtMorning! Wednesdays from 10 a.m.-noon. Nov. 30 starts, Beginning Oil Painting with Sally Geething. We still have a few openings, so if you are interested in signing up to explore the world of oil painting give us a call. The re-workability of oil paint and Sally's dynamic instruction technique and if the ruckus and sounds of laughter coming from the classroom is any indication, this class is pure fun.
2011年11月10日星期四
The Art World's Slowpokes
Sure, everyone likes Jan Vermeer now, three hundred-plus years after the seventeenth century Dutch artist's death, but most art dealers want little to do with artists who can only produce two or three paintings a year -- Vermeer created fewer than 40 in his lifetime.
"There are lots of difficulties in building a career when you don't have a large inventory," New York dealer Louis K. Meisel said. "You want to have one-person shows every two or three years, but the artist may not have enough completed works to exhibit. You want to show the artist's work at galleries in other cities, in order to attract out-of-town buyers, but you can't do it because there is just nothing to spare. You also have to sell each painting for more money than other artists might receive just because the artist has so few other works to sell."
Meisel, who has represented the work of photo realist painters (most averaging four works a year) since the early 1970s, developed a number of creative approaches to surmount these difficulties, but many other dealers just don't want the bother and will forego otherwise promising artists. "Admittedly, there are times when you get frustrated, waiting and waiting for the works to dribble in, for the shows to take place," said New York dealer Nancy Hoffman, who represents a number of nonprolific artists. "It's much harder to keep an artist in the public eye if there are five years between shows. Shows give context to the work."
Finding an accommodating art dealer is no small challenge for artists with low productivity. "I've had dealer after dealer tell me that they like the images I do but not the low volume," William Beckman, who produces an average of two paintings a year, said. "Dealers just can't appreciate the length of time it takes me to get that image right, and they say they can't show me and pay the overhead." Beckman never was much faster. He may apply as many as 100 layers of paint, which he then scrapes and sandpapers ("I have an obsession with a certain surface"). In 1969, he worked all year long on a single six-foot tall painting of his (now ex-) wife, which he sold two years later for $10,000, keeping only $5,000 after the commission was paid. "I really began to question whether I could do this," he noted. "Now, I had a wife and child to support." Ohio State University offered him a teaching position in 1971. "I flew home [Brooklyn, New York] to talk to my wife about it and, as soon as I got through the door, she told me there was a buyer for the painting I was then working on, so I tore up the contract and stuck with it."
Even the most understanding dealers may show exasperation from time to time at artists who do not produce many paintings. Barbara Dixon Drewa, a trompe l'oeil painter in Houston, Texas, stated that "I've had dealers suggest to me that I get an assistant to do the finishing touches, to speed everything up. Others have suggested that I spend less time with my family and just paint. I'm working 30-40 hours per week in the studio on my painting as it is." Her one-person shows at the Fischbach Gallery in New York City take place when she is able to complete enough works to fill the space. A single oil-on-wood painting takes between 10 and 12 weeks to create, and each is sent up to her dealer as soon as the paint is dry. Usually, they are sold quickly but with the proviso that the gallery may borrow the works back for exhibitions--that is a common solution to the slow-producing artist problem, filling up the gallery walls for exhibitions even though half or more of the works may not be for sale.
At times, the walls just cannot be filled. Beckman noted that he has had shows with only two paintings, displaying each spotlighted painting in a darkened room, which adds a certain visual excitement to the event while making a virtue of necessity.
There are certain options for dealers of slow-producing artists and others for the artists themselves. In order to help artists work full-time on their art, some dealers offer advances against future sales or suggest foundations to which artists may apply for grants and fellowships. Similarly, some dealers also arrange commissions for their artists as well as recommend them for teaching positions. Some artists also become more productive when a specific exhibition date is scheduled. Artists are usually appreciative if their dealers are understanding and supportive of their slow processes, not carping at them or dropping them from the gallery when they don't produce a certain number of pictures. "Artists aren't factories," Robert Fishko, director of Forum Gallery in New York, said. "You can't put on a second shift. You just have to accept the artist with whatever level of productivity he or she has."
Expanding the regional or national exposure for artists with relatively few works to show sometimes entails a dealer placing advertisements in art magazines and other publications. Louis Meisel noted that he has been able to put together exhibitions of his photo realist artists for loans to galleries in other cities by including "two of this artist, two of that artist, two of another and two of someone else, because there just aren't eight works by one artist to lend out." In general, artists who may go long periods between one-person exhibits are more likely to be included in group shows.
All other things being equal, realist painters, especially those who concentrate on fine details, are more likely to have a small output than artists in other media and styles. "When I was an abstract expressionist, I produced lots and lots of work. It's the nature of the beast," said painter and sculptor Audrey Flack. "When I started doing the photo realism, that's when everything slowed down. I'd say to myself, 'Here I am working all this time on this finger and, during this time, someone else has already done 20 paintings.'" She noted that the slower pace of productivity increased the problem of earning a living as well as "raises the stakes" when the completed work is finally exhibited to the public. "You show your work and people don't get it, or some critic condemns it, you may wonder, 'Have I wasted the last few years of my life?' If I do just three paintings in two years, and only one sells, I think, 'How am I supposed to live off that?'"
The labor-intensive approach of painstaking realism requires career expectations as patient as the artistic technique itself. Realist artists cannot expect that their paintings will sell for much more than another painter's work simply because it took them longer to create them. Photo realist painter Don Eddy, who said that he "lived from painting to the painting" in the early 1970s and produces only four or five works a year, noted that he always spends "less than my income, and I've created a reserve that now could carry me through three or four years if there were a fallow period. That takes the pressure off."
Another way of taking at least some more of the pressure off is by creating works in different sizes and media that do not take as much time as the larger pieces. Audrey Flack and Janet Fish, for instance, both paint in watercolors (Flack: "because you can finish them in a day, and it's a way to get out of the studio and into nature"; Fish: "because I can do three or four a day, and it has helped me open up my larger paintings").
Studies for larger, more time-consuming works also flesh out an exhibition as well as provide more affordable pieces. William Beckman also helps "fill the gallery's walls with drawings," both in pencil and charcoal, that sell for between $3,000 and $11,000, far less than the large (six-by-five-foot: $160,000) and small (two-by-three-foot: $45,000) paintings. Candace Jans, a Boston artist, exhibits and sells the studies (gouaches and alkyds) for her larger oil paintings, of which she may only produce two a year. While the studies sell for far less ($2,500 for a five-by-eight-inch or $5,000-$6,000 for a 12-by-18-inch) than the oils ($25,000-$30,000), their more plentiful supply increases the likelihood of something selling right away. The studies are also less taxing for her: "They are straight-forward exercises," she said. "It's what I see in front of me. I don't have all the compositional problems of the larger paintings. The studies are a palette cleanser."
Varying the size also increases the artistic output of Scott Pryor, a painter who spends an average of two months on his four-by-six-foot paintings but just a few days or weeks on his smaller (five-by-eight-inch or one-by-two-foot) paintings. "After I finish one of the larger paintings, I think, 'Gee, I don't want to do that much more again for a long time,'" he said. "And even though I get more money for the larger paintings, proportionately I make more from the smaller works because I can do so many more of them." He added that he creates the larger paintings "on a lot of faith, because the larger works may be harder to sell since they cost more."
"There are lots of difficulties in building a career when you don't have a large inventory," New York dealer Louis K. Meisel said. "You want to have one-person shows every two or three years, but the artist may not have enough completed works to exhibit. You want to show the artist's work at galleries in other cities, in order to attract out-of-town buyers, but you can't do it because there is just nothing to spare. You also have to sell each painting for more money than other artists might receive just because the artist has so few other works to sell."
Meisel, who has represented the work of photo realist painters (most averaging four works a year) since the early 1970s, developed a number of creative approaches to surmount these difficulties, but many other dealers just don't want the bother and will forego otherwise promising artists. "Admittedly, there are times when you get frustrated, waiting and waiting for the works to dribble in, for the shows to take place," said New York dealer Nancy Hoffman, who represents a number of nonprolific artists. "It's much harder to keep an artist in the public eye if there are five years between shows. Shows give context to the work."
Finding an accommodating art dealer is no small challenge for artists with low productivity. "I've had dealer after dealer tell me that they like the images I do but not the low volume," William Beckman, who produces an average of two paintings a year, said. "Dealers just can't appreciate the length of time it takes me to get that image right, and they say they can't show me and pay the overhead." Beckman never was much faster. He may apply as many as 100 layers of paint, which he then scrapes and sandpapers ("I have an obsession with a certain surface"). In 1969, he worked all year long on a single six-foot tall painting of his (now ex-) wife, which he sold two years later for $10,000, keeping only $5,000 after the commission was paid. "I really began to question whether I could do this," he noted. "Now, I had a wife and child to support." Ohio State University offered him a teaching position in 1971. "I flew home [Brooklyn, New York] to talk to my wife about it and, as soon as I got through the door, she told me there was a buyer for the painting I was then working on, so I tore up the contract and stuck with it."
Even the most understanding dealers may show exasperation from time to time at artists who do not produce many paintings. Barbara Dixon Drewa, a trompe l'oeil painter in Houston, Texas, stated that "I've had dealers suggest to me that I get an assistant to do the finishing touches, to speed everything up. Others have suggested that I spend less time with my family and just paint. I'm working 30-40 hours per week in the studio on my painting as it is." Her one-person shows at the Fischbach Gallery in New York City take place when she is able to complete enough works to fill the space. A single oil-on-wood painting takes between 10 and 12 weeks to create, and each is sent up to her dealer as soon as the paint is dry. Usually, they are sold quickly but with the proviso that the gallery may borrow the works back for exhibitions--that is a common solution to the slow-producing artist problem, filling up the gallery walls for exhibitions even though half or more of the works may not be for sale.
At times, the walls just cannot be filled. Beckman noted that he has had shows with only two paintings, displaying each spotlighted painting in a darkened room, which adds a certain visual excitement to the event while making a virtue of necessity.
There are certain options for dealers of slow-producing artists and others for the artists themselves. In order to help artists work full-time on their art, some dealers offer advances against future sales or suggest foundations to which artists may apply for grants and fellowships. Similarly, some dealers also arrange commissions for their artists as well as recommend them for teaching positions. Some artists also become more productive when a specific exhibition date is scheduled. Artists are usually appreciative if their dealers are understanding and supportive of their slow processes, not carping at them or dropping them from the gallery when they don't produce a certain number of pictures. "Artists aren't factories," Robert Fishko, director of Forum Gallery in New York, said. "You can't put on a second shift. You just have to accept the artist with whatever level of productivity he or she has."
Expanding the regional or national exposure for artists with relatively few works to show sometimes entails a dealer placing advertisements in art magazines and other publications. Louis Meisel noted that he has been able to put together exhibitions of his photo realist artists for loans to galleries in other cities by including "two of this artist, two of that artist, two of another and two of someone else, because there just aren't eight works by one artist to lend out." In general, artists who may go long periods between one-person exhibits are more likely to be included in group shows.
All other things being equal, realist painters, especially those who concentrate on fine details, are more likely to have a small output than artists in other media and styles. "When I was an abstract expressionist, I produced lots and lots of work. It's the nature of the beast," said painter and sculptor Audrey Flack. "When I started doing the photo realism, that's when everything slowed down. I'd say to myself, 'Here I am working all this time on this finger and, during this time, someone else has already done 20 paintings.'" She noted that the slower pace of productivity increased the problem of earning a living as well as "raises the stakes" when the completed work is finally exhibited to the public. "You show your work and people don't get it, or some critic condemns it, you may wonder, 'Have I wasted the last few years of my life?' If I do just three paintings in two years, and only one sells, I think, 'How am I supposed to live off that?'"
The labor-intensive approach of painstaking realism requires career expectations as patient as the artistic technique itself. Realist artists cannot expect that their paintings will sell for much more than another painter's work simply because it took them longer to create them. Photo realist painter Don Eddy, who said that he "lived from painting to the painting" in the early 1970s and produces only four or five works a year, noted that he always spends "less than my income, and I've created a reserve that now could carry me through three or four years if there were a fallow period. That takes the pressure off."
Another way of taking at least some more of the pressure off is by creating works in different sizes and media that do not take as much time as the larger pieces. Audrey Flack and Janet Fish, for instance, both paint in watercolors (Flack: "because you can finish them in a day, and it's a way to get out of the studio and into nature"; Fish: "because I can do three or four a day, and it has helped me open up my larger paintings").
Studies for larger, more time-consuming works also flesh out an exhibition as well as provide more affordable pieces. William Beckman also helps "fill the gallery's walls with drawings," both in pencil and charcoal, that sell for between $3,000 and $11,000, far less than the large (six-by-five-foot: $160,000) and small (two-by-three-foot: $45,000) paintings. Candace Jans, a Boston artist, exhibits and sells the studies (gouaches and alkyds) for her larger oil paintings, of which she may only produce two a year. While the studies sell for far less ($2,500 for a five-by-eight-inch or $5,000-$6,000 for a 12-by-18-inch) than the oils ($25,000-$30,000), their more plentiful supply increases the likelihood of something selling right away. The studies are also less taxing for her: "They are straight-forward exercises," she said. "It's what I see in front of me. I don't have all the compositional problems of the larger paintings. The studies are a palette cleanser."
Varying the size also increases the artistic output of Scott Pryor, a painter who spends an average of two months on his four-by-six-foot paintings but just a few days or weeks on his smaller (five-by-eight-inch or one-by-two-foot) paintings. "After I finish one of the larger paintings, I think, 'Gee, I don't want to do that much more again for a long time,'" he said. "And even though I get more money for the larger paintings, proportionately I make more from the smaller works because I can do so many more of them." He added that he creates the larger paintings "on a lot of faith, because the larger works may be harder to sell since they cost more."
2011年9月19日星期一
Madisonville Gallery Hop Features Art, Music and More!
Visit Madisonville in October and enjoy an evening arts adventure as you stroll along the brick sidewalks of city’s historic downtown district.
Dozens of artists are expected to display and sell their works inside 11 galleries within a three-block area during the city’s inaugural Gallery Hop, set for 6-10 p.m. Saturday, October 1.
“This event gives our arts community a new showcase for their work,” said Jenny Gibson, head of the city’s Downtown Turnaround Partnership. “It also helps the public to become reacquainted with the architecture and memories that make up the heart of our downtown.”
Original works for sale will include oil and watercolor paintings, fiber pieces, and ceramics, as well as art photography, glass, and more. To help visitors find the art displays they’re looking for, maps of the downtown area will be available in each gallery, Gibson said.
Some downtown restaurants plan to be open for the evening, with special offerings guaranteed to keep Gallery Hop guests warm. From chili and donuts to wine and cheese, there will be something for everyone during this decidedly grown-up event, Gibson said.
Some locations have scheduled live music throughout the evening. Additionally, the Downtown Turnaround Partnership is sponsoring a special performance at 6:30 p.m. by Eddie Pennington, a 2001 National Heritage Fellowship recipient who is considered to be one of the greatest living thumbstyle guitarists. Pennington has performed in venues and festivals throughout the world, including the Kennedy Center, the 1996 Summer Olympics in Atlanta and, most recently, the National Folk Festival in Nashville.
The Gallery Hop is sponsored by the Downtown Turnaround Partnership, in association with the Hopkins County Tourism Commission and the Madisonville-Hopkins County Chamber of Commerce.
Dozens of artists are expected to display and sell their works inside 11 galleries within a three-block area during the city’s inaugural Gallery Hop, set for 6-10 p.m. Saturday, October 1.
“This event gives our arts community a new showcase for their work,” said Jenny Gibson, head of the city’s Downtown Turnaround Partnership. “It also helps the public to become reacquainted with the architecture and memories that make up the heart of our downtown.”
Original works for sale will include oil and watercolor paintings, fiber pieces, and ceramics, as well as art photography, glass, and more. To help visitors find the art displays they’re looking for, maps of the downtown area will be available in each gallery, Gibson said.
Some downtown restaurants plan to be open for the evening, with special offerings guaranteed to keep Gallery Hop guests warm. From chili and donuts to wine and cheese, there will be something for everyone during this decidedly grown-up event, Gibson said.
Some locations have scheduled live music throughout the evening. Additionally, the Downtown Turnaround Partnership is sponsoring a special performance at 6:30 p.m. by Eddie Pennington, a 2001 National Heritage Fellowship recipient who is considered to be one of the greatest living thumbstyle guitarists. Pennington has performed in venues and festivals throughout the world, including the Kennedy Center, the 1996 Summer Olympics in Atlanta and, most recently, the National Folk Festival in Nashville.
The Gallery Hop is sponsored by the Downtown Turnaround Partnership, in association with the Hopkins County Tourism Commission and the Madisonville-Hopkins County Chamber of Commerce.
2011年5月5日星期四
Cohen’s Landscape Fetches Record $22.5 Million in Uneven Christie’s Sale
Christie’s International sold $156 million of Impressionist and modern art last night in New York, less than half the year-ago total, as collectors and advisers lamented a scarcity of masterpieces.
“This time around, the auction houses don’t have any great estates,” said Suzanne Gyorgy, head of Citi Private Bank’s art advisory service, before the sale. “They don’t have the iconic great work.”
The tally fell below Christie’s presale estimate of $162.3 million to $231.9 million, with 10 of the 57 lots failing to sell. Leonardo DiCaprio, sitting near the front of the room with a baseball cap obscuring his face, was among the onlookers as Claude Monet’s 1914-17 floral painting “Iris mauves” failed to sell.
Estimated to fetch as much as $20 million, it was the sale’s biggest casualty. DiCaprio declined to comment.
The top lot was a tie. A Maurice de Vlaminck landscape owned by hedge-fund manager Steve Cohen fetched a record $22.5 million, as did Monet’s 1891 painting of poplars, “Les Peupliers.”
The 1905 Vlaminck canvas, “Paysage de banlieue,” is a view of the small town of Chatou in the suburbs of Paris. Yet its palette of bright yellow and deep blue seems more Mediterranean.
“For Vlaminck it’s a pretty key composition,” said Michael Findlay, director at Acquavella Galleries in New York, before the sale. “It couldn’t be a better date, it couldn’t be better colors.”
The seller bought the work from Acquavella in 2002 and according to Christie’s, Acquavella bought it back last night.
In May 2010, Christie’s achieved records for Picasso and Jasper Johns while auctioning the estates of Frances Brody and Michael Crichton. Its Impressionist and modern sale was a $335.5 million spectacle starring a 1932 Picasso that went for $106.5 million.
“We are seeing a seismic shift,” Matthew Armstrong, director of Peter Freeman gallery in Soho, said by telephone yesterday afternoon. “The shift is toward more contemporary art because great Impressionist and modern artworks are simply harder to find. We don’t see the same level of quality as we did at the peak of the market.”
Pierre Bonnard’s 1936 canvas “Le Petit Dejeuner” fetched $6.2 million last night, just above its low estimate of $6 million. The painting was part of the Metropolitan Museum of Art’s 2009 show “Pierre Bonnard: The Late Still Lifes and Interiors.”
‘Discerning Market’
Sotheby’s (BID) Impressionist and modern art sale tallied $170.5 million Tuesday, the smallest New York evening sale at the auction house in two years. A quarter of the lots failed to sell.
“It’s a discerning market,” said Findlay. It “has responded in an appropriate way to what it’s been offered.”
Sotheby’s fell $4.01, or 8 percent, to $46 in New York Stock Exchange composite trading yesterday, its biggest drop in 10 months. Rommel Dionisio, an analyst with Wedbush Securities, called Tuesday night’s sale results “mildly disappointing.”
“This time around, the auction houses don’t have any great estates,” said Suzanne Gyorgy, head of Citi Private Bank’s art advisory service, before the sale. “They don’t have the iconic great work.”
The tally fell below Christie’s presale estimate of $162.3 million to $231.9 million, with 10 of the 57 lots failing to sell. Leonardo DiCaprio, sitting near the front of the room with a baseball cap obscuring his face, was among the onlookers as Claude Monet’s 1914-17 floral painting “Iris mauves” failed to sell.
Estimated to fetch as much as $20 million, it was the sale’s biggest casualty. DiCaprio declined to comment.
The top lot was a tie. A Maurice de Vlaminck landscape owned by hedge-fund manager Steve Cohen fetched a record $22.5 million, as did Monet’s 1891 painting of poplars, “Les Peupliers.”
The 1905 Vlaminck canvas, “Paysage de banlieue,” is a view of the small town of Chatou in the suburbs of Paris. Yet its palette of bright yellow and deep blue seems more Mediterranean.
“For Vlaminck it’s a pretty key composition,” said Michael Findlay, director at Acquavella Galleries in New York, before the sale. “It couldn’t be a better date, it couldn’t be better colors.”
The seller bought the work from Acquavella in 2002 and according to Christie’s, Acquavella bought it back last night.
In May 2010, Christie’s achieved records for Picasso and Jasper Johns while auctioning the estates of Frances Brody and Michael Crichton. Its Impressionist and modern sale was a $335.5 million spectacle starring a 1932 Picasso that went for $106.5 million.
“We are seeing a seismic shift,” Matthew Armstrong, director of Peter Freeman gallery in Soho, said by telephone yesterday afternoon. “The shift is toward more contemporary art because great Impressionist and modern artworks are simply harder to find. We don’t see the same level of quality as we did at the peak of the market.”
Pierre Bonnard’s 1936 canvas “Le Petit Dejeuner” fetched $6.2 million last night, just above its low estimate of $6 million. The painting was part of the Metropolitan Museum of Art’s 2009 show “Pierre Bonnard: The Late Still Lifes and Interiors.”
‘Discerning Market’
Sotheby’s (BID) Impressionist and modern art sale tallied $170.5 million Tuesday, the smallest New York evening sale at the auction house in two years. A quarter of the lots failed to sell.
“It’s a discerning market,” said Findlay. It “has responded in an appropriate way to what it’s been offered.”
Sotheby’s fell $4.01, or 8 percent, to $46 in New York Stock Exchange composite trading yesterday, its biggest drop in 10 months. Rommel Dionisio, an analyst with Wedbush Securities, called Tuesday night’s sale results “mildly disappointing.”
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