Wednesday, June 5, 2019

PASTELS AND CHARCOAL DRAWINGS



There is a new virtual exhibition on our site featuring pastel drawings. Charcoal studies and mixed media pieces with work in pastels are also included. Because it’s by medium there’s a large subject range, from finely delineated abstractions such as Hugh Mesibov’s Space Interior #2, 1952, to Katharine McCollum Gallagher’s incredibly delicate Spring Bouquet made when she was in her eighties, to Charles Keller’s highly expressionistic Hanging the Sticks (a North Carolina tobacco barn), 1945.

Charles Keller, Hanging the Sticks, 1945

It’s notable that although many artists tried their hands at pastels, in fact these works generally account for a very small number in the artists’ full body of work. They are in fact scarce.

This is the link to the virtual exhibition:


#pastel #pasteldrawing #charcoal #charcoaldrawing 

pastel, pasteldrawing, charcoal, charcoaldrawing

Wednesday, May 29, 2019

GWYNETH LEECH: Construction Sites



The Gallery
Clinton / Hell’s Kitchen Studios
545 West 52nd Street, New York, NY

On view through June 8




Ever since an enormous new hotel blocked Gwyneth Leech’s studio window she has taken on construction sites in the city. The Hudson Yards, The Museum of Modern Art, One Vanderbilt, 57th Street – these and others are subjects in the paintings and works on paper on view.

Although she would probably prefer to be on the street working, she’s often at the exhibition. If you have the opportunity to visit while she’s there by all means try to do that.



Link to Leech’s page on the Gallery site:


#gwynethleech #constructionsites #hudsonyards #onevanderbilt #545West52nd #clinton

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Saturday, May 11, 2019

PHILADELPHIA, ST. LOUIS, AND PHILADELPHIA FOLLOW-UP.


Now that we’re actually back from two trips to Philadelphia and one to St. Louis it’s time to reflect on it all. 

The weekend of the Philadelphia Antiques and Art Show there was WEATHER! Many thanks for all who braved the elements and total understanding to those who didn’t. Between the rain on Friday and the wind on Saturday travel was treacherous.
 
The Gallery's booth at the Philadelphia Antiques and Art Show.

On Friday the drama of the rain hitting the roof of the tent was great, but we really had no idea of what it was like outside. In fact the parking lot was mostly flooded. The water was only an inch or so deep but it was amazing to see what seemed like hundreds of feet of water stretching out before us. Saturday was a windstorm and the management made the announcement that the tent was perfectly safe -- it was anchored to the concrete of the parking lot and made to withstand tornadoes. The skin of the tent did ripple though.

At Philadelphia Museum of Art there’s a show of 1930s prints, We the People, American Prints from Between the World Wars, with works by Will Barnet, Pele deLappe, Sue Fuller, Riva Helfond, Millard Sheets, and Harry Sternberg, and others as well. It was along the corridor to their blockbuster The Impressionist’s Eye but it wouldn’t surprise me if some people got waylaid entirely. The room was packed the whole time I was there with both visitors who seemed familiar with the material of that era even if they didn’t know those particular artists, and others to whom it was completely new. It was a terrific audience. Well done to Curatorial Fellow Jillian Kruse. On view through July 24.
 
Riva Helfond, Out of the Pit, 1935. This lithograph is used on the Museum's advertising for the exhibition.

On a totally different continent, the Museum’s Crossing Borders, Painting in the Crown of Aragon, 1400—1500, is a Renaissance one-room jewel of a show.

In St. Louis at the Mercantile Library Fine Print, Rare Book, and Paper Arts Fair we missed the worst of the rain but nearby areas were flooded and everything was growing like mad. They’re two to three weeks ahead of New York City so there was a lot more green than we’ve had although we’re starting to catch up. 

The Gallery's booth in St. Louis -- the 13th Annual Fair.
The Library’s show of historical area maps was extended for the weekend of the Fair. It was fascinating, both for it’s emphasis on the St. Louis neighborhoods along the Mississippi River and for depictions of the river’s length and it’s delta in Louisiana – clearly challenging subjects. A banknote featured what might be the earliest printed view of St. Louis. 


 
Close up of the town view.


There was also a quick visit to a charming nearby town, Florrisant, with some wonderful old buildings. 


This past week was a return visit to the Philadelphia Museum of Art for a series of talks relating to the We The People exhibition. There were so many terrific ideas: selections for the prize winners of the “Fine Prints of the Year” series, (artists' verses collectors' juries, traditional verses modern images, styles, and/or techniques); technical developments on WPA Printmaking Projects (especially carborundum prints and serigraphs) and transition of genre subjects to heightened social awareness and specific industries and then to wartime imagery shortly before the programs were shut down; and totally unknown to many (including me), two versions of large scrapbook-like volumes holding samples of Philadelphia WPA prints from which authorized visitors could make their selections. WOW!!!



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Thursday, May 2, 2019

Back from Philadelphia; Off to St. Louis



The Philadelphia fair was lovely. 

Part of the Gallery's Modernism wall with works by William Baziotes, Dorothy Dehner, Angelo Pinto, Anne Ryan, and Hugh Mesibov (who actually made it to every wall).
There were both established and new clients whose interest is so appreciated, wonderful colleagues with fascinating exhibitions, a great café, free parking, a huge tent that made the rain sound magical, and even swing dancing. 

Dancers at one of the Philadelphia fair's parties. 

There was also the terrific ‘We the People’ show at the Philadelphia Museum of Art.  

Riva Helfond's Out of the Pit, 1935, lithograph, on view at the Philadelphia Museum of Art's We the People show.



This coming weekend we’ll be at the 13th Annual St. Louis Fine Print, Rare Book, and Paper Arts Fair at the JC Building at the University of Missouri-St. Louis. Admission is free.

Anne Ryan's intaglio, The Spider, 1945, is on it's way to St. Louis for the fair this weekend.
 

Monday, March 4, 2019

McNAY ART MUSEUM FOLLOW-UP



 It’s always terrific to visit the McNay Print Fair and this year it was all just lovely. The Museum planned it perfectly with a nice drizzle on Saturday and cool temperatures on Sunday, so attendance was great. Today, Monday, it’s colder in San Antonio than in New York City where there was a snow storm – how does that work?

There was strong interest in modernist pieces by Peter Grippe, Fannie Hillsmith, and Hugh Mesibov, and figurative work of the New Deal Era as well.

In the museum there were terrific exhibitions including American Dreams: Classic Cars and Postwar Paintings, on view through May 19. The Tucker Torpedo, 1948, is pictured here to the right of Theodore Stamos’s Brown-Gray, a painting of 1959. This particular car is the very last of the fifty Torpedos ever made. The company failed after ‘The Big Three’ conspired to put it out of business.


Also on view is curator Lyle Williams’ Van Gogh to Munch: Seduction and Anxiety, through May 5. Go for a stunning print show but pay special attention to the Rodolph Bresdin, Good Samaritan, 1861 and the four Paul Gauguins on view.

As always, many thanks to Lyle for sticking with the collectors and the dealers all the way though the weekend.

McNay, McNayArtMuseum, SanAntonio, AmericanDreams, ClassicCars, PostwarPainting, NewDeal PostwarPaintings, TuckerCar, TuckerTorpedo, PrintFair, CollectPrints, IFPDA

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Sunday, February 24, 2019

Peggy and Leo at The Met

 
Right now in the Metropolitan’s Print and Drawing Room, just to the left at the top of the Grand Staircase -- the best selection EVER.

Peggy Bacon, Country Dressmaking, 1925

At the center of the room, on the western wall, is an installation of six drypoints by Peggy Bacon dating from 1919 to 1927 and including both her large-figure, pushed to-the-front characters, as in the hard-working women in Help, 1927, and her amazingly complex crowd scenes such as Café de la Rotonde, 1921, in which she had to put the word ‘Cafe’ onto the plate backwards so it would read properly when the door is open and ‘Cafe de la Rotonde’onto the plate in the normal left-to-right direction so that it would read backwards as we see the words from the inside of the room. Phew!

Bacon was a wonderful printer and all the Met’s impressions are beautiful. But they didn’t leave it there. In the interest of gilding the lily they took this opportunity to recognize the 500th anniversary of the death of Leonard da Vinci on May 2. The most northern half of the room is given to an ‘In Focus’ presentation with four, FOUR drawings by Leonardo. These are actually on the east wall nearly opposite the Bacons. It goes without saying that they are worth a trip in themselves. Additionally there is a print by Giovanni Pietro da Birago -- the earliest surviving copy after Leonardo’s Last Supper. There are also works after Leonardo by Albrecht Durer, Wenceslaus Hollar, and my favorite, Martin Schongauer’s Griffin.


It’s not clear to me how long this installation will last, maybe until the end of March, but go NOW!


TheMet, Metropolitan, PeggyBacon, LeonardodaVinci
#The Met #Metropolitan #PeggyBacon #LeonardodaVinci

Monday, February 18, 2019

CALIFORNIA REPORT

Following up on the California fairs. 

The Los Angeles Fine Art Print Fair was at the Pasadena Convention Center February 1 and 2, Friday and Saturday, and the Inaugural Bay Area Fine Print Fair was at the KALA Art Institute in Berkeley is February 9 and 10, Saturday and Sunday. Thanks to all who braved rain, floods, and mudslides to visit the fairs.

 
Rudolph Ruzicka, Brooklyn Bridge, 1913

Throughout the days there was special interest in work by East Coast artists Hugh Mesibov, Rudolph Ruzicka, and Anne Ryan.


Pele DeLappe, Friday Night, Freeman Family, 1933
Of course we also saw the fascinating exhibition Gauguin, A Spiritual Journey, at the De Young Museum in San Francisco’s Golden Gate Park, and the amazing and expansive California Women Artists Emerge, 1860—1960, show at the Pasadena Museum of History, curated by Maurine St. Gaudens and Joseph Morsman. It was especially great to see a gouache by Pele DeLappe included with works by other wonderful artists, both known and unknown to us. 

Sea Lions, Pier 39, San Francisco, February, 2019

And the sea lions at Pier 39 in San Francisco were as fabulous as ever. Hard to imagine that at first they weren’t welcome.