AAC Issue 136

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TABLE OF CONTENTS PREVIEWS INDEX

P R E V I E W S O F W O R K S F O R S A L E AT U P C O M I N G S H O W S C O A S T T O C O A S T FEBRUARY 2017 ISSUE 136
ISSUE FEATURING
AMERICAN
C O L L E C T O R
SPRING AT ARCADIA CONTEMPORARY
MARCH APRIL
JEREMY LIPKING SPANISH REALISTS
TOWN PLAZA
9428 Washington Blvd.
Culver City, CA 90232 www.arcadiacontemporary.com
© 2017 Arcadia Contemporary (424) 603-4656 info@arcadiacontemporary.com
SPRING AT ARCADIA CONTEMPORARY
MAY JUNE
CASEY BAUGH NICK ALM
TOWN PLAZA
9428 Washington Blvd.
Culver City, CA 90232 www.arcadiacontemporary.com
© 2017 Arcadia Contemporary (424) 603-4656 info@arcadiacontemporary.com
EDITOR’S LETTER
The Art Spirit

FEBRUARY 2017 / MONTHLY
VINCENT W. MILLER / Publisher
W
EDITORIAL
e were devastated to find out about the tragedy
JOSHUA ROSE / Editor
editor@americanartcollector.com that recently struck our very close friend Richard
ROCHELLE BELSITO / Managing Editor
Demato and his artists when his gallery in Sag Harbor, New
rbelsito@americanartcollector.com York, burned to the ground on a very cold morning in mid-
MICHAEL CLAWSON / Deputy Editor December. The gallery was a complete loss and some 75
ERIN RAND / Associate Editor paintings were destroyed. Luckily, many other paintings Scan for
VIDEO
JOHN O’HERN / Santa Fe Editor
were stored in an off-site storage unit.
I’ve decided to give this space to Richard. We are pleased Scan the Icons
FRANCIS SMITH / Contributing Photographer
to hear that the gallery will be opening possibly March 1 Throughout This
ADVERTISING 866 6190841 and in a location that is bigger and better than ever. Issue to Watch
LISA REDWINE / Senior Account Executive

From Richard: Videos
lredwine@americanartcollector.com “All of us at RJD Gallery share the bone-wrenching

CHRISTIE CAVALIER / Senior Account Executive sorrow of our artists’ loss, part of their life’s legacy and Don't Have
ccavalier@americanartcollector.com energy is gone forever, with the burning of their precious A Scanner App?
ANITA WELDON / Senior Account Executive and unique paintings.
aweldon@americanartcollector.com None were prepared for such a traumatic loss, but for
CAMI BEAUGUREAU / Account Executive some it’s become a source of energy to create even more art.
camib@americanartcollector.com
They all appreciate that we reacted quickly, and the new
TRAFFIC gallery location is almost three times larger, and next to two of We recommend
traffic@americanartcollector.com the hottest morning and evening restaurants in the Hamptons. SCANLIFE
Our artists are grateful knowing they are all guaranteed Available on
PRODUCTION Android and IOS
their agreed consignment fee, regardless of the insurance Devices
ADOLFO CASTILLO / Multi Media Manager outcome.
TONY NOLAN / Art Director We are all excited and look forward to a stronger and very
AUDREY WELCH / Graphic Designer creative 2017 with American Art Collector.”
KEVIN KING / Junior Designer One of Richard’s artists, Candice Bohannon, also summed
up her feelings when she wrote that “a measure of my life’s
SUBSCRIPTIONS 877 9470792
work has been ripped from this world, and I feel sick to
EMILY YEE / Subscriptions Manager my stomach thinking about it—But the feelings of loss are
service@americanartcollector.com Get Social!
reshaping into a sharp sense of urgency, urgency to create
JAIME PEACH / Accounts Receivable
new works of great importance, passion, intention and beauty,
jpeach@americanartcollector.com
and to fill the void that this horrible fire has left in its wake.
JESSICA HUBBARD / Subscriptions Coordinator
admin@americanartcollector.com This New Year will be one of great productivity, I know I will
be working feverishly to create new works in 2017.”
Copyright © 2017. All material appearing in American Art Collector is copyright.
Reproduction in whole or part is not permitted without permission in writing from
american
the editor. Editorial contributions are welcome and should be accompanied by a Sincerely, art collector
stamped self-addressed envelope. All care will be taken with material supplied, but
no responsibility will be accepted for loss or damage. The views expressed are not
necessarily those of the editor or the publisher. The publisher bears no responsibility
and accepts no liability for the claims made, nor for information provided by
advertisers. Printed in the USA.
Joshua Rose
American Art Collector 7530 E. Main Street, Suite 105, Scottsdale, AZ 85251 Editor
Telephone (480) 425-0806. Fax (480) 425-0724 or write to American Art Collector, P.O. collectart
Box 2320, Scottsdale, AZ 85252-2320
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AmericanArt
ON THE COVER Collector
Phillip Thomas, Exit, oil on canvas, 84 x 54"

Courtesy RJD Gallery.
004 www.AmericanAr tCollector.com

New Arrivals
Carl Dobsky, Birds Of Paradise, oil on linen, 60 x 84 inches, 2016
JOHN PENCE GALLERY

750 Post Street • San Francisco • California
www.johnpence.com • art@johnpence.com
Phone (415) 441 - 1138
Established 1975
Dmitri Danish
“Cobblestone Street,” 36 x 18 in. Oil on Canvas “Evening Lights in Rainy Venice,” 36 x 18 in. Oil on Canvas
Lotton 900 north michigan ave. LeveL 6, chicago, iL 60611

(312) 664-6203
gaLLery www.LottongaLLery.com
B o n n e r D a v i d Galleries
Traditional x Contemporary
Joseph Lorusso
“Yellow Turtleneck” / oil on panel / 8" x 16"
“City Lights” / oil on panel / 16" x 22"
7040 E. Main Street x Scottsdale, AZ 85251 x www.bonnerdavid.com x art@bonnerdavid.com x 4 8 0 . 9 4 1 . 8 5 0 0

ANATOMY OF THE MAGAZINE
Use this magazine to help you become the first to acquire
new works for sale at upcoming shows coast to coast
COASTTOCOAST COVERAGE
Find out what’s happening across the nation. This is the first magazine to provide
coast-to-coast coverage of upcoming shows from artists and galleries specializing in
traditional fine art paintings and sculpture—the art that collectors want.
PREVIEWS COLLECTOR HOMES

In the Preview pages, we reveal Our nationally recognized
new works about to come interior design consultants take
available for sale by the country’s you inside the homes of major art
leading galleries. collectors to show how the
collections have been hung.
ART SHOW LOCATIONS

At the top of each Preview page ART MARKET INSIGHTS
you’ll see the destination where the Find out everything the
upcoming exhibition is showing, discerning collector needs to
the dates, and the gallery address know. Each month a group of art
and contact details so you can experts share their behind-the-
make inquiries about new works— scenes knowledge of how the art
before they go on sale to the market works.
general public.
ARTIST FOCUS PAGES

These one-page articles are bonus
Previews and focus on additional exhibitions taking place
each month. Artist Focus Pages also show new works SOLD!
available for purchase, providing another valuable resource
Read our monthly SOLD! pages to find out
for finding more one-of-a-kind works of art.
who’s buying whose art they first saw in this magazine.
ART LOVER’S GUIDES

Broaden your horizons by reading about the fabulous
new art to be shown in some of the country’s most
exciting and stimulating art destinations.
VIRTUAL ART WALK

Visit www.AmericanArtCollector.com to see our sensational Virtual Art Walk. When a
show announcement catches your eye, click on it and the art image will enlarge. Click
again, and you will be linked directly to the gallery hosting the upcoming show.
Hosted by The MARSHALL Gallery of Fine Art
THE WINTER SALON OF THE INTERNATIONAL GUILD OF REALISM SHOW
January 26, 2017 through February 18, 2017
OPENING NIGHT THURSDAY, JANUARY 26, 7 TO 9PM DURING ARTWALK
Barbara Kacicek, Waning, oil on panel, 12x16 Anne-Marie Kornuchuk, White Horse, oil on canvas, 40x40
UPCOMING SHOWS IN THE GALLERY
02/23/17 ALVIN GILL-TAPIA 03/23/17 DAVID JONASON 04/13/17 FRANK BALAAM

“MONUMENTS OF THE SOUTHWEST” “DESERT FAUNA” “EDGE OF THE FOREST”
Thursday, 7-9 p.m. Artist to be present Thursday, 7-9 p.m. Artist to be present Thursday, 7-9 p.m. Artist to be present
Sacred Heart, acrylic & gold leaf, 20x20 Valley Spring, oil, 18x24 Edge of the Forest I, oil, 46x46
7106 East Main Street | Scottsdale | Arizona 85251 | 480.970.3111 | www.themarshallgallery.com | email@themarshallgallery.com
Meet Artists Working in Studios
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LOOK FOR THE BIG WHITE TENTS!
19 th Annual International Portrait Competition
T he Portrait Society of America invites artists from all over the world
to enter the 19th annual International Portrait Competition. Our
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today. The selected finalists are required to exhibit their original artwork
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2016 Grand Prize Winner

Michael Klein, New York City Entrepreneur
38x28”, oil
2016 First Place Drawing

Olga Krimon, Yin and Yang
18x24”, charcoal and graphite
Call for Entries

• $45 Entry Fee
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• $10,000 Grand Prize cash award
• Open to all artists & mediums
2016 First Place Sculpture • Entry deadline: March 2, 2017 2016 First Place Painting
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Don Webster, “Gulls in Motion”, Bronze
Featuring Don Webster

Painters: V.NOE • BARBARA BARRETT • RICHARD ALAN NICHOLS • BENJAMIN KELLEY
CECY TURNER • ANITA LOUISE WEST • BUD HEISS • BRADLEY CHANCE HAYS • WES HYDE • PETER HANSEN
Sculptors: CATHEY DELISLE • JIM GILMORE • DON WEBSTER • DON REITZ
GUIDO FRICK • CHARLES BUNNELL • RAMON KELLEY • BEN KONIS •AUDIE DURHAM
Painters: GUIDO FRICK • RAMON KELLEY • WES HYDE • V. NOE • BENJAMIN KELLEY
• ANITA LOUISE WEST
BRADLEY CHANCE HAYS BUD HEISS CHARLES BUNNELL RANDY PIJOAN
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/
36
CONTENTS FEBRUARY 2017
UPCOMING SOLO & GROUP SHOWS

ARIZONA
• Scottsdale
FLORIDA
• Naples
ILLINOIS
• Chicago
NEW YORK
• New York
PENNSYLVANIA
• Lancaster
TEXAS
• Houston
WISCONSIN
• Milwaukee

SPECIAL SECTIONS
COLLECTOR’S FOCUS:
WINTER LANDS 52
42
GALLERY FOCUS:
REINERT FINE ART 59
THE ART LOVER’S
GUIDE TO COLLECTING 109
FINE ART IN CALIFORNIA
URBAN EXPLORATION
Collector’s Focus: Cityscapes 114
FE AT U R E S
72 84 92 CREATIVE ENVIRONMENT
36
New York, NY Scottsdale, AZ Naples, FL
KENNY HARRIS JANE JONES DETAIL AND
Place and time The fragility of nature EXPANSE
Nature’s reverie
MARC TRUJILLO:
POETRY OF PLACE 42
76 86
By John O’Hern
Chicago, IL Lancaster, PA 94 I AM (IN)VISIBLE

By John O’Hern 46
DMITRI DANISH SARAH MCRAE Scottsdale, AZ
Travelogue MORTON JOSEPH LORUSSO
Propelled by curiosity Poignant moments D EPA R T M EN T S
80 88 96 ART FAIR PREVIEW 30
New York, NY
SHARON MOODY Naples, FL Maple Ridge, BC UNVEILING 32
Fantasy worlds TIME-HONORED GERRY THOMPSON CALLING COAST TO COAST 34
GENRE Details matter ARTIST FOCUS PAGES 100
82 Maritime paintings
CO N TE N TS
Milwaukee, WI
LAURIE HOGIN 90
Implacable demons and Houston, TX
better angels RUST AND OIL
015
21st-century industrialism
FEBRUARY
FEBRUARY 16-19,
16-19, 2017
2017
Palm
Palm Springs
Springs Convention
Convention Center
Center
Opening
Opening Night
Night Preview
Preview
Thursday
Thursday February
February 16
16
Lita Albuquerque,
Lita courtesy of
Albuquerque, courtesy Blake Gallery
Peter Blake
of Peter Gallery
art-palmsprings.com
Winter’s Warmth, Acrylic on Canvas 30”x48”
MICHELLE COURIER
Westward Gallery
4400 Tennyson Street, Denver, Colorado 80212 | www.michelletcourier.com | www.westwardgallery.com | 720.483.1046
RICHARD GREEN PAT SALING WILLOW GALLERY
PROVIDENT JEWELRY VENDOME COLLECTION
FEBRUARY 15-21, 2017

Featuring Over 175
International Exhibitors
Palm Beach County

Convention Center
For Information Visit

PalmBeachShow.com
FREDERIC GOT GALLERY FINE ART • CONTEMPORARY • MODERN • ANTIQUE & FINE JEWELRY • BUTCHOFF ANTIQUES
PAINTINGS • SILVER • CERAMICS • PORCELAIN • POTTERY •ASIAN ANTIQUITIES
& CONTEMPORARY ASIAN ART •FURNITURE & FURNISHINGS • AMERICANA •
MANUSCRIPTS •TEXTILES • WATCHES • CLOCKS • SCULPTURE • BRONZES
WORKS ON PAPER • OBJETS D’ART • FINE RUGS • ART GLASS
ANTIQUITIES THROUGH 21ST CENTURY DESIGN
A P A L M B E A C H S H O W G R O U P E V E N T
NALLY JEWELS VILLA DEL ARTE GALLERIES
REHS GALLERIES MACKLOWE GALLERY IMPERIAL FINE BOOKS
G A L L E RY R U S S I A
Celebrating 25 Years!
(top left, clockwise) Victoria Kalaichi • Road • 16" x 19 5/8" • oil

Alina Sharovskaya • Daisies • 51" x 47 1/4" • oil
Denis Sarazhin • Autumn Foxtrot • 23 5/8" x 31 3/8" • oil
Victoria Kalaichi • Friends • 27 1/2" x 23 1/2" • oil
7103 East Main Street • Scottsdale, Arizona 85251 • 480.596.9533 • info@galleryrussia.com

galleryrussia.com
OLIVER & ESPIG HAYNES FINE ART ANDREW FORD ART AND ANTIQUES
DOROTHEA SHARP
Britsh 1874-1955
‘Far Away Thoughts’
Oil on canvas, signed lower left
Canvas size: 16.5 x 18 inches
NAPLES
164
Art, Antique & Jewelry Show
FEBRUARY 24-28, 2017

PALM AVENUE FINE ART COLM ROWAN FINE ART
Featuring International Exhibitors
NAPLES EXHIBITION CENTER

At The Commons
850 Goodlette-Frank Road
Naples, FL 34102
NaplesShow.com
SHERRY’S
CUSTOM DESIGNS
Contact: Sherry Fehr and Gail Fehr

21090 Saint Andrews Blvd., Boca Raton, FL
Tel: 561.338.9100
ANTIQUE & FINE JEWELRY • PAINTINGS • SILVER
Gayle@sherrysgiftsofgilt.com
MS RAU ANTIQUES ASIAN ANTIQUITIES & CONTEMPORARY ASIAN ART ED WEISSMAN ART AND ANTIQUES
CERAMICS, PORCELAIN & POTTERY • FURNITURE &
FURNISHINGS • AMERICANA • MANUSCRIPTS • TEXTILES
WATCHES • CLOCKS • SCULPTURE • BRONZES
WORKS ON PAPER • OBJETS D’ART • FINE RUGS • ART GLASS
ANTIQUITIES THROUGH 21ST CENTURY DESIGN
A P A L M B E A C H S H O W G R O U P E V E N T
SHERRY’S ELEMENTAL FINE ART
NADINE KALACHNIKOFF COLLECTION PROVIDENT JEWELRY REHS GALLERIES
One of a kind 18k yellow gold with enamel and baby pearls
134
UPTOWN #2, 36 X 48 “, OIL
PROVIDENCE GALLERY
www.providencegallery.net 704-333-4535
ANNE HARKNESS www.anneharkness.com annepharkness@gmail.com 704-622-3077
Y
David Kidd, “Seasonal Change” 60x48
CM
MY
CY
Stewart’s Point Meadow Oil 8x10

CMY
Lori S Robinson
K
www.lorisrobinson.com @lorisrobinsonpaintings
{TH { TH(e)Gallery }
(e)G} T E L E G R A P H H I L L
(239) 403 7787 GardnerColbyGaller y.com 491 Greenwich Street San Francisco CA 94133
T 415 767 9794 info@telegraphhillgallery.com
386 & 365 Broad Avenue South Gallery Row Naples, FL 34102
GardnerColbyQP.indd 1 12/30/14 5:38 PM

Barbara Fracchia
mfracchia@comcast.net 510 525 7057 www.barbarafracchia.com
Crowd Pleasers
A Boat Tour Around Manhattan Island Oil on Canvas 16 x 20
{TH { TH(e)Gallery }
(e)G} T E L E G R A P H H I L L
491 Greenwich Street San Francisco CA 94133

T 415 767 9794 info@telegraphhillgallery.com
CHUCK MARSHALL
Maine Apples 24"x24" oil on canvas
Contemporary American Impressionist

chuckmarshallfineart.com • (513) 404-3161
Bethanne Kinsella Cople, AIS, AWA Master BethanneKinsellaCople.com
REPRESENTED BY
PRINCIPLE GALLERY:
Alexandria, Virginia
Charleston, South Carolina
HUFF HARRINGTON FINE ART:

Atlanta, Georgia
ANNE NEILSON FINE ART:

Charlotte, North Carolina
WILLIAM RIS EAST:

Jamesport, New York
GALLERIE AMSTERDAM:
Carmel, California
"Freeze, Freeze, Thou Bitter Sky" oil 14x18

Sarah McRae Morton with, “The Mountain Whale”
The Garden of the Monsters of the Sleep of Reason The Trapper of Delft
January 31st - February 25th www.redravenartcompany.com 717 299 4400

The Red Raven Art Company 138 North Prince Street Lancaster, PA 17603
BDG half pg AAC2_Layout 1 12/22/16 7:49 PM Page 1
ReRavenArt.indd 1 12/23/16 3:12 PM
Bonner David Galleries
Jane
Jones
7040 E. Main Street
Scottsdale, AZ 85251
www.bonnerdavid.com
art@bonnerdavid.com
480.941.8500
“Handle with Care” / oil on canvas / 21" x 22"

Paul Glushman
“Cold in NY” oil on canvas 18 x 36
Trash Day on Union Street Oil on Canvas
Distinctive Urbanscapes
fi n e a r tb y d o n r e e d .c o m
d o n r e e d @ fi n e a r tb y d o n r e e d .c o m
CUSTOM ARTWORKS
(916) 247-5795
Robert Steinem
robertsteinem.com REPRESENTED BY
www.paulglushmanart.com rgsteinem@gmail.com Gallery North Star, Grafton VT
paulglushku@yahoo.com Snowshoe Weather Hermitage Design & Gallery, McLean VA
oil/canvas 36" X 24" The Greenfield Gallery, Greenfield MA
Bakersfield Museum of Art
Urban Ubiquity: Marc Trujillo
January 26 - April 30, 2017
1930 R Street | Bakersfield, CA 93301

4661.323.7219 | www.bmoa.org
Winfield Gallery
New Works
February 1 - 28, 2017
MARC TRUJILLO
Roscoe Boulevard, 2016, oil on dibond panel, 24 x 39 inches
Marc Trujillo_Art_Antiques_Ad.indd 1 11/3/16 1:21 PM
Winfield Gallery.indd 1 12/15/16 3:55 PM

Where Is Your Favorite
Art Destination?
Throughout our 12 monthly issues we invite you to see the many talented artists
and high-quality galleries in these major art destinations coast to coast.
OCTOBER ISSUE
» Art Lover’s Guide MAY ISSUE
to CANADA JUNE ISSUE
» Art Lover’s Guide to » Art Lover’s Guide MARCH ISSUE
SANTA FE & VICINITY to the MIDWEST » Art Lover’s Guide to
AUGUST ISSUE WASHINGTON, D.C.,
» Art Lover’s Guide to the & MID-ATLANTIC STATES
PACIFIC NORTHWEST » The Art Lover’s Guide
to Collecting Fine Art
in Colorado
FEBRUARY ISSUE JULY ISSUE

» Art Lover’s Guide to CAPE COD
» Art Lover’s Guide
& THE ISLANDS
to CALIFORNIA
NOVEMBER ISSUE
» Art Lover’s Guide to
JANUARY ISSUE CHARLESTON, CHARLOTTE
» Art Lover’s Guide to & THE CAROLINAS
SCOTTSDALE & VICINITY
APRIL ISSUE DECEMBER ISSUE
» Art Lover’s Guide to TEXAS
» Art Lover’s Guide to FLORIDA
» Art Lover’s Guide to THE SOUTHERN STATES
See Full Details on the Special Art

Destination Sections by Visiting
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since 2006
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ART PALM SPRINGS
When: February 16-19, 2017;
Fair Preview February 16, 6-10 p.m., opening night previews

Where: Palm Springs Convention Center,
277 N. Avenida Caballeros, Palm Springs, CA 92262
Information: www.art-palmsprings.com
Fresh Perspectives
The newly renamed Art Palm Springs fair displays post-war and contemporary
art from more than 60 dealers.
1
The 2016 opening night
party. Photo by Lani
Garfield.
2
Roger Reutimann,
Death of Venus, bronze
with automotive paint,
ed. of 2, 72 x 44 x 44".
Courtesy William Havu
Gallery.
3
Robert Freimark, Dream
of the Wallflower, acrylic
on canvas, 70 x 70".
Courtesy HOHMANN.
1
R eturning to Palm Springs,

California, this Presidents Day
weekend is the newly renamed Art Palm
entirety. During the opening night
preview, philanthropist and art
collector Donna MacMillan will be
2
Springs (formerly Palm Springs Fine honored as the Arts Patron of the Year.
Art Fair), which is produced by Urban Among the exhibitors for 2017
Expositions and features national and are returning galleries such as the
international exhibitors. The event Cynthia Corbett Gallery, HOHMANN,
coincides with the city’s Modernism C. Grimaldis Gallery, Maria Elena
Week, allowing the desert locale to Kravetz Gallery, Throckmorton Fine
become a mecca for arts and culture. Art, Charlotte Jackson Fine Art and
Highlighted during the fair, taking Gallery K.A.G. New dealers include
place February 16 to 19, will be post-war Blue Rain Gallery, Lassiter Fine Art,
and contemporary artwork from more William Havu Gallery and Winston
than 60 dealers—both newcomers and Wächter Fine Art.
returning exhibitors alike. “This weekend in Palm Springs is
Art Palm Springs will kick off on seen as an important art and design
the evening of February 16 with two destination,” says Donna Davies, vice
opening events that benefit Palm president of Urban Expositions. “We’re
Springs Art Museum. The First proud to be a part of one of the most
Look opens at 6 p.m., while the VIP prestigious weekends in the art world.”
preview for Black Card & VIP Pass American Art Collector is a proud
holders starts at 7:30 p.m. Attendees media sponsor of the fair, which has
at these ticketed receptions, which general admission hours on February
run through 10 p.m., are provided the 17 and 18 from 11 a.m. to 7 p.m. and on
first opportunity to see the fair in its February 19 from 11 a.m. to 6 p.m.
3

www.ArlonRosenoff.com
New York Winter DENISE KELLY 508-487-4255 Times Square at Night

oil on canvas 22x28 dkelly508@comcast.net oil on canvas 24x30
FINE ART
Unveiling spotlights a recently completed portrait,
figurative work or museum opening from some of our
Unveiling best and most active members of the Portrait Society of

America. This month Christine Egnoski, executive director,
interviewed Lorena Selim about her award-winning work in
the Portrait Society’s Members Only Competition.
Lorena Selim: Reflection of an Artist

BY CHRISTINE EGNOSKI
L orena Selim’s art career has come full circle.

Growing up in a family that supported her
growth as an artist, her mother signed her up
for art lessons at the age of 11 with Ann Cushing
Gantz, a gifted artist and teacher. In college, she
planned to study fi ne art but was not excited
about the art programs available at the time
and took another career path as a production
artist and designer at the Smithsonian. Using
her art skills to create exhibits and dioramas,
she worked her way up into management in the
exhibits department and after 30 years retired
as the Director of Exhibitions at the Museum of
Natural History. In 2009, she returned to painting
full time and started studying drawing and oil
painting at the Corcoran School of the Arts and
Design, the Art League in Alexandria, Virginia,
Studio Incamminati and various workshops with
different artists such as Burt Silverman.
Recently awarded one of the top placements
in the Portrait Society of America’s Members
Only Competition, in the Outside the Box
category, Selim’s work was inspired by her great-
grandfather’s watch. She had been thinking of
incorporating it into a painting, but as sometimes
happens with paintings, the original idea morphed
into something else. It started to become more of
a painting about her life and the passage of time,
and so she decided to include her reflection. The
leaf and the watch represent the passage of time;
the bird represents beauty and passion. In pulling
together the other objects in this work, she kept
in mind their different colors and textures. For
instance, she included the crispness of the edges
in an old leaf along with the soft texture of the bird
feathers (Vermilion Flycatcher) and reflections
from the gold watch.
Inspired by Rembrandt, Degas, Chardin and Zorn,
Selim says, “I have always been drawn
1
Self-Portrait to painting people and the challenge
Vanitas, oil, of capturing something more than just
22 x 13" a surface expression.”
The 19th annual The Art of the Portrait conference will be held
April 20-23, 2017, in Atlanta. www.portraitsociety.org

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1
Covering The Major Art Destinations

Daniel Graves’ Storm on the Plain, 2013, oil on board, hangs
at the foot of the stairs. Sarah Lamb’s Old Books, 2013, oil on
043
canvas, is above the bookcase in the living room.
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Calling Coast to Coast
We ask leading galleries from coast to coast what their thoughts
are on the market and where it might be headed.
OWNER PA R T N E R GALLERY DIREC TOR
Steve Gibbs Rachel H. Stephens Pamela Campe

Art Spirit Gallery Wally Workman Gallery Gardner Colby Gallery
Coeur d’Alene, ID Austin, TX Naples, FL
The Art Spirit Gallery was founded 19 2016 has been an interesting year. Southwest Florida, and Naples in
years ago in what was then still a small Election years tend throw sales off particular, continues to be a growing
town in North Idaho. Offering primarily regardless of the current politics. We area. Between new housing construction
contemporary art, we represent artists typically see a lull for six months or so and many extensive renovation projects,
from as far away as New Zealand and as before election day, but this year was so we have a strong influx of new art
close as our hometown. Once a month contentious that we saw a lull beginning collectors to the area. Having been here
we take everything off the walls and 12 months prior! However, like before, for 20 years, we are one of the longest-
hang a new show, featuring one or more sales picked up after Election Day, standing galleries in Naples, and have
of our favorite artists. This keeps the even with so many of our collectors two showrooms on Gallery Row in the
gallery feeling fresh and exciting. being disappointed in the results. Our toney Third Street historic district.
While we took a hit, along with many top sellers have been a mix of abstract The market has changed considerably
others, during the recession, we’ve since we opened 20 years ago, with a major
continued to show strong sales. Our shift from traditional, representational
most successful artists are those who are
regional, and for whom we have built a
“Luckily, we feel paintings to abstract, contemporary and
mixed media pieces. This has been driven
strong audience. Artists like Harold
Balazs, Mel McCuddin and George
strong going by a shift in home design and decor from
the more traditional, Mediterranean
Carlson, just to name a few.
We are working to cultivate new into 2017.” villa style, to a more modern and “clean”
interior. Similarly, our client base here has
collectors in the 25 to 40 age range, also shifted, to younger, more “hip” buyers
as some of our founding clients are and figurative artists: Diana Greenberg, to whom Naples is their second—or even
beginning to downsize and purchase America Martin, Joyce Howell and third—home. This buyer is embracing
less. We have recently collaborated Patrick Puckett. Diana Greenberg’s more transitional, contemporary and
with the University of Idaho to develop work is so popular we have to have a abstract pieces, and are often looking
a nonprofit institute aimed at teaching wait list! A great problem for a young to have fun with the art in their Naples
the business of art. artist to have. We have also seen an home. Abstracts by John Schuyler, large
Because we are a resort community, increase in the sales of nature-based figurative paintings by Anna Kincaide,
we see a sizeable increase in traffic work from artists like Julia Lucey, and allegorical paintings by Kevin
during the summer months. That said, Carol Dawson and Jen Garrido. We are Sloan are popular, as well as coastal-
we continue to sell year-round. thrilled to be hosting a show next year themed works. We continue to have a
We are excited about what the future with Ellen Heck, whose work we just find great response to our website and social
holds for us and the collectors we call brilliant. Luckily, we feel strong going media, exposing our entire collection to
friends. into 2017. collectors across the country.
Art Spirit Gallery Wally Workman Gallery Gardner Colby Gallery

Coeur d’Alene, ID | (208) 765-6006 Austin, TX | (512) 472-7428 Naples, FL | (239) 403-7787
www.theartspiritgallery.com www.wallyworkmangallery.com www.gardnercolbygallery.com

“I S H O O K U P T H E W O R L D ”
R J D G A L L E R Y. C O M | 6 3 1 . 7 2 5 . 1 1 6 1 I N T R O D U C I N G J U L E S A R T H U R .
7 2 " X 4 7 " O I L O N C A N V A S , W O O D , S T I T C H E D L E A T H E R , A N D M I X E D M E D I A M E M O R A B I L I A
THE HOME OF
C A R L A N D J U DY
S C H LO S B E R G
F E AT U R E S
AN ECLECTIC
CO L L E C T I O N
O F PA I N T I N G S ,
SCULPTURE,
FURNISHINGS
A N D N E O N A R T.
By JO HN O’HE R N
Photography by F R A N C I S SM I TH
1
On the back wall of the
living room is House of
Fire, 1989, lithograph
with collage, by James
Rosenquist. The yellow
COL L E C TO R H O M E
sculpture is Roll Play,

2007, by Bret Price. It
is painted steel on an
aluminum base. The
black sculpture on the
table in the foreground
is Butterfly, 1972, bronze,
by Peter Agostini (1913-
1993). Jessica, 2002,
037
aluminum, steel screen

print, by Alex Katz is on
the right.
2 4
C arl Schlosberg has been a private art dealer for 45

years. “I’ve never had a bricks-and-mortar public
space,” he says. “My home is my gallery.” He and his
2
In the dining room is an etching
from 21 Etchings & Poems, 1960, by
Franz Kline (1910-1962). Above the
wife, Judy, once lived in a 10-room house in Sherman counter is a set of four Campbell’s
Oaks, California, which was the setting for two to three Condensed Tomato Soup cans offered
exhibitions a year. “I’ve always been drawn to art in by Target in 2012 to celebrate the 50th
anniversary of Andy Warhol’s 1962
domestic settings,” he says. Today their apartment in
painting, 32 Campbell’s Soup Cans. In
Century City houses their private collections and is a the kitchen is Sweet Tooth, 1990,
place for clients “to come for inspiration and guidance.” hand-colored lithograph, by D.J. Hall.
He installed exhibitions in an apartment in New In the soffit is Names in Color, 2012,
York City and in an apartment on the beach in Malibu. a commissioned neon sculpture by
Alejandro Diaz, with the names of the
He rented a villa at the Peninsula hotel in Beverly couple’s eight grandchildren.
Hills and installed exhibitions there. He says, “Art in a
domestic setting does better justice to the art. It makes 3
people feel more at ease.” In the gallery walkway is a David
Hockney softground etching and
His passion for displaying art couldn’t be confined
aquatint, Celia in a Wicker Chair, 1974. It
to the intimate settings of domestic interiors, however. hangs above an antique English dresser.
He has installed sculpture in locations around Malibu Beneath it on the dresser and flanked
a number of times for public summer exhibitions. He by Chinese candlesticks is Basking,
says, “I’ve always felt that art has more meaning when 1987, a bronze with brown patination
by Anthony Caro (1924-2013). Through
you experience it in your daily life.” He also created the the open door is Flowers in Vase, 1986,
Sondra & Marvin Smalley Family Sculpture Garden at unique screenprint with hand painting,
American Jewish University. by Jonathan Borofsky. Buitzada,
In 2013, he curated an exhibition of Gwynn Murrill’s 1973, lithograph, by Eduardo Chillida
(1924-2002), hangs above a bronze
life-size bronze animal sculptures among the grassy
sculpture, Origin VIII, 1971, by Aldo
areas and the fountains of the Avenue of the Stars in Casanova (1929-2014). Green Curve,
Century City. That same year he was named Century 1987, lithograph, by Ellsworth Kelly
City’s Citizen of the Year. He feels that “sculpture and (1923-2015), is to the right.
nature are harmonious” and that was made obvious
3

4
In the foreground are
Ram, 1994/1997, epoxy,
stone and bronze, by
François-Xavier Lalanne
(1927-2008) and his
Sheep, 1999, epoxy,
stone and bronze.
Through the doorway is
Lozenge 3, 2013, acrylic
and LED lighting, by
Phillip K. Smith III.
In the far corner is
Laddie John Dill’s Light
Sentence, 2016, glass
tubing, argon, mercury
and fluorescent inner
coatings. To the right
of it is Untitled, 1978,
a berrylium copper/
bronze sculpture by
Harry Bertoia (1915-
1978).
5
Untitled, 1978, a
beryllium copper/
bronze sculpture by
Harry Bertoia (1915-
1978) greets guests in
the entry hall. The large
painting is an acrylic on
canvas by Kim Fisher.
On the right is Wall
Piece, 1988, painted
pinewood construction,
by Sol LeWitt (1928-
2007).
in his exhibition of Murrill’s sculptures in which

deer nibbled at the grass and sleek felines explored
the fountains. In 2015 he expanded the outdoor
sculpture concept to include 10 artists whose works
were displayed throughout the community.
Schlosberg’s showmanship extends to the private
spaces of his home. A recent acquisition of a light
sculpture by Laddie John Dill has transformed the
experience of the entry “and made it come alive” he
exclaims. The light “creates an environment that’s
enormously seductive.” The Dill stands next to a
“Sonambient” sounding sculpture by Harry Bertoia
admired for their minimalist beauty in galleries and
museums but “played” in the Schlosberg residence
as the artist intended. The tall metal rods knock
against each other and create a resonating tone.
Further along the hall is another changing light
sculpture by Phillip K. Smith III, which changes
color in a seven-minute sequence.
The adjoining space is a hexagonal rotunda
that features four Matisse odalisques in exotic

settings, presented in period frames. Across from
them are François-Xavier Lalanne’s Ram and Sheep
constructed of epoxy stone and bronze.
The Schlosberg’s collections define eclectic. As
we chatted, he observed that from where he was
sitting in “a big leather chair and ottoman, I’m
looking around at four chairs—a 17th-century English
039
ladder back chair, an English 18th-century corner

5
6 7

8
5 chair, a 19th-century wing chair and a small I usually find that I had the right placement
On the bedroom wall are two paintings
child’s rocking chair.” And it all fits together. the first time around. I also have great fun with
by Tony Scherman titled About 1789
from 1998. Both are encaustic on paper Other collections include 17th-century English lighting. Lighting is a creative tool, establishing
mounted on canvas. On an English coffer silver, and books. Within the collections, there environments and moods and showing art
box at the foot of the bed is Odalisque are collections. For instance, there are eight in different ways. A collector can change
with Pillow, 1985, bronze, by Anthony David Hockneys, all of his favorite model the environment.
Caro (1924-2013).
and friend, the London fabric designer Celia “My greatest joy,” he continues, “is being
6 Birtwell; seven Matisse odalisques; and a creative in my own environment. I’m always
Peter Shire’s gouache on paper, Mercurial number of kinetic sculptures by George Rickey, aware of natural and artificial lighting. You can
California Accessories, 194, hangs in the whom Schlosberg represented for 30 years. create a whole scenario without being a super
breakfast room.
One special collection is eight neon techy person.”
7 sculptures the couple commissioned from At the age of 14, Schlosberg commissioned
In the dining room is Bernar Venet’s Alejandro Diaz. They are the names of their a friend to do a painting for him for $15. The
Undetermined Line, 1987, pastel and collage eight grandchildren and are installed in the experience of hanging the painting in his room
on paper. The Miroir, 1984-85, bronze with
soffit of the kitchen. When the time comes transformed his life. “In the early stages of my
copper leaves, is by Claude Lalanne. The
Couple, 1980, woodcut in colors by Roy for the collection to be dispersed, each of the art appreciation it was intuitive, emotional. It
Lichtenstein (1923-1997) is reflected in grandchildren will receive the piece bearing still is,” he says, “but there’s a more intellectual
the mirror. The armchairs are circa 1960s, his or her name. They are the third generation and academic part. There’s a spontaneity
designed by Warren Platner (1919-2006). of their family to be part of the apartment that and appreciation of beauty in its raw sense—
8 once belonged to Judy’s parents. without interpretation.”

Carl and Judy Schlosberg in their Century Schlosberg says, “I like minimalism, but I like He encourages collectors to go to galleries: “It
City home. Above the bar is Beach Scene, the warmth of other periods in terms of design doesn’t come to you. Buy with your heart and with
1971, lithograph, by Willem de Kooning as in the antique English furniture. I like art to passion and seek advice afterward. If you don’t
(1904-1997). The large sculpture to the
right is African Totem, 1993, bronze, wood
have the space to breathe. In some rooms,” he know a lot and need some direction and support,
and paint, by Hannes Harrs. In front of it is continues, “the art has no color and in some it’s seek out art dealers who can teach you about art
a small Torso, 1992, bronze painted white, blasting out.” and how to live with art. Their job isn’t just about
by Robert Graham (1938-2008). I ask if once a work has found its spot, if the economics of buying and selling, they support
041
he ever moves it around. He replies, “Yes, but a value system, a lifestyle, a state of mind.”
POETRY of PLACE
MARC TRUJILLO USES CLASSIC TECHNIQUES TO PAINT SCENES OF MODERN-DAY LIFE.
BY JOHN O’HERN
M arc Trujillo’s paintings are about painting.

Born in Albuquerque, New Mexico, where he first learned
about scale (man is small in the vastness of the desert), he received
precedes reflection, both phylogenetically and psychologically.
What distinguishes us from the animal is not the absence of
automatic responses, but the capacity to probe them and to
his BA at the University of Texas at Austin and his MFA from Yale experiment with them.”
University School of Art. First reactions arise often in our conversation. A Louis Comfort
His real education has taken place in museums, however. “Mom Tiffany Foundation Award in 2001 allowed him to travel to the
always took me to museums,” he recalls. “My father worked in D.C. Louvre in Paris and the Prado in Madrid. One of his many reactions
and I was really lucky to have a lot of access to the National Gallery was the experience of the importance of scale. Coming face to face
of Art, which is one of my favorite collections. I enjoyed going and with Jacques-Louis David’s The Coronation of Napoleon at the
exploring the galleries.” Louvre he was struck first by its size, 20 by 32 feet. At the Prado he
He explains, “I don’t bring conscious criteria to judge a painting,” encountered Velazquez’s Las Meninas, which measures roughly 10
echoing art historian Ernst Gombrich who wrote: “…reaction by 9 feet—just short of the scale where he says you would stop and

1 2
say, “Oh. That’s a large painting.” he realized, “It’s important to be a painter of the world 1
517 East 117th Street,
At the Mauritshuis in the Hague, he saw Vermeer’s I live in.”
oil on Dibond panel,
View of Delft. “It’s scaled so perfectly,” he says, “you The world he lives in is one of contradictions not 25 x 44"
can feel the physicality. Its scale—it’s about 39 inches the least of which is his own ambivalence about his
tall—isn’t the first thing that strikes you.” subjects. He feels both “awed and ashamed” by the 2
5138 Laurel Canyon
As a boy wandering the galleries of the National everydayness of the mundane scenes he paints—fast
Boulevard, oil, 9¾ x 7"
Gallery he found himself drawn to paintings by Corot. food drive up windows, vast impersonal big-box stores
“I would be drawn to the balance of color and light in and isolated diners. He celebrates the ordinary with
a painting and would look down in the corner and it the skills he developed studying the Old Masters, who
would say ‘C-o-r-o-t.’ Corot is clear and concise about celebrated the ordinary in their own time.
light. Over time, as I explored him, I learned about his An exhibition of both his new and older work is
hierarchy for painting—first form, then tone and then being shown at the Bakersfield Museum of Art in
color. Today I teach out of that hierarchy. It provides a California through April 30. Urban Ubiquity will
P OE TRY OF PL AC E
way to organize building paintings. We see form and also feature a number of his sketchbooks, which are
value before we see color. The eye actually sees black his constant companions as he captures incidents
and white more times per second that it sees color.” and places that may one day become a full-fledged
In fact, in his own paintings, he executes a fully studio painting. An exhibition of New Works will be
realized grisaille of his subject before beginning to at Winfield Gallery in Carmel, California, February 1
paint in oils. through 28.
Observing and responding to Old Master paintings Rachel Magnus, curator of the Bakersfield
as a boy he realized painting was something he wanted Museum writes, “Marc Trujillo’s work is an incredible
043
to do. Unlike other painters with similar beginnings example of an artist working in a very traditional,
3

3
20915 Roscoe Boulevard,
oil on Dibond panel,
24 x 39"
4
Combo #1, oil on panel,
16 x 20"
5
13463 Washington
Boulevard, oil on
polyester, 34 x 22"
6
Combo #6, oil on panel,
16 x 20"
6
classical approach while addressing the 20915 Roscoe Boulevard is a symphony chill of the void. It’s all alluring to me…and
contemporary social reality of American of light—different color temperatures, frightening.”
life. This exhibition allows the viewer to different intensities and different effects. He is fond of quoting the poet W. H.
witness impeccably painted large-scale He points out that the color is cool on Auden who wrote, “Poetry might be defined
paintings of familiar places and objects, the right and warm on the left where the as the clear expression of mixed feelings.”
depicting them as allegories of American compression of values makes the figure
society.” barely visible in the light of the street
His scrupulous observation, sketching
and studying results in paintings designed
lamp. His umber and white underpainting,
typical of Dutch painting, shows through
MARC TRUJILLO:
to lead us in. In his big-box paintings, in the sky on the right, the transparency URBAN UBIQUITY
perspective and light lead the viewer substituting for having to paint the color When: January 26-April 30, 2017
deep into the space. There is no obvious opaquely. Where: Bakersfield Museum of Art,
punch line or message because he wants Trujillo brings the techniques of the Old 1930 R Street, Bakersfield, CA 93301
the viewer to wander and wonder. If there Masters to scenes of our life today. “I’m Information: (661) 323-7219, www.bmoa.org
were a punch line, the experience would be taking the old, slow technique of painting
immediate and it would be over. He also to buildings that are not meant to be looked NEW WORKS
eschews text on boxes and mayonnaise jars. at. In 13463 Washington Boulevard I shifted When: February 1-28, 2017
“Text pulls you back to the factual surface,” the color of the wall a number of times. The Where: Winfield Gallery, Dolores between
he says. He paints light, space and depth. anonymity of these places is reinforced by Ocean & 7th, Carmel-by-the-Sea, CA 93921
“If you write on it, it snaps you back to the non-geographic specificity. They could Information: (800) 289-1950, www.winfieldgallery.com
surface. It breaks the spell.” be anywhere. The interiors embody the
He isn’t above a little manipulation of
P OE TRY OF PL AC E
the scene to make it more believable. In

5138 Laurel Canyon Boulevard the drive up John O’Hern, who has retired after 30 years in the museum business,
window is rectilinear, as if seen from farther specifically as the Executive Director and Curator of the Arnot
away rather than the perspectival shape Art Museum, Elmira, N.Y., is the originator of the internationally
we’d experience from our car window. acclaimed Re-presenting Representation exhibitions which promote
The monotony of grids is honored in his realism in its many guises. John was chair of the Artists Panel of the
presentation of the bricks on the façade New York State Council on the Arts. He writes for gallery publications
and relieved by his gratuitously popping around the world, including regular monthly features on Art Market Insights
045
up a tile on the interior ceiling. and on Sculpture in Western Art Collector magazine.
SPECIAL PREVIEW
“I AM (IN)VISIBLE”
R JD GALLERY CELEBRATES AFRICAN AMERICAN HISTORY MONTH
WITH A NEW GROUP SHOW.
BY JOHN O’HERN
EDITOR’S NOTE: Richard Demato has not just been a good client but he has also been a close and wonderful friend ever since he opened
his gallery in Sag Harbor, New York, over seven years ago. So, needless to say, we were absolutely devastated when we heard the breaking
news in December about a fire that destroyed the gallery and also parts of historic Main Street. We’ve been to Richard’s homes many times
over the years, had dinner with his artists, his collectors and friends, and our heart goes out to everyone who has suffered through this
tragedy. However, if anyone can turn it around, it is Richard. His strength, energy and resourcefulness will guide him as well as his artists
through this difficult time. That, we can assure you. Richard and I have been planning this article for months. When we talked about it after
the fire, knowing that some of the paintings that appear here were lost, we both decided the best thing to do would be to run the complete
article with all the images to honor the artists and the work they have done. They are truly stunning works and no fire can extinguish the
power and beauty contained within them.
N egro History Week began the second week of February 1926,

a week that contains the birthdays of Abraham Lincoln and
Frederick Douglass. Its originator, Carter G. Woodson, wrote, “If
Life and History.
African American History Month became a monthlong
celebration at the time of the nation’s bicentennial in 1976. At
a race has no history, it has no worthwhile tradition, it becomes that time President Gerald Ford asked Americans to “seize the
a negligible factor in the thought of the world, and it stands in opportunity to honor the too-often neglected accomplishments of
danger of being exterminated.” Woodson was a historian and the black Americans in every area of endeavor throughout our history.”
founder of the Association for the Study of African American RJD Gallery in Sag Harbor, New York, is celebrating artists who

SPE CI AL PR E V I E W
1 2
047
Arcmanoro Niles, When We Were Young, oil and acrylic on canvas, 68 x 72" Margaret Bowland, They Say It’s Beautiful, oil on linen, 78 x 66"
3

4 5
contribute to the ongoing experience and dialogue. 3 by controlling and maintaining power over the body.
(The exhibition would have opened February 11 .) Jules Arthur, Natchez His paintings are narratives and they are painterly.
Belle, portrait painted
The Duke Ellington School of the Arts was founded He has learned that his thoughts and emotions can be
in oil on wood panel,
in Washington, D.C., in 1974 to honor the great wood- and metal- expressed in the way he paints as well as in what he
composer and bandleader for his “starting young, constructed box paints. In When We Were Young, a nude young man
learning in a disciplined yet improvisational manner, frame, brass hardware, and a diaphanously clad young woman stand on the
flourishing in a tough world, developing a lifelong gold leaf, cloth fabric, snowy steps of an apartment building, she lifting up
peacock feathers,
network of fruitful relationships”—accomplishments antique tailor scissors,
the side of dress to protect his nakedness. Before them
they strive to instill in their graduates. stained wood, is an otherworldly creature with a sacrificial lamb.
One of its 2008 graduates is Arcmanoro Niles who 53 x 31 x 4" His earlier paintings have included representations
later went on to study at the Pennsylvania Academy of sculptures from ancient times and suggestions of
4
of the Fine Arts and the New York Academy of Art. a future life in space.
Margaret Bowland, The
He has also participated in residencies in China and Small Dancer Dreams, Phillip Thomas is a graduate of the Edna Manley
Costa Rica. oil on linen, 78 x 58" College of Visual and Performing Arts in Kingston,
In his National Book Award-winning book, Between Jamaica, and received his MFA from the New York
5
the World and Me, Ta-Nehisi Coates wrote, “I believed, Academy of Art. Thomas’ colorful paintings are
Jules Arthur, Black Gold,
and still do, that our bodies are our selves, that my soul portrait painted in oil on concerned with the contradiction of beauty and
is the voltage conducted through neurons and nerves, wood panel, constructed violence.
and that my spirit is my flesh.” Niles was listening to wooden box frame, In the triptych Matador III, the colorful and balletic
the book as he was painting the works in his series Life fabric, leather, 23k black matador in the center panel is flanked by what
goldleaf lettering, brass
Was a Party To Be Thrown from which the paintings in hardware, authentic
initially appear to be the flayed bodies of bulls hung
this exhibition were chosen. Niles recalls how decisions on meat hooks but which morph into the flayed body
049
1900s coffee grinder,

he and those around him have made were influenced 52 x 33 x 10" of the matador himself.
6

7
In Ode to Invisible Man he pays homage to Ralph 6 full extent of their creativity and craft.”
Phillip Thomas, Ode
Ellison’s The Invisible Man in which the black author Ellison was invisible because people refused to see
to Invisible Man, mixed
writes, “I am invisible, understand, simply because media on panel, 32 x 22" him. Margaret Bowland says of her paintings, “When
people refuse to see me.” In Thomas’ paintings the man making works I have often covered my subject in
has all the accoutrements of polite society—a clubby 7 paint to make this point. I feel that I am doing what
leather sofa set against a traditional toile wallpaper, an Phillip Thomas, Matador the world does to my subjects, tries to obliterate them
III (triptych), oil on
impeccably tailored suit with boutonnière, Ray Bans— canvas, 86 x 118"
or turn them into people they are not.” They need to
yet he doesn’t exist. appear to be other than who they are to be seen, to
Jules Arthur was born in St. Louis and received fit, to be loved.
his BFA degree with honors from the School of the Her paintings are reverse blackface. Most often, a
Visual Arts in New York. His intricately painted young girl paints herself white. In The Small Dancer
and assembled mixed-media portraits celebrate the Dreams, Bowland’s perennial model has painted her
unsung. They appear as giant calling cards for the face and neck acceptably white and happily embraces
anonymous skilled craftspeople behind the façade of her black shoulders with her black hands as a passing
recognized businesses. He says, “Each portrait in this rain cloud begins to wash away the paint.
body of unspoken history and culture is a fictitious Her intimacy with her models allows their
advertisement that imagines what it might have been personalities to shine. The small dancer is proud and
like had these craftsmen and entrepreneurs from the strong beneath her façades.
051
17th, 18th and 19th centuries been allowed to attain the

COLLECTOR'S FOCUS
WINTERLANDS
WINTER LANDS
1
BY JOHN O’HERN
J
ust after college I lived in the U.S. back or been cut down, leaving behind river is the “place for spearing sturgeon
Virgin Islands where the climate golden vistas against the blue skies and by torchlight.”
varied almost imperceptibly from tidal rivers. Beneath the dried-up grasses, Anthony writes, “I feel a great affection
season to season. We “felt” it was cold in the extraordinarily productive mud and for the otherness of the natural world, for
the winter and wore sweaters while the water nourish the creatures that make a place which I have just entered which
tourists lounged around in their bathing up the first links in the food chain. For existed autonomously before I saw and felt
suits and swam in the bay. generations, the grass was mown for hay. it, and which continues to exist when
Returning to New England’s four real Liz Haywood-Sullivan is familiar with I leave. What I depend on is the
seasons was a relief. People in the North the marshes in all their seasons. In Riverside separateness of wilderness.” Nature’s
often claim there are only two seasons, Landing, 2008, she portrays the subtleties of “otherness” is obscured in this bucolic
however, winter and the Fourth of July. color and light of a cold winter day. scene by its immediate beauty. The ice
Although we conjure up snowy Janice Anthony lives on a farm in speaks as it piles up, dams up and breaks
scenes in our minds when we think of Maine where she and her husband are up, flooding the land behind it and crushing
winter, one of my favorite scenes is the acutely aware of the seasons. River Ice, anything in its way as it flows to the sea.
snowless saltmarsh in midwinter. The Passagassawakeag, 2013, is one of her Farmers are attuned to the sounds and
lush green, waving grasses have died many paintings of rivers and streams in vagaries of nature. Even during the winter,
the snow. For the Maliseet Indians, the animals have to be fed and buildings need

2 3
4 5
1 Peter Poskas, Winter Morning, Hipp Farm, oil

on panel, 24½ x 33¼". Courtesy Haynes Galleries,
Nashville, TN, and Thomaston, ME. 2 Janice
Anthony, River Ice, Passagassawakeag, acrylic
on canvas, 28 x 33". Courtesy Gleason Fine Art,
Boothbay Harbor, ME. 3 Liz Haywood-Sullivan,
Riverside Landing, pastel on paper, 24 x 24".
Courtesy Vose Galleries, Boston, MA. 4 T. Allen
Lawson, Wracked, oil on linen, 36 x 40". Private
collection. 5 Charles Jarboe, Archives Frozen in
Motion, oil on panel, 34 x 50". Courtesy Bernarducci
Meisel Gallery, New York, NY. 6 Currier & Ives
(1857-1907), Central Park in Winter, 1877-94,
hand-colored lithograph, 8¼ x 123/8". Courtesy
the Metropolitan Museum of Art, New York, NY.
Bequest of Adele S. Colgate, 1962.
053
6
COLLECTOR'S FOCUS
WINTERLANDS
7 9
10
to be attended to. The Hipp Farm in New In Wracked, a sturdy house stands Park itself didn’t exist until Calvert Vaux
Milford, Connecticut, has been in one against the harsh winter while its and Frederick Law Olmsted submitted a
family for generations and Peter Poskas barns slowly slip into wrack and ruin. design for a park competition in 1858 and
has painted it many times and in many A foundation has gone on one and the its hills and lakes were later constructed.
seasons. In Winter Morning, Hipp Farm, ridge beam sags on another. The complex The Central Park Conservancy points out
the quintessential red barn in the snow is angles of the sagging barns contrast with that Olmsted and Vaux, “along with other
shown in subtle light and color, honoring the rectilinearity of the house. The fading socially conscious reformers, understood
the Hipps, the cows and the barn as they light reflects in its windows and reflects that the creation of a great public
stand up to and adapt to the seasons. the fading life of the once-active farm. park would improve public health and
T. Allen Lawson was born in Wyoming “Winter Wonderland” comes to mind for contribute greatly to the formation of a civil
and now lives in Maine. He is a patient those of us who don’t have to adjust our society.” The happy bustle of Manhattan
observer and attuned to the environment’s lives to nature’s forces and its nuances. continues in the other world of the park.
subtleties. He has written, “The transition Currier & Ives produced Central Park in Washington, D.C., was planned before
from painter to artist comes when you cross Winter, a hand-colored lithograph, in the the naturalist movement that Olmsted and
the line of painting what you see to painting late-19th century. They produced images of Vaux believed in, but the public spaces were
what you feel about what you see.” life in a time that no longer exists. Central intended to be used by the people as well.

11
12 13
A pond and skating rink in the sculpture “Children in colorful clothes playing in Russia, where much of the city’s cultural
garden of the National Gallery of Art the snow awakens the stories of the past; life occurs in winter, can achieve.”
also fronts the National Archives and the joy of people and richness of the Also from St. Petersburg is Alexander
is a favorite winter gathering space for tradition, they make me aware that we Volkov, who now lives in Frenchtown,
Washingtonians. Charles Jarboe painted are not so different and I want to share New Jersey. Working in various subjects,
Archives Frozen in Motion and is equally at this with others.” Aleksander’s landscape the unifying theme of Volkov’s work is the
home painting city and rural scenes, both Winter’s Emeralds and Diamonds recalls exploration of light. David French, a writer CO L LEC TOR'S FOCU S WI N TER L AND S
in fading light. At least in the city, there are walking along a snowy riverbank. He in New York, says, “There is a mystery and
night lights and the fun will go on. says, “[T]he colors of blissful whites longing at the heart of Alexander Volkov’s
In the following pages of this Collector’s with the deepest greens, the clarity and paintings. In his depictions of a mythical
Focus dedicated to winter-themed the majesty of the scenes inspired me to and timeless rural America there is a
artwork are more paintings, insights and recreate the glory of that moment.” world full of change where the past meets
inspirations from artists around the nation Rudy Gutierrez, who owns winter the present, nature takes over from man,
who depict these cherished subjects. scenes by both artists, says, “…[M]y day turns into night, and the seasons seem
Lyuba and Aleksander Titovets view is that their depiction of winter is always to be sliding one into another.”
capture unique moments in time in their accomplished in a way that only artists In February, Volkov will release his new
paintings. Of Winter Joy, Lyuba says, who grew up in a place like St. Petersburg, book, A Study of Time Past. Collectors
7 Aleksander Titovets, Winter’s Emeralds and Diamonds, oil on canvas, 48 x 48" 8 Alexander Fine Art LLC, Autumn Snowfall, oil on canvas, 28 x 46", by Alexander Volkov.
9 Alexander Fine Art LLC, Corals of Winter, oil on canvas, 32 x 46", by Alexander Volkov. 10 Lyuba Titovets, Winter Joy, acrylic on canvas, 12 x 48" 11 Alexander Fine Art LLC,
055
End of Winter, oil on canvas, 28 x 40", by Alexander Volkov. 12 Westward Gallery, Winter Stream, acrylic, 48 x 60", by Michelle Courier. 13 Westward Gallery, Winters Warmth,
acrylic, 48 x 30", by Michelle Courier.
COLLECTOR'S FOCUS
WINTERLANDS
14 15
18 19
will have the chance to meet Volkov, as with golds and yellows. “This poem perfectly verbalized the
he will make appearances around the “I sell the subject of winter art more atmosphere I wished to convey in my
United States at the galleries where he is than any other subject I paint,” Courier paintings, which were painted in plein air,”
represented. says, adding, “My clients have told me says the artist. “The combination of art and
Another artist who will be on hand at that they love the way my winter paintings poetry aspires to da Vinci’s insight: that a
one of her galleries is Michelle Courier, make them feel warm even with the cold.” painting becomes poetry to be seen and a
the artist in residence of Westward Gallery For the past few years, Bethanne poem becomes a painting to be felt.”
in Denver. Courier is drawn to a variety of Kinsella Cople has been combining Jerry Cable’s vision of the American
landscapes, from lakes to snow-covered her love of poetry with painting. “This landscape comes from his life on a family
forests, and when painting the latter subject all began with a favorite and moving farm. The works are “luminous and alive
she says, “I love to bring the warmth of the poem by Emily Dickinson, Bring Me the with immaculate details that reveal a truth
sun into the cold chill of winter.” Works Sunset in a Cup,” says Cople. Another of and understanding of his subject matter.”
such as Winters Warmth and Snow Dance Dickinson’s poems, The Snow That Never He says, “I enjoy creating an alternative
are two examples, as they show the sun’s Drifts, inspired her latest winter works: environment where viewers can escape the
rays striking the snow-covered grounds of a piece also titled The Snow That Never turbulence of everyday life and connect
the forest and illuminating the atmosphere Drifts and The Transient Fragrant Snow. with their inner stillness. Embracing that
14 Bethanne Kinsella Cople, The Snow That Never Drifts, oil, 8 x 8" 15 Jerry Cable, Sergantsville Sunset, oil on canvas, 12 x 16" 16 Chuck Marshall, New Fallen Snow,
oil on canvas panel, 11 x 14" 17 Bethanne Kinsella Cople, The Transient Fragrant Snow, oil, 18 x 18" 18 Westward Gallery, Snow Dance, acrylic, 24 x 24", by Michelle Courier.
19 Paul Glushman, Alone, acrylic on paper, 19 x 24" 20 Paul Glushman, Winter Evening, oil on canvas, 16 x 12" 21 Robert Steinem, Ridden Into Winter, oil on canvas, 24 x 40"

FEATURED
ARTISTS &
GALLERIES
ALEXANDER FINE ART LLC
28 Trenton Avenue, Frenchtown, NJ 08825
Heidi Breyer, business director
(908) 319-9528, heidi@heidibreyer.com
Alexander Volkov, artist/owner
(908) 500-5030, al.volkov@lakefamilies.com
www.alexandervolkovfineart.com
16
BETHANNE KINSELLA COPLE

Old Town Alexandria, VA
East Hampton, NY
pleinair1@comcast.net
www.bethannekinsellacople.com
17
CHUCK MARSHALL
(513) 404-3161, www.chuckmarshallfineart.com
JERRY CABLE
(908) 303-5921, jerry@jerrycablestudio.com
www.jerrycablestudio.com
LYUBA AND ALEKSANDER

TITOVETS
2titovetsart@gmail.com, www.titovetsart.com
20 21 PAUL GLUSHMAN
(916) 247-5795, paulglushku@yahoo.com
stillness is what brings us to awareness of and new scenes to paint,” he says. www.paulglushmanart.com
the beauty that is all around us.” “At first glance, there’s a seemingly
The work of Chuck Marshall is about monochromatic palette, but nothing could
the dialogue of shapes, colors, textures, be further from the truth as the snow
ROBERT STEINEM
rgsteinem@gmail.com
edges and line, and he finds by using these reflects grays and browns of branching
www.robertsteinem.com CO L LEC TOR'S FOCU S WI N TER L AND S
elements there is no limits on subject trees, the dull greens of wintering firs and
matter. Among his pieces are snow scenes the deep blue of a clearing sky.” Represented by
of which he explains, “The transformation Born in the Ukraine, in a 600-year- Gallery North Star, Grafton, VT
of the land covered in snow gives us a old city, Paul Glushman, who now lives Hermitage Design & Gallery, McLean, VA
whole new perspective. The shapes are in California, aims to bring out “the Greenfield Gallery, Greenfield, MA
different, the details are covered up for appreciation for the most bountiful
the most part, and colors change with the and diverse country in the world in my WESTWARD GALLERY
contrast. Snow on the ground is temporary paintings of colors of life.” He says, “People 4400 Tennyson Street, Denver, CO 80212
and gives us a reprieve from what we see from all over the world coexist, collaborate www.westwardgallery.com
in our everyday lives.” and co-create from Pacific Coast to
Michelle Courier
Ridden Into Winter by Robert Steinem Atlantic Ocean, majestically intertwining
(720) 483-1046, michelletcourier@aol.com
is another example of a winter-themed by mountains fused by boundless rivers
www.michelletcourier.com
work. “For 20 years I’ve wandered my and wondrous chaos of cities and wildlife.
property after snowstorms and have Even where the weather turns frightful and
057
always found intriguing lights, shape cold the spirit of life is alive.”
BRINGING AMERICA’S
BEST ARTISTS, GALLERIES
AND COLLECTORS
TOGETHER IN ONE PLACE.
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preview them in the magazine before you
even hang them.
For the Collector

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pieces long before other collectors know
they even exist.
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AMERICAN ART COLLECTOR PRESENTS
GALLERY F CUS
W W W. R E I N E R T F I N E A R T. C O M
Rick Reinert, Charleston Nocturne, oil on linen, 48 x 36"
/reinertfineart @reinertfineart
REINERT FINE ART GALLERY FOCUS
REINERT CONTEMPORARY REINERT FINE ART REINERT FINE ART

FINE ART & SCULPTURE GARDEN 1153 Main Street
202 King Street 179 King Street Blowing Rock, NC 28605
Charleston, SC 29401 Charleston, SC 29401 (828) 414-9580
(843) 577-9955 (843) 694-2445
SOUTHERN
SA NCT UA R IES
C
ontemporary impressionist Rick with two in Charleston and one in the right back. Then we have an upstairs that
Reinert has built an illustrious mountain town of Blowing Rock, North is a pretty magical place as well where we
career painting the sights of Carolina, which opened in October 2015. traditionally hang smaller works.”
Charleston, South Carolina. He is also a The first location, at 179 King Street, is When he’s at the original Charleston
local figure of the historic city, as he has devoted to traditional representational space, Reinert spends a lot of time in the
painted from a location on King Street impressionism. One of the highlights sculpture garden. “I set up an outside
since 2011 and welcomes passersby to of the space is its sculpture garden. “A studio and I paint all day long when I’m in
stop in and experience his art firsthand. lot of people are drawn to our location Charleston. It’s visible because I open up
Around the same time, Reinert decided because it opens straight up in the back, the doors and people from the street can
to open up the space to include the and when the weather is nice we actually see me paint,” he says, adding, “There’s an
work of other artists, becoming a gallery have easels out in the courtyard and it awning that comes across and I can paint
owner with his wife, Ann, in the process. becomes an outdoor gallery,” Reinert out there when it rains and traditionally
Today, he operates three locations of his describes. “We tried to design the gallery that’s what I do. I keep trying to push
eponymous gallery, Reinert Fine Art, so when people walk in it will draw you myself in producing work. I’ve developed
GALLERY PHOTOS BY MICHAEL CYRA
A look inside the Blowing Rock, North Carolina, gallery. From left: Jason Stone, director of galleries; Diana May; Megan Garner; and Rick and Ann Reinert with Lucy.
The sculpture garden at 179 King Street becomes an outdoor gallery with bronzes and paintings on view.
Impressionistic art fills the 179 King Street gallery. Visitors peruse artwork in the sculpture garden. Collectors at the 202 King Street Gallery.
my own style over the years. I try not to Common to all three gallery locations balance between our artists and clients,”
paint like anybody else.” is the unwavering passion from Reinert says Reinert.
The second Charleston storefront is and his staff, helping to bring among the The galleries represent artists who
the newest of the three, having opened best art to collectors as well as quality are at the top of the field and who boast
in September 2016 at 202 King Street. service. Being an artist and a gallery countless accolades and achievements,
It features abstract expressionist and owner has provided Reinert with a including several who are master
contemporary artwork. The Blowing Rock unique perspective. He understands the members of Oil Painters of America and
gallery offers a similar roster to the 179 market from both sides and knows how the American Impressionist Society.
King Street location, but in a more intimate, to work with the artists he represents “It’s a process to see what fits with
seasonal setting. Peak season runs April and treats them well accordingly. “Key our clients and what appeals to them,”
through December, with the gallery open to our success is our professional staff; says Reinert, “and we always try to get
seven days a week; in the off months, the Jason Stone, our director of galleries, something different. Every artist we
gallery is open five days a week. works tirelessly to achieve the perfect represent has something unique to offer.”
www.Reiner tFineAr t.com 61

Sailing Along, oil on canvas, 20 x 16" The Traveller, oil on panel, 18 x 14"
Calvin Liang Dan Beck

Calvin Liang was born in Canton, China. He began painting in Wanderlust was Dan Beck’s primary motivation in the decade
high school and completed his art education at the Shanghai following his graduation from high school. Beck took to
Academy of Fine Arts. Liang moved to the United States in 1987 the road, working jobs that included being a ranch hand in
and continued his profession as a full-time artist. He had a long Arizona, working construction in Florida, refinishing furniture
and successful career creating visual art for the entertainment in Louisiana and four years in the infantry. Wherever he went,
industry in animation, which included Walt Disney Studios and Beck filled sketchbooks and journals for his own enjoyment.
Nickelodeon Animation Studio. Since leaving his animation These sketches eventually led him to art school, after which he
career in 2002, Liang has definitely been noticed. He has won became a full-time artist. Since then, Beck has had numerous
several top awards in important exhibitions, thus assuring his articles published about him and has won several national
position as one of the nation’s leading artists. awards including Oil Painters of America’s National Juried
Exhibition Gold Medal Award in 2011.
“Calvin Liang is one of very few artists to “Dan's paintings have incredible depth
reach Master recognition within American through his use of colors, brushstrokes and
Impressionist Society and Oil Painters of blending of edges. What really draws us to
America. The glow of his land- and seascapes his work though is his subjects, particularly
truly captivates.” — Jason Stone, director of galleries in his figurative works, as he paints them
in a way that has us as interested in the
subject as we are in the painting itself.”
— Steve and Polly Eslinger,
collectors, Raleigh, NC
Photo by
Ritsuko Stinson
Nancy Franke
Nancy Franke began painting as a child
in Pennsylvania, studying with prominent
watercolorist Glenn Brougher. That light-filled
aesthetic has remained in her current approach
to oils. Inspired by the color and movement of
flowers, dappled light or the truth and gesture of
the figure, Franke has made a bold and simple
approach to these subjects her trademark. She has
studied with prominent contemporary painters,
and has been influenced by the expressive Quicksilver Roses, oil, 15 x 27"
brushwork, color and light in the work of the
Russian Impressionists. A signature member of
Oil Painters of America since 2010, Franke is a
popular workshop instructor and enjoys traveling
to Maine and Provence with fellow artists.
“Nancy’s paintings capture the soul of the subject whether

it’s a beautiful still life or landscape. When painting
children, she catches the true essence and personality of
the child...it’s amazing.” — Karen S., collector, Atlanta, GA
Neil Patterson
At age 12, Neil Patterson’s dream to become an oil painter
was born after he visited the National Gallery of Canada in
Ottawa. On his 13th birthday, he received his first oil paints
and has been painting ever since.
Patterson began his formal art training at the University
of Calgary and the Scottsdale Artists’ School. He was
the first Canadian to become a signature member of
Oil Painters of America and to attain the status of OPA
Master Signature member. Patterson has served on the
board of directors for the Oil Painters of America in many
capacities, most notably as president for six years.
His work has been published in numerous books,
magazines and newspapers. His most notable awards
include the Golden Brush Award for his dedicated service
to OPA and the Everett Raymond Kinstler
award for his painting Spring Thaw
Thaw.
Magnolia Plantation, oil, 24 x 30"
“When I realized the title of the painting was After the

storm, it evoked various emotions. The first time I laid
eyes on the painting it spoke to me immediately and I was
drawn to it over and over again...I love it and find solace in
the colors and landscape.” — Barbara H., collector

Heather Arenas
Heather Arenas’ grandmothers were both artists and her
parents provided her with various art supplies growing up,
teaching her to appreciate many art forms. Today, Arenas
works in oils and prefers figurative work, but she enjoys
painting many different subjects. Her education includes
an independent study of reading books on drawing and
painting and taking workshops from artists such as Vadim
Zanginian, Kim English and Clayton Beck III. While earning
a degree in biology with emphasis on anatomy in the early
1990s, she also studied art history and ceramics.
Arenas is a Master Signature artist with
Women Artists of the West, a Signature
member of the Plein Air Artists of
Colorado and an associate member
of several other art organizations.
Field Trip to the Museum, oil on birch, 14 x 18"
“Heather’s work is distinctive and

recognizable. With variable brushstrokes,
she is able to achieve total cohesion.”
— Rick Reinert, owner
Michael Cyra
Michael Cyra grew up in Wisconsin in a family of artists and
engineers. His talent for art was noticed at a young age when
he could accomplish his mother’s art lesson plans designed
for children twice his age. Cyra studied art in high school
under the independent study of his instructors, finding a
passion for drawing, painting and photography.
After high school, Cyra earned a marketing degree from
the University of Wisconsin–Madison, and later an MBA from
Wake Forest University. His professional pursuits put painting
on the back burner, but his camera has never left his side.
After moving to Charleston in 2003, Cyra had the
urge to paint again. He sees many parallels
between painting and photography, but it is
with his brush that he feels he has found a
medium that enables him to share the mood
and atmosphere in his mind’s eye—beyond
what the camera can achieve.
Tranquil End, oil on linen, 16 x 20"
“Michael’s paintings are both captivating and inspiring. They

have a great sense of time with a deep relevance, which enables the
viewer to place themselves in the painting.”
— Mike Reynolds, collector, Wilkesboro, NC
Gentle Thoughts, oil on silk on panel, 24 x 20" Come Sit by the Fire, oil on canvas, 24 x 24"
Lisa Andrews Karen Lawrence

Painting is a meditative process for artist Lisa Andrews. She “My paintings of interiors depict the rich stories of people’s
says, “First comes the thrill of inspiration, then the rational lives,” says artist Karen Lawrence. “I am intrigued by how they
effort to design a pleasing composition. Then I bring my live. Warm lamplight, an overstuffed chair by the fireplace or
vision to life in a slow and contemplative way.” sunlight streaking across the floor beckon me. After painting
Drawing and painting have been a lifelong passion for in watercolor for many years, I discovered oils. I love their lush
Andrews, but the passion endured many detours. She earned an pigments that bring value to my interiors.”
MBA, cared for a wonderful family and built a successful design Lawrence paints every day in her studio near other artists,
consulting business. However, she never let go of her first love. which is something she enjoys. She has been juried into Oil
“Over the years, I was privileged to take intensive drawing, Painters of America’s national and regional shows, as well as
painting and anatomy workshops with a number of master national exhibitions of the American Impressionist Society.
artists. Extensive independent research in museums and
galleries furthered my knowledge of fine traditional painting,” “We were immediately captured by [Karen’s]
Andrews says. “Continually painting from life and completing
a variety of commissioned works during those years gave me ‘soft interiors’ style that so fits our love of
great joy. It continues to drive me to produce elegant and old home places from earlier times. Her work
well-crafted work for my clients.”
reminds us of childhood stairwells, parlors
and sitting rooms of friends and relatives.”
“We are thrilled
— Don Ward and Sharon Howard, collectors
with your work! It
is timeless! Your
color rendering
and modeling
are superb.”
— Alison and Stu
Johnston, collectors

William A. Schneider
Art ran in William A. Schneider’s family. His great-grandfather
was a noted sculptor who created the terra-cotta ornaments
used on Louis Sullivan’s buildings. Schneider’s skills were
honed at the American Academy of Art in Chicago and through
workshops with Dan Gerhartz, Harley Brown and Richard
Schmid, among others.
His work has received top awards in numerous exhibitions
including those of the International Association of Pastel
Societies, Oil Painters of America, the Pastel Society of
America, and at the Bosque Art Classic. He was awarded
Signature status in Oil Painters of America. In addition,
Pastel Society of America has recognized him
as a Master Pastelist, the International
Association of Pastel Societies has named
him to the Masters’ Circle and American
Impressionist Society named him a
Master Signature member.
Michigan Avenue in the Rain, oil on linen on panel, 12 x 12"
“Bill’s masterful use of brushstrokes and beautiful colors in his

paintings make them sing to me.”
— Linda McDonald, collector
Paul Cheng
Paul Cheng was born and grew up in Guangzhou, China,
where he studied at Guangzhou Academy of Fine Arts,
one of the country’s most prestigious fine art schools. He
received his Bachelor of Fine Arts and also taught at the
same academy. His paintings have been exhibited at many
different fine art competitions in China, Australia and the
United States.
He has become an award-winning artist, having received
prizes such as the Seascape Honorable Mention at the Oil
Painters of America’s 23rd annual National Juried Exhibition.
Cheng has worked for main entertainment companies
as a visual development artist and as an art
director in Australia and the United States.
The projects he has worked
on have been nominated for
an Academy Award for Best
Animated Feature and won
an Emmy award. Red Bar, oil, 20 x 24"
“[Paul Cheng’s] bold strokes and strong colors jump off the
canvas. His work blurs the lines between impressionism
and abstraction, and the result is visually stunning.”
— David and Shreita Powers, collectors
Zhiwei Tu
In 1980, Zhiwei Tu had the opportunity to visit Tibet,
where he learned about the people and their customs. This
has allowed him to capture their essence with accuracy
using his oils and brushes.
Tu says that when he first saw the people of Tibet, “their
eyes looked though my heart” and “From their eyes, I got
many feelings and emotions. They had a lot of questions in
their eyes.” Had he not visited Tibet, Tu says he would not
have gained “the right knowledge of what and who they
are.” The experince provided the artist with true feelings
and an understanding of Tibet.
Tu is a Master Signature member of the Oil Painters
of America.
Strong Boy, oil on canvas, 16 x 20"
“It is an extreme honor to

represent Zhiwei Tu. He is one
of the world’s most important
artists and most countries
consider Zhiwei Tu [to be]
‘A Living Grand Master.’”
The Zhiwei Tu Art Museum opened to the public in October 2013. — Jason Stone, director of galleries
Mark Beale
Mark Beale grew up exploring the rivers of Tidewater,
Virginia, and by age 14 was attending workshops given by
Barclay Sheaks. He went on to study studio art and biology
at the University of Virginia and moved to Charleston in
1989 where he developed a style influenced by 19th-century
tonalist painter George Inness. Beale often depicts the
coastal landscape, accessible only by boat, during times of
changing light such as sunrise, sunset, twilight
and moonrise.
He has worked to extend
Inness’ philosophy of
eschewing surface detail
and brushstrokes for a more
atmospheric style, which
conveys emotion to the Reflections of the Day, oil on canvas 24 x 36"
viewer and gives the work
an elevated, spiritual quality.
Beale’s awards include
two from the National
“Few artists can capture the mood and mysteries
Parks Foundation’s two- of our Lowcountry landscape like Mark Beale.
year traveling exhibition,
participating in numerous
Feelings of peace, serenity and calm resonate
national and museum shows across the country, and from any Mark Beale creation”
exhibiting at New York’s historic Salmagundi Club where — Megan Garner, assistant gallery director
the originators of tonalism have exhibited since 1870. A
lifelong student, Beale continues to study our emotional
connection to nature.

Olga Krimon
Olga Krimon received her formal art education in Russia, but
has continued to develop as an artist through classes with
Jeremy Lipking, Glen Orbik and a dedicated self-study.
Krimon finds beauty in the way the light reflects off the
wooden surface, the hair merges with the background, the
contrast of warm and cool subtleties in the model’s skin, and in
the thickness of the stroke itself. Her paintings pull the viewer
into the world she creates through a calculated compositional
arrangement. The movement of form and line makes the
paintings breathe. While grounded in the Russian academic
tradition, Krimon’s paintings present a new contemporary
interpretation of reality that is uniquely hers.
Feminine, oil on linen, 18 x 20"
“Every brushstroke by Olga Krimon captures

the soul of her subject—the innocence of a
child, the ‘life’ in still life and the passions
and frailties that are within all of us.”
— Jason Stone, director of galleries
Mike Wise
Mike Wise grew up an outdoor enthusiast, surrounded by
the beauty of the Pacific Northwest. Throughout his life,
the extraordinary coastlines, deserts and mountain ranges
of the landscape have provided endless inspiration. Wise
is best known for his rich landscapes, his sculptural use of
oils, and the lush color and texture that give his paintings
a distinct three-dimensional feel. Wise has studied under
several prominent painters, has learned from many of his
contemporaries and is an avid student of the Old Masters.
He is an Oil Painters of America Signature member
and a member of the American Impressionist Society.
He received the Bronze Medal at the 2015 OPA National
Juried Exhibition and the Award of Excellence at the
OPA Western Regional Exhibition in 2016, among others.
Mountain Oasis, oil 24 x 36"
“A master of color and brushwork, Mike

achieves clarity and depth through thick
impasto against dark, linear strokes. He is in
total control of his medium, giving the viewers
the feeling of complete freedom.”
— Rick Reinert, owner
Alice Kiderman
Russian-born artist Alice Kiderman initially trained as a linguist and
educator before gradually changing her career path and following her
passion for sculpture and stone carving. Kiderman says, “It’s an incredible
journey…from inspiration, frustration to exhilaration in no particular order.”
Kiderman has been featured in numerous publications and museums
exhibitions, while her works are in public and private collections in the
United States and Europe. M.J. Albacete, former executive
director at Canton Museum of Art, says Kiderman depicts
“…the globular, pulsing, throbbing, evocations of human
emotion in sculpture.”
Art critic Tom Vachunas says, “Kiderman’s forms come
from a softer, more subtly distilled and mysterious
place, with a clearly soulful respect for the nature of her
chosen material.”
“These masterpieces are works we know,

works that have left an imprint on our
collective consciousness, and they call
out to us again when we encounter them
in Kiderman’s sculptures.”
— Laura H., independent curator
American Gothic Revisited

Revisited, Carrara marble and steel, 32 x 12 x 4"
Carolyn Anne
Crocker (Rue)
The studio of landscape painter Carolyn Anne Crocker
is situated high in the Blue Ridge Mountains of North
Carolina. Inspired by the works of Inness and Turner,
she is drawn toward scenes that have a sense of mystery.
Evening light and the distant horizon are evocative
themes she renders in the Hudson River School aesthetic.
Born in Southern California, her first teacher was
her mother, impressionist Marilyn E. Crocker, who
painted throughout California and the southwest. She
later received extensive training at the Los Angeles Art
League, which was followed by
independent study afield with
contemporary masters.
Pearl Dusk, oil on canvas 20 x 24"
“I find a simplicity and ethereal beauty in the landscapes of Carolyn

Anne Crocker. Carolyn’s paintings draw me in with their pure
romantic essence, of places captured somewhere in time.”
— I. Goldstein, president of Jerry’s Artarama, Raleigh, NC

Jill Basham
Jill Basham is recognized for her emotionally charged
landscape paintings. While her subject matter varies from
urban to country or ocean, of paramount importance are
the feelings she hopes to evoke from the viewer. Basham
works in plein air as well as in her studio. Often her work is
based on simple, strong design and quiet, calming colors
that are typically tonal in nature. Her brushstrokes and paint
application varies depending on the mood she would like
to translate. She uses traditional and nontraditional tools to
create her paintings.
Basham’s work is quickly gaining recognition, and
subsequently increasing in value. She had won awards in
numerous national competitions and exhibitions, and she has
work in the permanent collection of an accredited museum.
Sense, oil on linen canvas, 48 x 60"
“Jill Basham’s mastery of sense of place and

her ability to capture skies to evoke both feeling
and space is second to none. The persona of each
landscape we own is perfectly captured giving one
the sense of being at that place and time.”
— Lillian and Gene Ansley, collectors, Atlanta, GA
Frank Baggett
Born on July 11, 1956, in Tennessee, Frank Baggett is
a nationally recognized landscape and wildlife artist
with more than 50 years of experience. After four years
and a major in art during high school, Baggett entered
the United States Air Force in the Vietnam era. While
stationed at Norton Air Force Base in San Bernardino,
California, he continued his love of painting. After his
discharge from the Air Force, his impressionistic style
was refined and became his trademark.
The love of the outdoors has drawn Baggett to
plein air works, and many of his pieces capture
that one moment in time when the lighting
was just right. Baggett attempts to bring the
actual feelings of nature into his works, often
using the area around his studio as reference Take Me Home Country Road, oil on canvas, 24 x 36"
for plein air and studio paintings.
“Mr. Baggett masterfully captures light and

shadow and works them into his palette. His
technique creates a level of presence rarely seen.”
— Erich Smith, collector
NAN CI E K I N G M E RTZ
“Parker’s Protector” 11x14 pastel
MASTER PASTELIST & OIL PAINTER, TEACHING PLEIN AIR

WORKSHOPS ACROSS THE US & CROATIA
Heather McKey DISTINCTION GALLERY "PARKER'S PROTECTOR" NAMED BEST PASTEL

"Natural Beauty"
317 E Grand Ave, BY PLEIN AIR SALON
March 11 - April 1
Escondido, CA 92025
RECEPTION WITH THE ARTIST (760)707-2770 NANCIEKINGMERTZ.COM
March 11, 6-10pm distinctionart.com
CO M I N G I N A P R I L 2 0 1 7
PAINTING BY LARRY CANNON

SEASCAPES, RIVERS & LAKES
Collector’s Focus
BOOK YOUR SPACE TODAY, BEFORE IT’S TOO LATE!
Join American Art Collector for its 5th annual Seascapes, Rivers & Lakes
Collector’s Focus. This popular feature showcases these wondrous waterways with
detailed imagery of oceans, streams, marshes and lakes. These pieces have become
staples of collections as they resonate with viewers, often creating feelings of serenity
and peace. Our spotlight on seascapes, rivers and lakes will present readers with new
works of striking water scenes created by choice artists spanning the country.
EDITORIAL CALENDAR 3 MONTH SNEAK PEEK:

M AY JUNE J U LY
» Wildlife Art Feature » Marine Art Special Feature » Sculpture Special Feature
» Art Lover’s Guide to SANTA FE & VICINITY » Art Lover’s Guide to the MIDWEST » Art Lover’s Guide to CAPE COD & THE ISLANDS
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Galleries and artists, find out how your work can be included, call us at (866) 619-0841 or email coordinator@americanartcollector.com
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George Billis Gallery
UPCOMING SHOW PREVIEW / NEW YORK, NY
525 W. 26th Street, Ground Floor | New York, NY 10001
February 7-March 4, 2017
(212) 645-2621 | www.georgebillis.com
KENNY HARRIS
Place and time
1 2
K enny Harris’ paintings evoke our memories of

space whether we have been in the places he
paints or not. His spaces are invisibly inhabited by
The surfaces of the paintings recall the surfaces of the
old walls he paints, rich in color and texture. There is
little detail in his paintings, but his spaces are complete
1
Washroom Lisbon,
oil on panel, 36 x 24"
people who are no longer there. The walls and arcades in our mind’s eye. 2
still echo with their conversations. They are universal He says, “There’s just something about painting a Intransigent Will
spaces despite their specificity. 3-foot-thick stone or plaster wall that has been there (Blue Arcade, Havana),
In his book The Poetics of Space, Gaston Bachelard for centuries. It’s typically irregular lighting conditions oil, 48 x 30"
wrote, “Inhabited space transcends geometrical space.” that speak to me. Also, irregularities in construction
3
The title of the book, alone, is an apt description of the or details that you’d never see in houses in the U.S. are Capitolio, oil on panel,
built environment of Harris’ paintings but it is the fact things that catch my eye.” 50 x 40"
that people have come and gone and will come again His paintings of light and space are often of
that gives them presence. subjects in other countries. “I travel to reinvent the
In his paintings, the spaces have the patina of use. subjects I paint,” he says, “seeking a fresh eye abroad

PR E V I E W 073
3
4

5
4 or upon return.” and the reflected light in a vast two-dimensional poetic

Hall of Mirrors, Havana is an intimate painting of abstraction.
PR E V I E W
Hall of Mirrors, Havana,

a vast space made more so by being painted from a Washroom Lisbon is a mundane space among his
5 low angle. The softness of the indirect light masks grand spaces, but as graced by soft light as any of them.
Capitoline Hallway, the softness of the once crisp details of the elaborate Kenny Harris: New Paintings opens at George Billis
oil on panel, 20 x 16" decoration. Harris’ lushly applied paint creates a space Gallery in New York on February 7 and continues
075
of its own, representing the three-dimensional space through March 4.

Lotton Gallery
UPCOMING SHOW PREVIEW / CHICAGO, IL
900 N. Michigan Avenue, Level 6 | Chicago, IL 60611
February 3-28, 2017
(312) 664-6203 | www.lottongallery.com
DMITRI DANISH
Travelogue
B orn in Kharkiv, Ukraine, in 1966,
Dmitri Danish is an avid traveler of
Europe having been to places such as
the natural color of the subject. With the
help of color, artists transmit emotions,
certain moods and feelings. Color balance
France, Holland, Portugal and Turkey. His is very important. For example, in nature,
newest series, which will be displayed at we do not find the clear base color in
Lotton Gallery in Chicago from February 3 abundance, but on the contrary, all the
to 28, is inspired by his recent explorations colors are balanced, which creates our
in Italy and Croatia. “I love traveling. I love reality,” Danish explains
trains, cars and boats. I love to move from Among the works of Croatia in the
place to place and sketch, photograph and show are Adriatica and High Summer.
commit to memory,” says Danish, adding The former work shows the old town of
that he would call the exhibition “Sharing Rovinj on the Adriatic coast, while High
my love.” Summer depicts pedestrians enjoying the
“I grew up in a big and relatively old warm August weather. Of Rovinj, Danish
city and love historical architectural explains, “The town of Rovinj repeated
parts of Europe. I look for quiet, secluded the historical path of the Istria peninsula,
streets, old cafes with linen canopies, where it is located. All the rulers of the
small city markets with fruit trays. I find peninsula have left their mark in the
them beautiful and interesting for my history of the city. This city was under
work,” says the artist, who paints mostly the reign of the Byzantine Empire, under
architecturally rich city scenes. “I love the German feudal lords, the Republic
cities in a fog, rain and snow. This is when of Venice, under the Austro-Hungarian,
streets, corners and roofs become magical, French and German control, several times
beautiful and soft.” the city was burned and devastated…it is
Each painting Danish completes a city with a rich history and beautiful
relies upon three main elements: color, architecture.”
composition and subject. “Color—one of Works of Italy include Piazza, Venezia,
the main components—conveys not only Nightfall and Early Morning Rome.
1
1 2
Adriatica, oil on canvas, High Summer, oil on
14 x 24" canvas, 24 x 30"
PR E V I E W
077
2
3
4
Both Nightfall and Piazza, Venezia 3

depict Venice, which Danish considers Night Fall, oil on
canvas, 20 x 14"
to be one of the most beautiful locations
in the world. “It is always fascinating to 4
paint at any time of day and season. My Piazza, Venezia, oil
favorite time in Venice is the beginning on canvas, 20 x 30"
of twilight, when the sky is still light, 5
but streetlamps and shop windows are Early Morning Rome,
already lit,” Danish says. “The streets oil on canvas,
appear carefree with pedestrians walking 16 x 20"
leisurely. Cities acquire certain mystique,
especially Venice, with its variety of small
bridges, canals, narrow paved streets,
mansions. It is fascinating and it fills the
soul with creative impulse.”
Early Morning Rome depicts a small
park on the famous Pincio Hill near the
Villa Medici. “My wife and I lived a few
days near this place and one day walked 5
there in the early morning. The aromas of
PR E V I E W
morning flowers, gentle soft light, hazy or to emphasize the reality and make it compositions. Every time it is an artist’s
transparent shadows and birds singing more beautiful or romantic,” says Danish. own feelings that dictate the composition.
[were inspiring]. I just tried to bring that “Also important is the composition In each of my paintings I aim to build a
feeling to the canvas,” he says. and the story. This is like script for a composition that shows the object in the
079
“My goal as an artist is to either change film. There are no ready recipes for most expressive form.”
Bernarducci.Meisel.Gallery
UPCOMING SHOW PREVIEW / NEW YORK, NY
37 W. 57th Street | New York, NY 10019
February 2-25, 2017
(212) 593-3757 | www.bernarduccimeisel.com
SHARON MOODY
Fantasy worlds
A s kids we read comic books as an escape from
having to do homework, taking out the trash and
cleaning up after the new puppy. They made us laugh
and they made us dream. We kept them in boxes
even with their tears and stains from spilled milk
and Oreos. Today, pristine copies of the first issues
featuring Superman and Batman have brought over $1
million at auction. We should have been more careful.
Sharon Moody honors the ubiquitous comic and
their creators in life-size Trompe l’Oeil paintings of
comics seemingly tossed randomly on a plain surface.
Their innate illusionism contributes to the further
illusion that they exist in three-dimensional space.
Moody’s interest in “western art heritage” began
with her studying the history of art making materials
and a period copying Old Masters at the National
Gallery. “The contemporary language of images
includes historical artworks that have been re-imaged
successively,” she says. “An artwork is photographed
and reproduced ubiquitously, as a postcard, mug,
calendar, bookmark or puzzle, and is disseminated
and consumed as another branded product.”
Moody makes us see these cheaply produced
reproductions of original artwork in a new light. The
light casts shadows that, on their own, are works of
art—yet, without the comic book pages and the light
source they wouldn’t exist at all.
1
Often, in her compositions she has rolled the
opening pages back. That roll creates a bulbous
shadow that is complemented by the simple or
complex shadow of the open page. In “Take Your
Pick!” The Untold Legend of the Batman, Vol. 1, No. 2,
August 1980 the shadows are simple. In “Btop!, Krak!”
Daredevil, Vol. 1, No. 29, June 1967 the shadows are
more elaborate as a breeze flips up the open page.
“Avengers Assemble!” The Avengers Vol. 1, No. 305,
July, 1989 has a raking light from the top that creates
wing-like shadows at the bottom bringing to mind
myriad references to benevolent and malevolent
creatures with wings.
She’s not the first to represent the opening image of
“Drowning Girl,” Secret Hearts Vol 1, No. 83, November
2 3 1962. Roy Lichtenstein (1923-1997) painted Drowning
1 2 3 4
Girl in 1963, cropping the image and changing the text
“Drowning Girl,” “Take Your Pick!” “Btop!, Krak!” “Avengers Assemble!” on his nearly 6-foot square canvas.
Secret Hearts Vol. 1, The Untold Legend Daredevil, Vol. 1, The Avengers Vol. 1, Sharon Moody: Trompe l’oeil Paintings opens at
No. 83, November 1962, of the Batman, Vol. 1, No. 29, June 1967, No. 305, July, 1989, Bernarducci.Meisel.Gallery in New York on February 2
oil on panel, 16 x 16" No. 2, August 1980, oil on panel, 20 x 16" oil on panel, 24 x 18"
and continues through February 25.

0
Artist Name,
Title Name, medium,
PR E V I E W
00 x 00".
081
4
Tory Folliard Gallery
UPCOMING SHOW PREVIEW / MILWAUKEE, WI
233 N. Milwaukee Street | Milwaukee, WI 53202
Through February 4, 2017
(414) 273-7311 | www.toryfolliard.com
LAURIE HOGIN
Implacable demons
and better angels
I n his novel Barnaby Rudge, Charles
Dickens wrote, “It is curious to
imagine these people of the world, busy
permanently joined to the word “demons.”
Together they describe the unalterable
dark forces of the universe and in ourselves
is narrative and storytelling.”
The stories are not for the faint of heart.
Cute little bunnies are “a potent and
in thought, turning their eyes towards the that are out to do us in. common metaphor in the culture,” she
countless spheres that shine above us, Laurie Hogin’s exhibition at Tory says, “everything from the Easter Bunny
and making them reflect the only images Folliard Gallery in Milwaukee, Wisconsin, to the Playboy bunny.” She explains they
their minds contain…So do the shadows of is Implacable Demons and Better Angels. are “sick of their status in the iconography
our own desires stand between us and our It runs through February 4. of the culture” and they snarl.
better angels, and thus their brightness Hogin says her paintings “harken back She says, “Species are chosen for
is eclipsed.” to a number of visual forms that give us our their allegorical associations in Western
The word “implacable” is almost culture and our sense of identity—and that culture, but are depicted as degraded
1
Refuge, oil on linen,
35½ x 48"
2
A Peacock Among the
Ruins, oil on linen,
30 x 40"
3
Addition Bunnies –
Love (Heartthrob), oil
on panel, 10 x 8"
1
2
or mutant versions: they are the with symbolic religious meaning.

fluorescent colors of contemporary In A Peacock Among the Ruins, the
media landscapes. Their morphology colorful bird was probably oblivious
resembles toys and cartoons as much to the coming destruction because it
as naturalistic specimens. The plants, was too busy preening and admiring
animals, and objects depicted are the itself. Somehow it survived and now
colors of our globalized economy, stands bewildered among the ruins. The
from the day-glo hues of big-box store setting sun is red and brings to mind the
commodities to the pixilated palettes old dictum, “Red sky at night, sailor’s
of television and the internet, as well delight…” implying that the storm has
as the colors of nationalist identity and passed and tomorrow will be a better day.
political affiliation.” Fungi grow on the decaying mass
Her series of Addiction Bunnies of the previous world, symbolizing
are stuck on everything from Crystal its decay. But Hogin says, “Fungi are
to Love. agents of renewal and evidence of rot.”
PR E V I E W
Individual animals, bunnies often They free nutrients that are essential
transitioning to something other than to other organisms. They help to return
pure and white, are often painted alone dead material to the soil to be recycled.
in a plain field of color. Other, larger Hogin’s narratives are, she says,
083
dioramas recall complex Dutch still allegories “of how thoroughly connected
lifes, which, for their time, were laden we are.”
3
UPCOMING SHOW PREVIEW / SCOTTSDALE, AZ
7040 E. Main Street | Scottsdale, AZ 85251
Through February 1, 2017
(480) 941-8500 | www.bonnerdavid.com
JANE JONES
The fragility of nature

J ane Jones’ show Glorious Survivors
at Bonner David Galleries focuses
on the conflict between humanity and
nature. Going camping in Colorado
with her grandparents as a teenager
taught her how to appreciate the beauty
of nature, and Jones says, “The damage
by humans to nature absolutely breaks
my heart. But I don’t want to paint that
negativity, so instead I make paintings
as prayers to nature’s strength and
ability to heal.” 1
All of the paintings on display Tenacity, oil on canvas,
18 x 17"
showcase flowers from Jones’ Colorado
garden. “Gardening here requires a lot 2
of optimism,” she says. “Spring is not a Survivors, oil on canvas,
gentle time in Colorado. The irises in 68 x 43"
Survivors managed to bloom despite
3
a hard frost that killed many of last Hello Again, oil on board,
spring’s irises, and then they survived 22 x 12"
two hailstorms.”
Jones’ environmental message stems 4
Handle With Care, oil on
from her college days, where she studied canvas, 21 x 22"
biology. A chance encounter with a
1
Georgia O’Keeffe biography made her
change her focus to art. “I found myself
on those pages,” Jones says. “I knew
I could either go for it or wish I had.”
Though she never worked as a biologist,
her education enlightened her to the
fragility of living forms and continues to
inform her artwork.
Her recent work includes two
paintings that incorporate tissue paper,
surrounding the flowers to protect them
in their vases. Of the composition,
Jones says, “I want protection for the
environment, and the tissue paper is an
allusion to how fragile any protections
are for it. Compositionally I love the
texture difference between the crinkly
tissue paper, and the velvety softness of
the petals.”
Jones’ work will be on display at
Bonner David Galleries through
February 1.
2 3
“All that is beautiful about flowers is skillfully wrapped into every Jane Jones
painting. She demonstrates the heartiness of the earth, the exquisite detail of
every blossom, anchored with perfection in glass vases or on drapes that convey
a distinct message about how each work is truly a ‘glorious survivor.’”
— Clark David Olson, co-owner, Bonner David Galleries
PR E V I E W
085
4
Red Raven Art Company
UPCOMING SHOW PREVIEW / LANCASTER, PA
138 N. Prince Street | Lancaster, PA 17603
January 31-February 25, 2017
(717) 299-4400 | www.redravenartcompany.com
SARAH MCRAE MORTON
Propelled by curiosity
W hile Sarah McRae Morton was
painting a scene of Sacagawea
beholding a beached whale, 13 sperm
whales washed up on beaches in
Germany, which was where she
was working at the time. It is this
combination of history and the power
of the natural world that defines her
show The Mountain Whale at Red
Raven Art Company in Lancaster,
Pennsylvania.
“The paintings are about our time,
but reflect on the course that led to
the present as well as the paintings
that have come to illustrate American
history,” Morton says. The works of
Philadelphia painter and naturalist
Charles Willson Peale provided
inspiration for the paintings within
the show.
The theme running throughout her
work is people’s movement, whether it
be from exploration or displacement.
Morton is from Pennsylvania, but has
lived and worked in Germany for the
past six years. “While I’ve been here,
I’ve worked at collecting artifacts from
ancestors, and figuring out why they
migrated,” she says. “That conversation
of awareness of our histories have
become more relevant in the past six
years.”
Drawing from natural history,
literature and art history, the path to a
finished product is often a winding one
for Morton. “I write a lot, actually, in
my first draft of painting, and I sketch
and read,” she says. “My paintings
are somewhat premeditated, but the
finished works never look like what
I imagined. They tend to evolve on
the canvas. I try to leave room for
new whims of inspiration, and for the
paintings to take its own direction.”
The Mountain Whale will be on view
from January 31 to February 25 at Red
Raven Art Company, and an artist’s
reception will take place on February
3 from 5 to 8 p.m.
1
1
The Flight of the
Gyrfalcon – After Goya’s
Drowning Dog, oil on
linen, 48 x 36"
2
The Trapper of Delft,
oil on linen, 20 x 20"
3
The Garden of the
Monsters of the Sleep
of Reason, oil on linen,
24 x 24"
4
Unlooked – for Beasts,
oil on linen, 24 x 24"
2
PR E V I E W
087
3 4
Quidley & Company
UPCOMING SHOW PREVIEW / NAPLES, FL
375 Broad Avenue South | Naples, FL 34102
February 15-26, 2017
(239) 261-4300 | www.quidleyandco.com
Time-honored genre
O n February 15, Quidley & Company will

open a brand-new exhibition focused
on the classic genre of maritime artwork.
from Davis, other artists that will be part
of the exhibition include Tim Thompson,
Sergio Roffo and Shane Michael Couch as
From nautical scenes to marinas and harbor well as marine legends Montague Dawson,
views, the scenes depicted often capture James Buttersworth and Michael Keane”
specific moments in time with accurate Among the contemporary works in the
details of the boats or historic accounts. show is Thompson’s A Skirmish off the
Titled Marine Painting: 19th-21st Century, the Florida Coast. The artist says he feels
show includes work by past masters and a thrill when planning these types of
leading painters of the subject matter today. paintings. “Many such skirmishes occurred
“A recent studio visit to marine artist on the Spanish main,” says Thompson. “My
William R. Davis is the inspiration behind motivation to paint these subjects could be
the idea of hosting an exhibition of yachting that at a young age I particularly enjoyed
scenes by some of the world’s leading seeing the old movies showing battles,
marine masters at our Naples gallery,” storms, stately Spanish treasure fleets,
gallery owner Chris Quidley says. “In shipwrecks or Drake in action against the
addition exhibition recent Southern scenes Armada; they have all been inspirational,
2
1
William R. Davis,
Cruising off Boston
Lightship, oil on canvas,
24 x 36"
2
Tim Thompson, A
Skirmish off the Florida
Coast, oil on canvas,
16 x 20"
3
Montague Dawson
(1895-1973), Deep
Pacific, oil on canvas,
24 x 36"
4
Forrest Rodts, 2 PM
Departure, acrylic on
panel, 12 x 24"
5
Montague Dawson
(1895-1973), Sea Action,
oil on canvas, 28 x 42"
3
and those rousing scores of rolling sea

music, well I can still hear them as I paint.”
Forrest Rodts is another artist in the
exhibition. His piece for the show, 2 PM
Departure, was inspired by a scene from his
youth. “I worked from an old slide photo of
my father’s from the 1960s. Back in those
days there were just three boats a day from
the island of Nantucket and this was my
favorite steamship, the Nobska,” he says. “I
often paint this ship because it reminds me
of the way the island used to be. A simpler
PR E V I E W
time. I’m very sentimental.”

An opening reception for the show will
take place on the evening of February 15,
while the works will remain on view through
089
February 26.
5
Nicole Longnecker Gallery
UPCOMING SHOW PREVIEW / HOUSTON, TX
2625 Colquitt Street | Houston, TX 77098
February 25-April 1, 2017
(346) 800-2780 | www.longneckergallery.com
Rust and oil

A mid the clank of steel and iron, the
whirr of hydraulic lifts and rumbling
motors, and the scent of acrid steam and
who painted scenes with similar ideas
and subject matters. “Personally, I notice
a recurring theme that keeps bringing
timely feel to it, though it’s not a political
show. “We never intended for the show to
have political ramifications, and had no
exhaust fumes is a strange beauty that me back to an exploration of the mystery idea that jobs and industry would play
glows around industrialization and the found in industrial structures and objects, such a big role in the election,” Gorman
metal behemoths it has created. It’s a gritty so it made sense to create a show of says. “But, yes, perhaps it may have more
and abstract world, one filled with bizarre peers exploring similar subject matter,” significance now than a year ago. Our
arrangements of shapes and forms, and he says. “I realized there is a parallel to purpose was to educate the public a little
it’s one that provides an endless supply of what artists like Charles Sheeler, Ralston and rekindle an interest in some of the
subjects for artists. Crawford, Lesley Regan and some of other artists I love, not make a comment about
These industrial centers serve as the artists considered ‘precisionists’ were the demise of industry.”
inspiration for Industrialism in the 21st doing a century before us, and so we Works in the show include Gorman’s
Century, a new group show opening decided to do a show of some of today’s Old Rust on the Brown Line and Chris
February 25 at Nicole Longnecker Gallery best artists carrying on their traditions.” Klein’s Teddy Bears Playgrounds, which
in Houston. The show is co-curated by With the recent presidential election, depicts an arrangement of junk, a cascade
painter Allan Gorman, who says he was which focused on blue-collar workers and of different shapes and forms entangled
looking for a way to bring together artists American industry, the show has a very in a heap. “There’s no one point when any
of us become ‘grown
1 up.’ We simply get
Joseph Santos, older,” Klein says of
Excavator #1, the work. “So when
watercolor on paper,
I first looked at this
20½ x 20½"
scene, a part of me
2 thought, ‘Wow, I’d
Stephan Magsig, like to go climbing
Almost Spring, oil on
and playing in all that
linen, 24 x 36"
stuff!’ So I decided to
3 place a teddy bear
Allan Gorman, Old in the scene who
Rust on the Brown can then play my
Line, oil on linen,
45 x 55"
alter ego and he can
have all the fun that
I’m imagining.”
Joseph Santos will have a number
of his works on display, which focus on
close-up views of equipment and heavy
machinery, including Excavator #1.
“I worked with and around industrial
equipment for 20 years and often found
myself looking and searching for the
abstract patterns and beauty created by
the rust, dirt, steel and other weathered
and decaying materials,” Santos says.
“Industry and industrial machinery
is often demonized, but I view these
machines as just another part of nature,
the same way a bird’s nest or beaver’s dam
are undeniably parts of nature. I would
hope that viewers are able to appreciate
1

2
the beauty and complexities of these

industrial machines.”
For Canadian painter Sheryl
Luxenburg, she turns her eye to
places that are more architecturally
pleasing, including buildings that
give pedestrians an interactive
perspective of its design and how
it relates to the surrounding city.
“This body of work celebrates my
relationship with industrialism’s
modern-day trend, which
uses reflective glass in building
construction…” she says, adding
that she recently has focused on
the Ottawa’s Shaw Centre. “The
reflective grandeur of this building’s
glass enclosure is breathtaking and
has inspired me for the past five
years. It is easy to understand why
pedestrian traffic is easily drawn
to its illusionary representational
nature, which represents a myriad
PR E V I E W
of opportunities to delight upon.”

Other artists in the show are Roland
Kulla, Stephen Magsig, Jan Anders
Nelson and James Ritchie.
091
3
Gardner Colby Gallery
UPCOMING SHOW PREVIEW / NAPLES, FL
386 & 365 Broad Avenue South | Naples, FL 34102
February 15-28, 2017
(239) 403-7787 | www.gardnercolbygallery.com
Detail and expanse
1 2
T his February, Gardner Colby Gallery 1

Doug Foltz,
in Naples, Florida, will bring
A Constant Congress,
together three artists that celebrate a Coming Home #28,
reverence for the natural world with its oil, 48 x 48"
Nature’s Reverie show. Nancy Winch,
2
gallery principal, describes the work of
David Kidd, Blue
Doug Foltz, David Kidd and Jessica Shadows, acrylic on
Pisano as “dreamlike” and “inspired by panel, 60 x 48"
an ethereal natural beauty.”
Foltz will be showing pieces from two 3
Jessica Pisano,
series that explore two extremes from Flight Pattern, oil,
the natural world—detail and expanse. 48 x 48"
“This series is about our first turns toward
home from those distant edges—our first 4
Jessica Pisano,
returning view of what we know, instead When and If, oil,
of what we don’t,” he says of his second 48 x 48"
series, titled Coming Home. “It is about the
expansive feelings those views raise as we
begin to close the final few miles—knowing
that what’s ahead offers both refuge and
the opportunity to journey again.”
Kidd will be showing new acrylic
paintings inspired by leaves, shadows and
3
4
botanical forms. Kidd works on canvas or painting to take on a life of its own and let time, with trunks that twist and turn, she
birch panels, applying many thin layers me know what it wants to be.” says. “With birds, I am attracted to their
PR E V I E W
of paint and using techniques he learned Trees and birds are the inspiration weightlessness and their representation
from his watercolor background. “I often behind Pisano’s paintings, which are both of freedom.”
have false starts,” he says. “It’s not the abstract and representational. “I’m most Nature’s Reverie will kick off with an
most productive strategy, but it does tend interested in painting trees that have been opening reception on February 15 at 5:30
093
to yield unexpected results. I like for the shaped by the elements of weather over p.m. and will run until February 28.
UPCOMING SHOW PREVIEW / SCOTTSDALE, AZ
7040 E. Main Street | Scottsdale, AZ 85251
February 4-21, 2017
(480) 941-8500 | www.bonnerdavid.com
JOSEPH LORUSSO
Poignant moments
I n Times Tender Passing at Bonner David Galleries, Joseph
Lorusso is attempting to capture elusive and poignant moments
in time. When going about his life, Lorusso is often struck by
scenes and emotions. After those moments become paintings, it
is the viewer’s job to complete the narrative.
In contrast to his previous work, which he describes as moody
and tonal, Lorusso is trying to integrate more color into his works
for Times Tender Passing. He considers his painting Making
Adjustments a success on that front. “It’s very straightforward,
but that bright orangey-red is something I wouldn’t normally use
to that extent. It’s been challenging,” Lorusso says. “Sometimes
I sit down and don’t know where I’m going at all, and I really
have to work at them, but they have turned out really well...I’ve
been painting with a certain palette for so many years, it can be
uncomfortable to get outside that box, but it’s important for the
growth process.”
For someone as prone to bouts of inspiration as Lorusso,
logging on to Instagram can be similar to going to the
2
Metropolitan Museum of Art. “I get on and I see a great piece
of art, and then another one and another one. It gets the juices get overstimulated.”
flowing,” he says. But that nonstop access to great art is a double- Times Tender Passing will be on view at Bonner David Galleryies
edged sword. “It just makes your head spin to see all these great from February 4 to 21, and there will be a reception honoring the
pieces of art. You see all these completely different pieces and artist on February 4 at 6 p.m.

“With a combination
of classic technique
and contemporary
flair, Joseph
Lorusso’s work is
evocative, poignant
and takes us to
places we always
wish we could be.”
— Clark David Olson,
co-owner, Bonner David Galleries
1 3
Yellow Turtleneck, If I Could Be You, oil
oil on panel, 8 x 16" on panel, 30 x 36"
2 4
Caught in a Dream, City Lights, oil on
oil on panel, panel, 16 x 22"
16 x 20"
3
PR E V I E W
095
4
GERRY THOMPSON
INTERNATIONAL ARTIST MAGAZINE AWARD WINNER
Maple Ridge, BC | thompsonstudios@shaw.ca | www.gerrythompson.ca
Details Matter
Canadian artist Gerry Thompson infuses minute details in her paintings
to capture specific moments in time.
S ince her earliest memories of

painting, Gerry Thompson has been
drawn to the details of the subjects and
special moment in time.”
Thompson finds these details throughout
her daily activities. They are there in her
objects provided me with exciting light-
filled painting subjects for many years.
Once you go through the entrance you find
scenes she encounters. “Throughout the travels, in moments spent with the people rooms jampacked with every household
years I’ve often heard artists say they in her life, and in ordinary objects that she item possible.”
wanted to be ‘more painterly.’ I guess finds beautiful. Then there are scenes like Morning
that meant they wanted to be ‘looser’ and Take for instance her recent series of Reverie that are subtle reminders of her
that they wanted to create an impression paintings, The Gathering, which were family and youth. The painting is also
rather than be encumbered with all of inspired by her friends’ antique shop. one with technical challenges that the
the details,” Thompson says. “I totally “While visiting my friends in eastern artist relishes. “My parents were born in
understand that point of view, and when Canada, I could not believe the acres and Norway, and I and my nine siblings were
jurying exhibitions, I will often choose an buildings of antique treasures that they born in Vancouver, British Columbia.
abstract painting for an award. But for me, own,” she says. “To them, these relics are I love the water, and we kids grew up
I want to relive every minute detail of that what make their business run. To me, these spending much of our childhood by and

2
IN TE RN ATIO N AL AR TIST MAG AZ IN E AWARD W IN N E R

1
Artist Gerry Thompson
in her studio.
2
Morning Reverie,
watercolor on Arches
paper, 21 x 29"
3
Monet’s Lily Pond #2,
paper, 20 x 30"
097
3
4

5
IN TE RN ATIO N AL AR TIST MAG AZ IN E AWARD W IN N E R

in the water. This painting symbolizes a relaxing I returned home from my time at Giverny.” 4
The Gathering #4,
morning in downtown Vancouver,” she says. Photographs are an important element in not only
“Painting reflections on water is one of my favorite the travel series of works, but in all of Thompson’s paper, 30 x 22"
teaching workshops. The lighter reflections on the paintings. When she sees a subject that strikes her
water are retained by using art masking fluid to ‘paint interest, Thompson will take snapshots from many 5
Gated Community #3,
out’ the shapes. Many layers of fluid paint create the different vantage points. This allows her to peruse
darker abstract shapes reflected on the water.” the works later to discover an ideal painting design paper, 15 x 22"
Monet’s Lily Pond #2 is an example inspired by her without too many changes, meaning the composition
travels. The inspiration came when she visited Claude is actually created with her camera.
Monet’s famous house and lily pond in Giverny, France. “From the day I picked up a paintbrush years ago, my
“The artists who accompanied me on the painting passion for painting has never diminished,” Thompson
workshop to France, and I, had the grounds and lily says. “I’m happiest when I have a brush in my hand,
pond to ourselves after the tourists had left,” she recalls. reliving some experience of my life.”
“One of the artists gave me this photo that she took of
me painting on location. I painted Monet’s Lily Pond Thompson was the Grand Prize Winner of International
099
#2 from one of my dozens of photo references after Artist magazine’s Challenge No. 97, Still Life.
A R T I S T F O C U S
Artist Blu Smith.
The Willow, acrylic on canvas, 48 x 54" Northern Wind, acrylic on canvas, 42x 60"
Blu Smith
A s a young man, Blu Smith worked as
a sign painter and commercial artist,
developing his skills for accuracy and
based from organic shapes with strong
ties to nature. The organic structures
are balanced with cavernous spaces and
and background.”
Victoria, on the West Coast of Canada,
is where Smith works and lives with his
precision. These are the very attributes are filled with light that glows with an wife and growing young family. Smith has
that he found restricting in his painting. atmospheric quality. Typically, he begins exhibited his paintings throughout Canada,
His mature style as an abstract painter with broad washes and textures, then Europe and the U.S. for several years.
began as an exercise to free himself pulls out and develops three-dimensional
from the technical restraints of realism. shapes within the structures, finally
Nonrepresentational abstract became a resolving the surface with incisive
creatively freeing direction that evolved drawing. The results are glowing organic Want to See More?
into his unique voice as an artist. abstractions. blusmithgallery@gmail.com
“I look at my paintings not as “My work is about the diversity of www.blusmithgallery.com
individual pieces but rather as a living, two different states and the transitions
/blusmithgallery
breathing and constantly evolving body between the two,” Smith explains. “The
of work. It really does take on a life of its real interest lies in bridging the gap @blusmithgallery
own,” says Smith. His subject matter is between structure and space, foreground

A R T I S T F O C U S
Bridge of Lions, oil on canvas, 12 x 12"
Trash Day on Union Street, oil on canvas, 36 x 36" Nauset Sunset, oil on canvas, 36 x 36"
Don Reed
N ew Hampshire artist Don Reed was
born in 1950 in Bangor, Maine. His
early childhood was spent moving from
community by surprise. Some thought his
new direction was too radical and sooner
or later he would find his way back to
Reed is represented by Reinert
Contemporary Fine Art in Charleston,
South Carolina, and by Blue Heron
place to place throughout the country traditional painting. But slowly the work Gallery in Wellfleet, Massachusetts,
until 1961 when his family relocated to began turning heads and gradually he which is open seasonally.
southern coastal Maine. At the age of 12, found that what he had discovered was
he attended his first oil painting classes his own distinctive painting technique,
in a little fishing shack in historic York which set his work apart from the Want to see more?
Harbor, Maine. The laughter of children mainstream. The technique continued donreed@fineartbydonreed.com
happily painting and the distinctive smell to evolve until in 2014 he put down the www.fineartbydonreed.com
of linseed oil remains one of his favorite brushes and picked up a palette knife Represented by Reinert
childhood memories. taking a major step toward perfecting
AR TI ST FOC U S
Contemporary Fine Art

Reed continued to paint in various the painting style viewers see today. He 202 King Street | Charleston, SC 29401
mediums throughout his life including hopes that his approach to painting will jason@reinertfineart.com
watercolor, acrylics and back to oils. continue to grow, evolve and bring joy to www.reinertfineart.com
In 2007, after several years of plein air those who view it today and for years to Represented by Blue Heron Gallery
painting, he decided to make a dramatic come. Reed’s subject matter ranges from 20 Bank Street | Wellfleet, MA 02667
change in his approach to painting, colorful New England landscapes and blueheron@capecod.net
101
which took many in the New England art seascapes to dramatic city street scenes. www.blueheronfineart.com
INTERNATIONAL GUILD OF
REALISM WINTER SALON
Show Preview When: January 26-February 18, 2017
Where: The Marshall Gallery of Fine Art,
7106 E. Main Street, Scottsdale, AZ 85251
Information: www.realismguild.com
Inaugural Salon
The International Guild of Realism hosts its first-ever Winter Salon in Scottsdale, Arizona.
T his January 26 through February 18,

the International Guild of Realism
will host its inaugural Winter Salon
featuring the work of leading artists
painting in the contemporary realistic
style. The show, which will take place
at the Marshall Gallery of Fine Art in
Scottsdale, Arizona, is the first event
of 2017 for the group, with its signature
international juried exhibition happening
in the fall. On view will be artwork by
more than 80 artists, who each have one
or two pieces juried into the show.
Kicking off the event will be a reception
on opening night from 7 to 9 p.m. at the
host gallery during the city’s ArtWalk that
is held on Thursday evenings. During the
1
International reception, collectors can
Guild of Realism’s peruse and purchase the
first-ever Winter
artwork as well as talk
Salon takes place
at the Marshall with artists in attendance
Gallery of Fine about their inspirations
Art in Scottsdale, and technique. The
Arizona. opening will also include
2 an award ceremony
George Ayers, where select artists will
Moonrise, oil on receive prizes in multiple
panel, 11 x 14" categories for their
paintings.
“IGOR is thrilled to have our first-
ever Winter Salon Juried Exhibition at
the prestigious Marshall Gallery in the
gallery district of Old Town Scottsdale,”
AR T SH OW P RE V I E W
says founding Charter Member, Donald

Clapper. “The guild has had incredible
growth over the past 13 years and our
juried membership represents some of
the very best realists in the world. This
year’s Winter Salon has an amazing array
of paintings in terms of diversity, creativity
and quality.”
From the whimsical to the classic, the
103
paintings presented are a mix of genres and
2
3
Josh Tiessen, Dark
Night of the Soul,
oil on Baltic birch,
45 x 33" (framed)
4
Ana Schmidt,
Ofelia, acrylic on
canvas, 28.7 x 21.3"
5
Priscilla Nelson,
Float Away, oil on
canvas, 30 x 48"
6
Cher Pruys, Brilliant
Finish, watercolor
and acrylic on
watercolor paper,
9 x 13.6"
3 4
5 6
mediums allowing for a multifaceted display of

artwork that allows collectors to find something
they enjoy. Included will be figurative paintings,
still lifes and Trompe l’Oeils, as well as urban
scenes and landscapes.
Among the paintings on view will be
Moonrise by George Ayers, which pictures a
dark-haired woman with aviator goggles atop
her head looking off over a city and a rising
moon. “The endless creative possibilities that
exist in the science-fiction universe really
appeal to me,” says Ayers. “During a photo
shoot for a completely different idea, this
particular image grabbed my attention. It
made me think of Amelia Earhart and what
a great space explorer she would have been.
So, I added a fictitious city and moon in the
background leaving each viewer to hopefully
draw their own conclusions as to her possible
7
8 9 10
11 12
7
Barbara Clements, Bright Angel
struggle or adventure or where she may be going Plateau Point, Grand Canyon brings viewers
Trail looking north to Plateau Point,
Grand Canyon, oil on canvas, or returning.” straight into the composition as they share in her
30 x 40" There also is Priscilla Nelson’s painting Float vantage point looking out across the seemingly
Away of a figure in a pink-and-yellow outfit never-ending expanse. A waterside painting titled
8
partially submerged in water—the reflections of Autumn Symphony by Barbara Nuss appears to be
Randy Van Dyck, Bird Watch,
acrylic on hardboard, 30 x 16" her outfit creating unique patterns along with the a quiet moment of solitude in a forested area that
water’s ripples. Dark Night of the Soul by Josh is beginning to blossom with fall colors.
9 Tiessen is another example of a figurative piece Another piece in the show is Brilliant Finish
John Moffitt, Sheriff’s Office, in the show, and is a work the artist created as by Cher Pruys, which features the front end
oil on linen canvas, 30 x 20"
a modern response to Wanderer Above the Sea of a chrome airplane as the centerpiece and is
of Fog by Caspar David Friedrich. Ed Copley’s
AR T SH OW P RE V I E W
10 highlighted by its reflections, shadows and forms.

Robbie Fitzpatrick, Gentle Dreaming of Tomorrow is a classic rendering of Bird Watch by Randy Van Dyck combines two
Persuasion, watercolor on paper, a sleeping woman where the folds of her dress, genres: a landscape and a Trompe l’Oeil where
20 x 24"
sheets and pillow make interesting shapes and three birds perch atop a pocket watch. Gentle
11 textures around her. Persuasion by Robbie Fitzpatrick also features
Barbara Nuss, Autumn Symphony, Ofelia by Ana Schmidt also will be displayed; animals, as it depicts a dog coercing four white
oil, 20 x 30" it shows debris from trees and trash built up in ducks across a farm. John Moffitt’s Trompe l’Oeil
12
the water underneath a series of bridges—finding Sheriff’s Office is another on view; it features Old
beauty in the overlooked. Barbara Clements’ West paraphernalia such as a gun, a sheriff’s
105
Ed Copley, Dreaming of Tomorrow,

oil on linen, 24 x 38" landscape Bright Angel Trail looking north to badge, keys, handcuffs and a wanted poster.
WINTER JAN 26 – FEB 18
Opening Reception:
SALON www.realismguild.com
Jan 26th, 7pm-9pm
CHER PRUYS BARBARA CLEMENTS

BRILLIANT FINISH watercolor and acrylic on BRIGHT ANGEL TRAIL LOOKING NORTH TO PLATEAU
watercolor paper 9" x 13.6" www.artbycher.ca POINT, GRAND CANYON oil on canvas 30" x 40"
www.barbara-barber.pixels.com
GEORGE AYERS
BLACKBERRY CROSTATA
oil on panel 24" x 24"
www.georgekayers.com
THE MARSHALL GALLERY OF FINE ART

7106 East Main Street, Scottsdale, AZ 85251 | (480) 970-3111 | www.themarshallgallery.com
Opening Reception:
Jan 26th, 7pm-9pm
ED COPLEY
COLD MORNING FOG oil on linen 12" x 20"
www.edcopleyfineart.com
ANA SCHMIDT
OFELIA acrylic on linen 28.7" x 21.3"
www.schmidtana.com
PRISCILLA NELSON JOSH TIESSEN

DARK NIGHT OF THE SOUL oil on Baltic birch
REFLECTION POND oil on canvas 20" X 24" 45" x 33" (framed) www.joshtiesen.com
www.nelsonart.gallery

Opening Reception:
Jan 26th, 7pm-9pm
ROBBIE FITZPATRICK
GENTLE PERSUASION watercolor on paper 20" x 24"
www.robbiefitzpatrick.com
JOHN MOFFITT
SHERIFF’S OFFICE oil on linen canvas 30" x 20"
www.moffittartwork.com
RANDY VAN DYCK BARBARA NUSS

BIRD WATCH acrylic on hardboard 30" x 16" AUTUMN SYMPHONY oil on linen 20" x 30"
www.vandyckframe.com www.barbaranuss.com

PHOTO CREDIT: RITU MANOJ JETHANI/SHUTTERSTOCK.COM
The Art Lover's Guide to Collecting Fine Art in
CALIFORNIA
W
ith a population of nearly 40 home to the Art Palm Springs fair, taking
PHOTO CREDIT: SONGQUAN DENG/SHUTTERSTOCK.COM

million people, it is no wonder place this year from February 16 to 19.
that California boasts some of the The El Paseo shopping district in nearby
most expansive and diverse arts Palm Desert, is home to a nearly a dozen
and culture scenes in the country. Large fine art galleries.
cities like Los Angeles and San Francisco Take a trip up to Northern California
contain multiple art hubs that could keep to Art Market San Francisco, which takes
visitors busy for days, and destinations place this year from April 27 to 30 at
like Carmel-by-the-Sea, Monterey, Palm the Fort Mason Center and highlights
Desert and Santa Barbara offer more contemporary and modern works.
intimate viewing experiences. San Francisco is also home to the San
Taking place in annually in Los Francisco Museum of Modern Art, the de
Angeles is LA Art Show. Hosted by Palm Young Museum, the Museum of Craft and
Beach Show Group at the Los Angeles Design, and the Legion of Honor.
Convention center in January, LA Art Don’t overlook some of the smaller art-
Show brings together galleries, artists, packed California cities and towns. Carmel-
curators and collectors that specialize by-the-Sea contains dozens of galleries in
in everything from historic fine art to a 1-square-mile area, and in Monterey you
contemporary and traditional works. can take a walking tour of public art.
The Los Angeles area also contains In the pages of this destination guide
the art districts of Bergamot Station, is information on the artists and galleries
Chinatown and NoHo, some of which who call this state home. Included are
host monthly art walks to view art in the Arcadia Contemporary, Distinction
109
evening hours. Gallery, John Pence Gallery, Winfield

Two hours east of LA, Palm Springs is Gallery and Lori S. Robinson.
DESTINATION » CALIFORNIA
1
Arcadia
Contemporary
features the work
of representational
painters who are
recognized for
their unique and
visionary styles.
2
Arcadia
Contemporary,
Ascending into the
Unknown, oil on
panel, 34 x 25",
by Daniel Blimes.
3
Arcadia
Contemporary,
Casey in Top Hat,
charcoal on paper,
27 x 40", by Annie
Murphy-Robinson.
1 2
ARCADIA “Southern California is an area ripe with

CONTEMPORARY collectors who appreciate skill and unique
9428 Washington Boulevard
Los Angeles, CA 90232
talents. Many of them, already employed in
(424) 603-4656 various creative industries themselves, see
www.arcadiacontemporary.com
quality and skilled work at the gallery and
Arcadia Contemporary
features living, realist respond very favorably to it.”
painters who are not
— Steve Diamant, president, Arcadia Contemporary
constrained by specific styles
or genres of painting. The
artists represented in the and contemporary genre course of the year, the gallery out paintings that they can
gallery are all highly skilled, scenes by Casey Baugh and exhibits at art fairs across truly connect with on a much
representational painters who Malcolm T. Liepke, Arcadia the country and also hosts deeper level. Arcadia has
are making their own mark in has established a roster of one-person and group shows been in Los Angeles for only
the world of realist art. From artists who are known around featuring both established one year, but the response we
the timeless figurative and the world for their unique and and emerging artists. have received already is very
landscape works by Jeremy visionary styles. During the “Southern California is encouraging.”
Lipking to the exciting an area ripe with collectors The gallery’s spring
who appreciate skill and exhibition season launches
unique talents. Many of in March with the much-
them, already employed in anticipated solo exhibition
various creative industries of new paintings by Lipking.
themselves, see quality and It has been three years since
skilled work at the gallery Lipking’s last exhibition
and respond very favorably and the demand for his new
to it,” says Steve Diamant, paintings has increased
president of the gallery. dramatically. In April will
“Arcadia is less concerned be a unique exhibition of
with appealing to those who Spanish master realists, many
are looking to ‘decorate’ and of whom will be exhibiting in
more focused on working the United States for the very
with collectors who seek first time.
3

JOHN PENCE
GALLERY
750 Post Street, San Francisco,
CA 94109, (415) 441-1138
art@johnpence.com
www.johnpence.com
John Pence Gallery, one
of San Francisco’s largest
art galleries, celebrates
its 45th year in 2017. The
gallery is nationally known
and recognized as a
leader in American realist
art galleries, and it has
discovered and nurtured
many of the nation’s best
painters. Among them are
David Leffel, Jacob Collins,
Will Wilson, Anthony
Waichulis, Jeremy Mann,
Greg Gandy, Jacob
Pfeiffer, Carl Dobsky, Dean
Larson and many others.
“This past year was
overshadowed by national
discord. An environment
not conducive to the arts
and culture. At best an
average year,” says John
Pence, owner of the gallery. 1
“Strong painters persisted
and some shone brightly. “…we expect 2017 to rebound with
An awkward time to begin
new artists; but here again, pent-up feelings finding the art scene
we expect 2017 to rebound
with pent-up feelings
resilient once again.”
— John Pence, owner, John Pence Gallery
finding the art scene
resilient once again.”
1
John Pence Gallery
in San Francisco is
one of the leading
galleries of American
D ESTIN ATION / C AL IF OR N I A
realist art.
2
John Pence Gallery,
Maelstrom, oil on
linen, 12¾ x 15¾",
by Will Wilson.
3
John Pence Gallery,
Outside the Cathedral,
oil on panel, 36 x 36",
by Jeremy Mann.
111
2 3
DESTINATION » CALIFORNIA
1
Artwork by George
Abend, David Ligare
and Gwynn Murrill
on view at Winfield
Gallery. Photo by David
Kingsbury.
2
Winfield Gallery,
California Coast, oil
on canvas, 55 x 52",
by David Ligare.
3
Distinction Gallery
features mid-career
and veteran artists
creating contemporary
realistic, surrealistic and
urban art with a focus
on the figure.
1 2
out the schedule is a one-man

WINFIELD exhibit for Chang in July.
GALLERY
Dolores between Ocean & 7th DISTINCTION
Carmel-by-the-Sea, CA 93921 GALLERY
(800) 289-1950, (831) 624-3369
317 E. Grand Avenue, Escondido,
chris@winfieldgallery.com
CA 92025, (760) 707-2770
www.winfieldgallery.com
melissa@distinctionart.com
Winfield Gallery in Carmel- www.distinctionart.com
by-the-Sea, California, is a
Distinction Gallery was
contemporary mixed media
created in 2004 to give
gallery with an emphasis on
beginning and established
nationally recognized mid-
collectors a venue to purchase
career painters and sculptors,
high-quality artwork created
alongside promising young
by highly skilled artists.
artists from throughout the
Distinction has hosted more
state and around the country.
than 130 exhibitions since its
The gallery is open Monday
inception featuring mid-career
through Saturday from 11 a.m.
and veteran professional
to 5 p.m. and on Sundays from
artists. The primary genres
noon to 5 p.m.
at Distinction Gallery are
On view at the gallery
contemporary realism,
is work by artists such as
surrealism and urban art with
George Abend, David Ligare,
a focus on the figure. The
Gwynn Murrill, Jane Rosen,
gallery’s primary media focus
Marc Trujillo, Warren
is original oil and acrylic 3
Chang and more. The gallery
paintings; however, they commissions. Among those Scott Rohlfs’ show Made You
hosts numerous exhibitions
occasionally display drawings featured are Gabe Leonard, Look and in March there will
throughout the year, with
and mixed media. Distinction’s Jon Jaylo, Heather McKey be a solo exhibition for McKey
Intimate Sculpture on view in
artwork is available for and Linda Herzog. titled Natural Beauty. The
January. In February will be
purchase online to clients In February the gallery gallery also will be exhibiting
a solo show for Trujillo, while
around the world and most of is thrilled to be exhibiting work by June Stratton in
an exhibition titled Nocturnes
their artists are available for longtime represented artist April and Linda Adair in May.
will happen in April. Rounding

LORI S. ROBINSON
www.lorisrobinson.com
Represented by Telegraph Hill Gallery
491 Greenwich Street, San Francisco,
CA 94133, (415) 767-9794
www.telegraphhillgallery.com
A native of Savannah,
Georgia, now living on the
Northern California coast,
Lori S. Robinson paints
“the landscape following
in the artistic tradition of
nature as a direct source for
1
painting,” she says. “Sensual
Lori S.
light and atmosphere fill my Robinson,
minimalistic oil paintings Turks and
with fields of color.” Caicos Dusk,
Currently Robinson is oil, 12 x 16"
working on a new series
of paintings where skies
of nature, the sublime between the supernatural Robinson is represented by
are abstracted to their
supernatural reveals itself,” and the natural, expressing a Telegraph Hill Gallery in
essential elements. “Through
explains Robinson. “My work reverence for the source that San Francisco’s North Beach
intensive observation
bridges the illusory chasm nourishes us.” neighborhood.
CO M I N G I N A P R I L 2 0 1 7
IMAGE BY LEE ALBAN

THE ART LOVER’S GUIDE TO
Collecting Fine Art In Texas
BOOK YOUR SPACE TODAY, BEFORE IT’S TOO LATE!
American Art Collector invites you to joins us in our 5th annual Art Lover’s Guide to Collecting Fine Art
in Texas in the April issue! From quaint Southwestern towns to bustling and expanding metropolises,
the state of Texas offers a diverse array of art destinations for visitors to enjoy. The Lone Star State is
home to countless fine art galleries and artists, as well as reputable museums and auction houses, in
cities including Dallas, Houston, Austin, Clifton, Fredericksburg, San Antonio and Boerne. Join us as we
D ESTIN ATION / C AL IF OR N I A
spotlight this art destination and provide collectors with a guide to the best of Texas!
EDITORIAL CALENDAR 3 MONTH SNEAK PEEK:

M AY JUNE J U LY
» Wildlife Art Feature » Marine Art Special Feature » Sculpture Special Feature
» Art Lover’s Guide to SANTA FE & VICINITY » Art Lover’s Guide to the MIDWEST » Art Lover’s Guide to CAPE COD & THE ISLANDS
» Oil Painters of America 26th Annual National » Loveland Art Shows Features
Juried Exhibition Feature
113
Galleries and artists, find out how your work can be included, call us at (866) 619-0841 or email coordinator@americanartcollector.com
DestinationTexas.indd 1 12/29/16 9:11 PM

COLLECTOR'S FOCUS
URBAN EXP
CITYSCAPES
1 Andrew Woodward, Beacon Hill Horizon, acrylic on canvas, 48 x 48". Courtesy Arden Gallery, Boston, MA. 2 Jeremy Mann, NYC 29, oil on panel, 36 x 36". Courtesy John Pence
Gallery, San Francisco, CA. 3 Raphaella Spence, Flamingo, oil on canvas, 40 x 30". Courtesy Bernarducci Meisel Gallery, New York, NY. 4 Childe Hassam (1859-1935), Rainy
Day, Boston, 1885, oil on canvas, 261/8 x 48". Toledo Museum of Art, Toledo, OH. Purchased with funds from the Florence Scott Libbey Bequest in Memory of her Father, Maurice
A. Scott. 5 Stephen Magsig, Spring St. Station, oil on linen, 42 x 36". Courtesy George Billis Gallery, New York, NY.

PLORATION
2 3
4 5
BY JOHN O’HERN
C
hilde Hassam (1859-1935) painted Minus the carriages and horses, this over centuries of architecture including
his Rainy Day, Boston, in 1885, area of Boston is much the same day. an extraordinary cable-stayed bridge that
two years before he left for Paris Founded in 1630, the city has maintained opened in 2003.
and the Académie Julian where he much of its historic fabric in the face of Woodward writes, “When a painting
would experience the vibrancy of the extraordinary growth. interprets and enhances imagery in ways
impressionists whose style would mark Andrew Woodward lived in Boston for not previously perceived, it can become
the rest of his career. In this painting, his over a decade over a century later than timeless. Through strikingly simple
education in Boston in the aesthetic and Hassam. Woodward’s view of the city and deliciously detailed facades and
subdued color palette of the Barbizon is from one of its most historic areas. In cityscapes, my paintings aspire to elevate
115
School is beautifully apparent. Beacon Hill Horizon, 2016, he looks out their subjects.” The complexity of forms
COLLECTOR'S FOCUS
CITYSCAPES
10
7 8 11
would be apparent to any viewer of the scene, but

Woodward brings out the complexity of color and
light—all of which create a unified impression of
a complex cityscape.
Raphaella Spence, on the other hand, paints the
cacophony of the unreal reality of Las Vegas. Each
of the buildings in Flamingo vies to stand out from
the others. Mother Nature tries to outdo the scene
and fails. Spence adds another layer of reality to
her verisimilitude, working from photographs
and bringing in her impressions, sensations and
memories of being at the scene.
Jeremy Mann is a master of mark making.
His process of painting, scraping, scumbling,
evokes the complex energy of the city scape. His
technique could stop the viewer at the surface but
with his obvious use of perspective enhanced by
crosswalk lines in the foreground and light in
the distance, he creates images of great depth.
Through years of observation and of applying
paint he has learned to express the essence of an
9

12
6 Joseph P. Grieco, Lexington Avenue Rain, NYC, acrylic, 10 x 10" 7 Joseph P. Grieco, Flurries, Grand Central Station, NYC, oil, 14½ x 15¾" 8 Lotton Gallery, Foggy Evening, Venice,
oil on linen, 18 x 12", by Vakhtang. 9 Lotton Gallery, Paris, Midday, oil on linen, 20 x 20", by Vakhtang. 10 Joseph P. Grieco, Evening Carriages, oil, 24 x 36" 11 Barbara Fracchia,
Crowd Pleaser, oil on canvas 16 x 20" 12 Barbara Fracchia, Keep on Truckn’, oil on canvas, 18 x 14"
object with the minimum of information. where they were going. population centers as well as the galleries
Deep within the darkness of the paintings Magsig calls his portraits “Places that that represent them.
CO L LEC TOR'S F OCUS CI T YSC A PE S
is not only the process of discovery of the exist in silence, unrevered and waiting Lotton Gallery, which has been located
essence of the scene, but his exploration to be discovered…My urban landscape in Chicago’s Gold Coast for 18 years,
and discovery of himself. paintings are portraits of how we as a represents traditional and representational
We fly into cities from above, arrive society have affected and continue to alter artwork, including that of Vakhtang. “His
at street level in a taxi or emerge at the environment around us.” paintings have an ethereal, airy style,”
our destination from below. Stephen Coming up out of the noise of the subway says gallery director Christina Franzoso.
Magsig paints “portraits of forgotten and to the built environment of Spring Street, “He creates a magical, enveloping mist in
neglected spaces.” Perhaps nothing is the clear-blue sky is the first thing we see. Venice in his latest piece Foggy Evening,
less noticed than the stairways into and In the pages of this special section, Venice. In another new piece, Paris, Midday,
out of subway stations. We want to get to readers will find art featuring scenes Vakhtang captures the changing light over
our train and we want to get out. In 2015, from San Francisco to Venice, showing a Parisian square, enchanting shadows of
3,782,314 people used Spring St. Station in everything from soaring skylines to trash a thousand hues of smoky gray and blue.
Manhattan, absorbed not in the “now” of pick-up day. Continue reading to discover A foggy London town in Twilight unveils
117
the experience, but in the “then” of getting the artists who are drawn to these large the end of day, evoking a sense of serenity
COLLECTOR'S FOCUS
CITYSCAPES
13 14 15
17 18 19
that brings the viewer a state of tranquility.” paints both in the studio and in plein air to features a boat cruise around Manhattan,
Owner of Art de Triumph & Artful capture the soul of his cityscapes. providing a view of New York City and its
Framer Studios and artist Nancie King For Denise Kelly, who was born in Paris, surrounding boroughs. Keep on Truckn’ is
Mertz, also based in Chicago, enjoys France, but spent time in New York before another cityscape for travelers, showing a
working predominantly in plein air. She settling in Cape Cod, New York City is street filled with the chaos and confusion of
is a painter working in both pastels and still an incredibly intriguing subject. “I see trucks and yellow cabs. “Another one of my
oils. Her piece Over the Top features a view New York as a bustle of activity, in constant many pictures I took while I tried running
from underneath a city bridge. motion with people rushing about in a veil to beat the red light before the cabs drove
New York City provides plenty of fodder of anonymity dwarfed by incredibly tall me over,” Fracchia says of the scene.
for those interested in cityscapes. Choosing buildings. Who are these people? Where Arlon Rosenoff also finds the traffic
places in the city that are close to his heart, are they going? Where do they live?” Kelly of the city an inspiring subject, though
Joseph P. Greico, “knows the city well and says. “In my paintings I look for these the cities of the Pacific Northwest are
is able to translate deep emotional feelings answers and perhaps I will be able to the subject matter for his palette knife
and responses, coupled with sensitive communicate my thoughts to the viewer.” paintings Zeus Cafe and Crossing Second.
imagery that captures both the pulse of the Barbara Fracchia looks at New York from “The palette knife is like a conductor’s
city and a sense of urban poetry.” Grieco the point of view of travelers. Crowd Pleaser wand, you get to set the tempo, get to

FEATURED
ARTISTS &
GALLERIES
ANNE HARKNESS
(704) 622-3077
annepharkness@gmail.com
www.anneharkness.com
ARLON ROSENOFF
www.arlonrosenoff.com
16 BARBARA FRACCHIA
(510) 525-7057
mfracchia@comcast.net
www.barbarafracchia.com
DENISE KELLY
(508) 487-4255
dkelly508@comcast.net
DON REED
donreed@fineartbydonreed.com
www.fineartbydonreed.com
JOSEPH P. GRIECO
josephpgrieco@yahoo.com
www.josephpgrieco.com
20 LOTTON GALLERY
900 N. Michigan Avenue, Level 6
Chicago, IL 60611
(312) 664-6203
www.lottongallery.com
13 Anne Harkness, That Creamsicle Time of Day, oil, 20 x 20" 14 Don Reed, Morning Delivery, acrylic, 16 x 16"
15 Arlon Rosenoff, Crossing Second, palette knife oil, 32 x 38" 16 Denise Kelly, Grand Central, oil on canvas, CO L LEC TOR'S F OCUS CI T YSC A PE S
24 x 30" 17 Nancie King Mertz, Over the Top, oil, 14 x 18" 18 Anne Harkness, Window City, oil, 36 x 48" 19 Arlon NANCIE KING MERTZ
Rosenoff, Zeus Cafe, palette knife oil, 19 x 19" 20 Denise Kelly, Washington Square, oil on canvas, 24 x 24" www.nanciekingmertz.com
move around and focus on different areas lighting, strong compositions and textural
of the painting, changing the harmony of color application to capture the beauty of
the expression with each stroke,” Rosenoff the urban landscape.
says of the tool. Of Anne Harkness’ work, Curt Butler of
New Englander Don Reed also uses Butler Studio says, “Anne finds beauty in
palette knife to capture “vignettes” of everyday urban places.” Line, color balance
the city, a subject matter he has returned and movement are what Harkness focuses
to time and time again for the past 10 on when painting cityscapes. “Keeping
years. “The man-made world of glass, some of the grit and rawness of the city and
concrete and asphalt” provide him endless capturing its energy in my brushstrokes are
119
inspiration, and he focuses of dramatic two other tools I love using,” she says.
INDEX
ARTISTS IN THIS ISSUE

Andrews, Lisa 65 Davis, William R. 88 Krimon, Olga 68 Reutimann, Roger 30
Anthony, Janice 53 Dawson, Montague 89 Lawrence, Karen 65 Rodts, Forrest 89
Arenas, Heather 64 Foltz, Doug 92 Lawson, T. Allen 53 Santos, Joseph 90
Arthur, Jules 48 Franke, Nancy 63 Liang, Calvin 62 Schneider, William A. 66
Baggett, Frank 70 Freimark, Robert 30 Lorusso, Joseph 94 Selim, Lorena 32
Basham, Jill 70 Gorman, Allan 91 Magsig, Stephen 91, 115 Smith, Blue 100
Beale, Mark 67 Harris, Kenny 74 Mann, Jeremy 115 Spence, Raphaella 115
Beck, Dan 62 Hassam, Childe 115 Moody, Sharon 80 Thomas, Phillip 50
Bowland, Margaret 47 Haywood-Sullivan, Liz 53 Morton, Sarah McRae 86 Thompson, Tim 88
Cheng, Paul 66 Hogin, Laurie 82 Niles, Arcmanoro 46 Trujillo, Marc 42
Crocker (Rice), Carolyn Anne 69 Jarboe, Charles 53 Patterson, Neil 63 Tu, Zhiwei 67
Currier & Ives 53 Jones, Jane 84 Pisano, Jessica 92 Wise, Mike 68
Cyra, Michael 64 Kidd, David 92 Poskas, Peter 52 Woodward, Andrew 114
Danish, Dmitri 76 Kiderman, Alice 69 Reed, Don 100
ADVERTISERS IN THIS ISSUE

Alexander Volkov Fine Art / Frenchtown, NJ 21 Gallery Russia / Scottsdale, AZ 19 Portrait Society of America / Tallahassee, FL 12
Arcadia Contemporary / Culver City, CA Cover 2, 1 Gardner Colby Galleries / Naples, FL 22 Red Raven Art Company / Lancaster, PA 25
Arizona Fine Art Expo / Scottsdale, AZ 10 George Billis Gallery / New York, NY Cover 3 Rehs Contemporary
Arlon Rosenoff Fine Art / Kirkland, WA 31 Glushman, Paul / Cameron Park, CA 26 Galleries, Inc. / New York, NY Cover 4
Bonner David Galleries / Scottsdale, AZ 7, 25 Harkness, Anne / Mooesville, NC 22 RJD Gallery / Sag Harbor, NY 2-3, 35
Brook Olivares Fine Art / Sarasota, FL 102 John Pence Gallery / San Francisco, CA 5 Robinson, Lori / San Francisco, CA 22
Cable, Jerry / Stockton, NJ 24 Lotton Gallery / Chicago, IL 6 Scottsdale Artists’ School / Scottsdale, AZ 27
Celebration of Fine Art / Scottsdale, AZ 11 Marshall Gallery of Fine Art, The / Scottsdale, AZ 9 Steinem, Robert / Colrain, MA 26
Cople, Bethanne Kinsella / Alexandria, VA 24 Marshall, Chuck / Cincinnati , OH 24 Sunset Art Gallery of Amarillo / Amarillo, TX 13
Denise Kelly Fine Art / Truro, MA 31 Mertz, Nancie King / Chicago, IL 71 Titovets Inc. / El Paso, TX 10
Distinction Gallery / Escondido, CA 71 Naples Art, Antique UGallery.com / San Francisco, CA 29
Don Reed Fine Art / Wellfleet, MA 26 & Jewelry Show / Naples, FL 20 Urban Expositions / Kennesaw, GA 16
Fracchia, Barbara / Kensington, CA 23 Palm Beach Jewelry, Art Westward Gallery / Denver, CO 17
& Antique Show / Palm Beach, FL 18 Winfield Gallery / Carmel, CA 27

Wes Hempel
January 21 - February 25
op t i m i sm , oi l on c a n vas , 2 6 x 2 4 ”
G e or g e B i l l i s G a l l e r y l a • 2 7 1 6 s . l a c i e n e g a blv d • l o s a n g e l e s • 9 0 0 3 4
310.838.3685 • l a @ g e or g ebi l l i s . c o m • w w w. g e or g ebi l l i s . c o m

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TABLE OF CONTENTS PREVIEWS INDEX

JEREMY LIPKING SPANISH REALISTS

CASEY BAUGH NICK ALM

The Art Spirit

VINCENT W. MILLER / Publisher

LISA REDWINE / Senior Account Executive

lredwine@americanartcollector.com “All of us at RJD Gallery share the bone-wrenching

Phillip Thomas, Exit, oil on canvas, 84 x 54"

004 www.AmericanAr tCollector.com

Carl Dobsky, Birds Of Paradise, oil on linen, 60 x 84 inches, 2016

JOHN PENCE GALLERY

Lotton 900 north michigan ave. LeveL 6, chicago, iL 60611

“Yellow Turtleneck” / oil on panel / 8" x 16"

“City Lights” / oil on panel / 16" x 22"

7040 E. Main Street x Scottsdale, AZ 85251 x www.bonnerdavid.com x art@bonnerdavid.com x 4 8 0 . 9 4 1 . 8 5 0 0

PREVIEWS COLLECTOR HOMES

ART SHOW LOCATIONS

ARTIST FOCUS PAGES

ART LOVER’S GUIDES

VIRTUAL ART WALK

OPENING NIGHT THURSDAY, JANUARY 26, 7 TO 9PM DURING ARTWALK

UPCOMING SHOWS IN THE GALLERY

02/23/17 ALVIN GILL-TAPIA 03/23/17 DAVID JONASON 04/13/17 FRANK BALAAM

“WINTER” BY ALEKSANDER TITOVETS 7’X7’

CAREFREE MAR 17-19 FOUNTAIN HILLS MAR 24-26

country, watch them work and share in the creative process.

to enter the 19th annual International Portrait Competition. Our

goal is to create an exhibition, in conjunction with our annual

conference, of the finest portrait and figurative work being created

and be present at the prestigious The Art of the Portrait® conference in

website for full details or call toll-free for your prospectus.

2016 Grand Prize Winner

2016 First Place Drawing

Call for Entries

To enter, register or for membership information:

Featuring Don Webster

UPCOMING SOLO & GROUP SHOWS

014 www.AmericanAr tCollector.com

Chicago, IL Lancaster, PA 94 I AM (IN)VISIBLE

PROVIDENT JEWELRY VENDOME COLLECTION

FEBRUARY 15-21, 2017

Palm Beach County

For Information Visit

PAINTINGS • SILVER • CERAMICS • PORCELAIN • POTTERY •ASIAN ANTIQUITIES

& CONTEMPORARY ASIAN ART •FURNITURE & FURNISHINGS • AMERICANA •

MANUSCRIPTS •TEXTILES • WATCHES • CLOCKS • SCULPTURE • BRONZES

WORKS ON PAPER • OBJETS D’ART • FINE RUGS • ART GLASS

ANTIQUITIES THROUGH 21ST CENTURY DESIGN

(top left, clockwise) Victoria Kalaichi • Road • 16" x 19 5/8" • oil

7103 East Main Street • Scottsdale, Arizona 85251 • 480.596.9533 • info@galleryrussia.com

Art, Antique & Jewelry Show

FEBRUARY 24-28, 2017

Featuring International Exhibitors

NAPLES EXHIBITION CENTER

Contact: Sherry Fehr and Gail Fehr

CERAMICS, PORCELAIN & POTTERY • FURNITURE &

FURNISHINGS • AMERICANA • MANUSCRIPTS • TEXTILES

WATCHES • CLOCKS • SCULPTURE • BRONZES