McGowan Fine Art

Art and Bloom with the Garden Club of Concord

2012-01-04T16:35:00.000-05:00

January 26 - 28, 2012
McGowan Fine Art announces the opening of the 10th annual “Art and Bloom” show organized by the Garden Club of Concord, featuring floral arrangements inspired by artwork. The arrangements will be created by local florists and members of the Garden Club of Concord. “Art and Bloom” will run January 26 – 28, with a reception Thursday, January 26, 5 to 7:30 PM. The reception is free and open to the public.

Love, Lust, and Desire

2011-12-28T14:25:00.001-05:00

A low fat alternative for your sweetheart on Valentine's Day - affordable art to tickle everyone's fancy.

McGowan Fine Art announces the opening of “Love, Lust & Desire” featuring the works of over 40 different artists. The show will run from January 31 to February 17, with a reception on February 3 from 5 to 7 PM. There is a snow date of February 10.

February is a month that inspires the romantic in all of us- but are you tired of giving the same old box of candy or vase of flowers? In celebration of Valentine’s Day, McGowan Fine Art presents “Love Lust & Desire,” an annual group show of over 40 artists. The majority of these artworks will be smaller than a sheet of paper, with prices between $25- $300- perfect for framing and presenting to your sweetheart. Or make it a date and pick out a valentine for each other. With such a big theme a lot of surprises are to be expected. And the reception is the perfect opportunity to meet the artist who has created your Valentine!

The artists’ submissions from this show are as varied as the artists themselves. Claire Larrabee’s, beautiful, romantic jewelry will surely delight its recipient. Some of the pieces are like sweet little love notes, such as Jan Roy’s painting, “On My Mind”, or Janet Duncan’s delectable “Box of Chocolates”. Sid Ceaser’s photographs of small plastic anime toys are sensual and humorous in their life-like depictions. Ted Arnold explores desire through a series of witty and comical prints for this show.

Some of the artists turn to animals for inspiration. Jane O’Hara’s loving portraits capture the unique personalities of animals, from bunnies to Boston Terriers. Debbie Kinson expresses love and desire through nature, such as two leaves playfully entwined in “Our Dance”, or the yearning of a bird for its worm in her luminous painting, “You Belong to Me”.

This is a show that will amuse and amaze. Bring your Valentine in for the gift of beauty.

Ralph Stone Jacobs: A Little Holiday Show

2011-11-29T16:56:00.000-05:00

McGowan Fine Art announces the opening “Ralph Stone Jacobs: A Little Holiday Show”. The show will run from December 20 to January 13. The public is welcome.

Ralph Stone Jacobs lives and works in Northern New Hampshire in close proximity to the White Mountains. While Stoney often depicts the New Hampshire landscape in his paintings, this show will focus on still-lifes and portraits. Stoney is a renowned portrait painter, celebrated for not only capturing the likeness of a sitter, but also their personality. While Stoney is known for high profile commissions, such as his portrait of Jean Shaheen, the former governor of New Hampshire, this show will feature some of his more intimate portraits, including members of his own family.

Stoney’s still-lifes are small jewels, elegant in their depiction of rustic objects. The antique vessels in “Yellow Bottle, Blue Salt Shaker” are perfectly reflected on the table surfaces and are softened by shadows. The bottle and salt shaker are treated like living things, posed together against a muted background much in the style of a portrait. “Mussel Shells”, two delicate shells and a wisp of a flower, attest to Stoney’s ability to capture beauty in the most simple of objects. “Peppermint”, a small piece of cellophane wrapped candy, is tactile and delectable enough to pluck out of the painting. The show is a holiday treat for the whole family.

This exhibit will be on display at McGowan Fine Art at 10 Hills Avenue in Concord, NH. Please call Jessica Pappathan at 603-225-2515 for more information or visit our website at http://www.mcgowanfineart.com/, or contact at jessica@mcgowanfineart.com.

Hours: T-F 10 - 6, Saturday 10-2 and by appointment.

In Home Art Consultation

2011-11-10T12:28:00.001-05:00

I am frequently asked "Do you ever go to people's homes to hang artwork?" To which I respond with an enthusiastic- YES! I find that there are three barriers: asking, cost and quality of my skills.

For some people the hanging of artwork is easy-peasy and for others it is a daunting process fraught with potential for gauche missteps, faux pas and lackluster results. For these people, admitting to a professional that they have an art hanging deficit is the first step. I am hoping I have helped you overcome this fear by letting you know that a lot of people have the same question and I can definitely help you with it.

The second hurdle is always cost. Will the cost be to bring in someone with the important sounding title of Art Consultant be expensive? If a consultant is good (and worth their fees) they should be able to see and fix problems quickly. So the hourly rate may seem high but the final bill will be reasonable. I have often waived my fees for people who are purchasing art from my gallery. It is a value add to the transaction.

The final hurdle is the dread many people feel when they invite someone into their home to change things around - "what will they do? what if I don't like it?" I try to allay these fears by finding out what are the favorite pieces of art and how is the home used. I listen carefully and then make suggestions based on what I have been told, the spaces available and if the artwork needs to be viewed from afar or close up. I place the artwork throughout the home in recommended spaces and then ask the homeowner to approve my choices. The hanging part of the job is far quicker than the decision making process. I often hear "wow, you are fast and make that look so easy."

I see many of the same problems in each of the homes I have been in. A recurring one is that buyers tend to buy lots of small works. It may be a combination of being intimidated by the price and the bigness. A variety of scale in art will add another dimension of visual interest. It will also keep a collection from feeling to choppy- think how inadequate a luncheon-size china set would look on a big formal table. Same idea. One way to overcome your fear of big is to take home large works on approval to see how they work in a space.

Another art hanging problem is when a piece does not relate to the space that it is hung in. Putting a small horizontal in a very vertical space isn't pleasing. The eye wants to look up and down instead of across. Think of the space as another frame around the art. You wouldn't have a mat that is only one inch wide on the sides and eighteen inches wide on top and bottom, would you? So make the space around the art somewhat proportional too. Consider stacking two smaller pieces in a vertical space or using a very tall piece.

For more tips on hanging art work you can read my post on hanging here.
middle two photos are courtesy of All In the Details Interior Design.

"Collage" show at the Sharon Arts Center

2011-11-01T14:48:00.003-04:00

The Sharon Arts Center will collaborate with McGowan Fine Art in Concord to present “Collage,” an exhibition featuring the work of Ted Arnold, Catherine Bartlett-Hirani, Avy Claire, John LaPrade, Thomas Meyers, James Palmigiano, Lauren Pollaro, Paul Pollaro, and Jessie Pollock.

Sponsored by People's United Bank, "Collage" will be on display at the Sharon Arts Exhibition Gallery, 30 Grove Street, from November 4 through January 7, 2012. An opening reception will be held November 4 from 5 to 7 pm.

The exhibition is the first sponsored by Sharon Arts Center that focuses entirely on collage--works of art made from the assemblage of various materials. The technique has been employed by artists for hundreds of years, especially in the application of cut or torn papers and gold leaf to enhance a painted surface, but the term collage--from the French “coller,” to glue--first came into common use with the work of Picasso and Braque in the early 20th century.

Collage has evolved with contemporary artists as a way of bringing together disparate materials to create a wholly new object or image. The collaging or layering of elements can make use of the external meaning suggested by the components, including newspaper or magazine clippings, stamps, labels, or sheet music; or by allusion to the previous life of materials such as scraps of fabric, pieces of wood, leaves and other natural objects, or industrial remnants. Collaged works can vary from flat assemblies of colored or textured papers to works using three-dimensional materials that approach sculpture.

Each of the artists included in the Sharon Arts Center exhibition brings an individual vision and interpretation to this style of picture making. In the work of Paul Pollaro and Ted Arnold, color is the primary focus. Bright reds and vivid oranges bind the pieces together, but Pollaro’s focus is on abstract landscape-like forms while Arnold depicts people, wedding parties and tea cups. Thomas Meyers and Avy Claire have a more ethereal approach. Meyers’ delicate ink and casein washes lend subtle touches of color and line to his torn paper collages. Claire prints images onto mylar, which is sewn down and layered with excerpts from her personal journals.

Collage allows artists to explore qualities of depth and texture, as well as the layering of meaning through the cultural references inherent in some of the recognizable elements. The Sharon Arts Center and McGowan Fine Arts expect this exhibition to provide an in-depth look at the diversity possible in this exciting art form.

In conjunction with this exhibit there will be several events held in the Gallery:

Saturday, Nov. 12 and 16 from 10 am to noon: Kids Collage Mini-Workshop for ages 5+. Preregistration required. Call (603) 924-2787.

Saturday, Nov. 19 from 4-6 pm: Panel Discussion with Sarah Chaffee of McGowan Fine Art, Ted Arnold, and others.

Hours at the Gallery are Monday through Saturday 10 am to 6 pm and Sunday 11 am to 5 pm. For more information, call (603) 924-7676 and see http://www.sharonarts.org/.

The mission of Sharon Arts Center, a non-profit organization, is to engage the community in the artistic process, to support and serve artists and craftspeople, and to foster the relationship between artists and the community through education, exhibitions, and the promotion and sale of arts and crafts as well as through special programs and events.

Sharon Arts center offers a wide variety of art classes and programs in the school facility in Sharon, NH--a Fine Craft Gallery, a Juried Artist Member Gallery, and an Exhibition Gallery at Depot Square.

The Sharon Arts Fine Crafts Exhibition Gallery is accessed through Depot Square and 30 Grove St. in downtown Peterborough. The Craft Gallery is located in Depot Square in Downtown Peterborough. Store and Exhibition Gallery hours are: Monday - Saturday 10 am to 6 pm, Sunday 11 - 5 pm.

Sharon Arts is sponsored in part by: The New Hampshire State Council on the Arts, The National Endowment for the Arts through the American Recovery & Reinvestment Act, The Susan A. & Donald P. Babson Charitable Foundation, The Bean Foundation, The Max & Victoria Dreyfus Foundation, The Grimshaw-Gudewicz Charitable Foundation, The Putnam Foundation, The Kingsbury Foundation, and art lovers like you!

About Face: New Paintings by Kendra O'Donnell

2011-10-26T15:33:00.000-04:00

The Robert M. Larsen Gallery

at Sulloway & Hollis, P.L.L.C.

29 School Street – Concord, NH 03301

http://www.sulloway.com/

October 27, 2011 – April 27, 2012

Opening reception, Thursday, October 27, 2011 – 5-7 PM

The Robert M. Larsen Gallery at Sulloway & Hollis, P.L.L.C. presents “About Face” – a show of paintings by New Hampshire artist Kendra O’Donnell.

O’Donnell’s new work consists of meticulous paintings rendered with glazes and transparent oil paint colors applied to a prepared surface such as wood or paper. The glaze is difficult to maneuver and O’Donnell must frequently rub away the paint and reapply it to achieve ghosted images which evoke mystery and memory. The result is an atmospheric body of work which transcends time or historical genre.

This show primarily focuses on O’Donnell’s love of portraiture—and in particular—faces. O’Donnell in fact taught herself how to paint by studying and reinventing faces from art history, photographs, and other sources. A few earlier works in the show consist of grids of faces – Milton Avery, Pablo Picasso, Vincent Van Gogh, Rembrandt, and Lucien Freud, among others, are rendered with startling freshness and immediacy on wood panels which may be mixed and matched on the wall by way of Velcro pads affixed to the backs of the works.

Some of the new pieces such as Blue Boy harken to 18th and early 19th century American and English portraiture. Blue Boy at once evokes Thomas Sully’s Boy with a Torn Hat while also calling up something modern and brash—something a little edgy in the boy’s mouth—as if this is a reluctant lead in a junior high school play who is none-to-happy about the droopy hat he must wear. Similarly powerful, Woman with a Garland’s piercing blue eyes and eternal gaze cuts to the quick of capturing the human spirit.

Others pieces have deeply-textured surfaces which mimic renaissance painting or even Roman wall paintings discovered at Pompeii, as in the case of The Bridesmaid.

O’Donnell, the only woman ever to lead Phillips Exeter Academy, has been painting full time since her retirement from Exeter in 1997. She first became known for her paintings based upon old photographs. While her prior work was evocative, the thickness of the oil paint was sometimes a challenge to achieving clarity. The new works strip away the excess—quite literally O’Donnell wipes layers of oil paint away to achieve these almost translucent works, which are freer and more emotionally penetrating. In an odd way, it is these paintings, a decade or so after the first pieces based on photographs that somehow evoke the quick spark of life captured in a snapshot – the image created by the thinnest layer of human materials and the play of light and shadow on negative which renders the silent image. The departure from thick impasto to the almost spiritual use of thin washes of paint represents an “about face” in the artist’s work, one that the Larsen Gallery is pleased to showcase in a detailed and focused manner for the first time.

Together Again

2011-10-26T13:57:00.005-04:00

McGowan Fine Art announces the opening of “Together Again”, a group show featuring the work of Sally Ladd Cole, Ellen Davis, Kate Miller, Catherine Tuttle, and Clifford Smith. The show will run November 15 – December 16, with a reception taking place November 18, 5 to 7 PM. An artist's talk with Clifford Smith with take place December 8 at 5:30 PM. The reception and artist talk are both free and open to the public.

In 2000, renowned NH painter, Clifford Smith, began a weekly studio class for several women trying to reenter the world of painting, or to take their painting to a new level. The participants were Sally Ladd Cole, Ellen Davis, Kate Miller and Catherine Tuttle. The class focused on “translating living, organic forms onto a two dimensional surface,” says Smith. “They developed a better understanding of how to look at the natural world.”

The show highlights New England’s landscape and its people. From everyday occurrences, such as a morning commute on Route 93, or a disgruntled Red Sox fan, to more intimate scenes such as a hidden pond in Sanborn, NH, or a quiet marsh in Kennebunkport, ME, the distinctive characteristics of each subject is captured. Catherine Tuttle describes painting the region’s diverse landscape. “I find oil painting intriguing for the rich range of colors, values, and depth of field it can present. I find I can more fully describe the qualities of deep space, atmosphere, and the solidness of earth with oil paint.”

“Together Again” invites us to see how these different NH painters perceive the region’s unique imagery. “I really enjoyed the teaching, watching their growth and helping them to find their own voice,” says Smith. “He really is the first teacher to give me a kick in the pants and be serious about this,” says Ellen Davis. “He pushed me and gave me the confidence to put my work out there as a painter,” says Sally Ladd Cole.

A portion of all sales will be donated to the New Hampshire Food Bank.

James Palmigiano: Recent Collages

2011-09-21T11:27:00.000-04:00

McGowan Fine Art announces the opening of “Recent Works”, featuring a selection of mixed media works by James Palmigiano. The show will run October 11 through November 11, 2011, with a reception taking place October 14, 5 to 7 PM. The reception is free and open to the public.

A Trappist monk, James Palmigiano’s monastic life manifests itself in his quiet, intimate works. “It seems clear that my work reflects my experience of life in the monastery”, says Palmigiano. “The apparent harmony of each piece is born of a process of adding and subtracting, organizing and rearranging in a search for balance, order and presence.”

Collage is the defining element of Palmigiano’s art which grew from his work as a vestment designer at Saint Joseph’s Abbey. At first glance his collages appear random, or disorderly. On closer inspection, the opposite becomes evident. Old stamps, fabric remnants, hand-written envelopes - every day bits and pieces of life - are carefully placed and then rearranged by his meticulous hand. “The process of art making is about attentiveness, trying to bring order and make something out of what is confused and apparently hopeless.” The result of Palmigiano’s painstaking process is serene, meditative works. His gouache and pastel paintings elicit this same sense of tranquility, with a juxtaposition of deliberate and gentle strokes.

James Palmigiano has been a brother at Saint Joseph’s Abbey in Spencer Massachusetts since 1991. Both his MFA from Columbia University and his Masters in Divinity from the Jesuit School of Theology in Berkley have prepared him for the contemplative life.

Palmigiano has displayed his works in both solo and group exhibitions throughout New England, NY, and in CA.

Money and Art

2011-09-21T10:34:00.000-04:00

A customer recently asked me what I thought of the movie Exit Through the Gift Shop. It is a mockumentary (my view) about street art that also passes judgement on the current art scene. Whether is a real documentary or not doesn't matter. It raises questions worth pondering.....or expounding on.

Julia Jensen

The main character has his interest turned from filming street artists to becoming one. His focus is on the marketing and branding of himself rather than creation of art. All effort is spent on creating hype and spectacle. It is equal parts chutzpah, money and grotesquerie. The jaw dropping wonder of this film is not that someone is creating bad art and trying to sell it but that critics and buyers believe what they have been told and are willing to hop on the proverbial bandwagon.

And this will bring me full circle to a point that I try to make again and again.... believe your eyes. It is not a bad thing to know the sales history of an artist, but it should not be the sole criteria for judging a piece of art. Being critical about art requires looking at a lot of it.... and making up your own mind. Don't be sucked in by publicity, hype or a gallery telling you that an artist is collectible or an investment. Remember that trend setting collectors, auction houses, artists and galleries have a stake in seeing prices on art sky rocket.

Katja Oxman

And this comes to my final point- the transaction. Why should and how much should you pay for a piece of art? How do you know if you are paying too much? Artists' prices are set and will be the same regardless of which gallery you purchase from. There are some galleries who have responded to the customers' demand for a discount by pushing the price up, but in general galleries and artists are charging a price commensurate with their skill and demand for the work. I try to get buyers to understand that the value is not necessarily in the object but in an exchange of money which supports an artist whose work you like. Simply put- you are not buying a piece of art you are giving an artist a direct grant and in exchange you get a fabulous object to look at. So the questions to ask yourself are "can I afford this and do I love it X number of dollars worth?" And this is true of any cultural pursuit.... if you value it and you think it has a place in your community then you should support it with the money that allows it to continue. This is true of music, film, books, the visual arts, dance and more.

Noriko Sakanishi

I had a conversation recently with a long time collector. I called her bluff by pointing out that we both knew that she purchased many pieces to provide the artists with an income. She gave me a wink and pointed out that she only purchased work that she wanted and was willing to live with, but she is well aware of her role in changing the cultural landscape with her purchases. You too can help create the community and world you want by spending money on the quality of work you want to be surrounded by.

Retirement of Mary McGowan

2011-09-08T13:27:00.000-04:00

Mary McGowan, founder of McGowan Fine Art is announcing her retirement. Founded over 31 years ago it is one of the states oldest galleries and the longest, single-owner businesses in downtown Concord.

Mary McGowan founded McGowan Fine Art in 1980 to showcase NH artists. “I wanted NH to recognize the quality of its artists, both established and emerging” said McGowan. “We have since gained a reputation for showing some of the most innovative work in NH.” In 1986 McGowan Fine Art relocated from her home to 10 Hills Avenue in Concord, where it continues to operate, expanding the gallery space and adding a frame shop.

Ms. McGowan turns the business over to director, Sarah Chaffee, who has been at the gallery since 1997. “Sarah has an eye for great art and an excellent reputation with artists. She has been a resource for colleges, organizations and clients. ” says McGowan. Amanda McGowan Lacasse, with the gallery since 2007, will succeed Mary in the corporate consulting. “Amanda has been working with corporation, developers as well as medical & retirement facilities. Her organizational skills and fresh eye have already helped so many to achieve a finished and professional environment.”

Please help celebrate Mary’s 31 years of promoting visual arts on Thursday, September 29 from 4 to 8 PM at the gallery. Many of the artists who have been affiliated with the gallery over the years will be showing recent work. They will also be attending to add to the festive evening. Come join us!

Melissa A. Miller - "Recent Works 2011"

2011-08-16T13:14:00.002-04:00

McGowan Fine Art announces the opening of “Recent Works” featuring the paintings of Melissa Anne Miller. The show will run from September 6 to October 7, with a reception on September 16 from 5 to 7 PM. This is free and open to the public.

“Recent Works” will feature the quiet scenes by Melissa that have become familiar to the people of New Hampshire and synonymous with the city of Concord. Her heightened colors and sense of light make her work distinctive and a favorite with everyone. Even those who are unfamiliar with Concord’s crowded streets and turn of the century downtown admire her paintings. They have a universal feel of home, which appeals to people, wherever they are from.

“Yellow House, Fall Afternoon” alters the viewer’s perspective with an upward gaze at a gabled yellow house. A warm pink shadow is cast across its front and sunlight on an adjacent roof glows orange. Ms Miller’s ability is in bringing all those colors together successfully. She has been applying this skill to landscapes again- most notably conservation land in the Concord Area. New Hampshire’s distinctive wetlands feature bare limbed snags standing in quiet waters- another opportunity to show facets and planes of light and how it alters colors.

Ms. Miller’s paintings have always been collected by many businesses and firms throughout New Hampshire- most notably SNHU, TD Banknorth in Manchester, NH Historical Society and Rath Young & Pignatelli’s office in Concord.

This exhibit will be on display at McGowan Fine Art at 10 Hills Avenue in Concord, NH. Please call Sarah Chaffee at 603-225-2515 for more information or visit our website at www.mcgowanfineart.com, or contact at art@mcgowanfineart.com. Hours: T-F 10-6, and Sat 10-2 and by appointment.

Holding Events at McGowan Fine Art

2011-07-20T13:13:00.001-04:00

McGowan Fine Art supports other organizations in a number of ways. We have held benefit shows for the Society for the Protection of NH Forests, Lakes Region Trust, Kimball Jenkins Estate, Canterbury Shaker Village and more. We have purchased advertising in the programs of Concord Community Music School, Lettvin Concerts, Catch Comedy Night and more. We have also collaborated with Main Street Concord to issue a limited edition giclee print of Bicentennial Square by Melissa Miller.

One of the lesser known ways we support other organizations is to allow them to use our space for events. We have hosted the Annual Meeting for the Women's Fund, a chocolate tasting for the Trial Lawyer's Association, a trunk show for Israeli artists brought to America by the Jewish Federation of NH and a going away party for the Executive Director of NARAL.

We are happy to host these events as a way of spreading the good word about McGowan Fine Art and show off our space...... and to support the many good organizations around the state. If you are interested or have any questions about this working for your organization give Sarah a call at 603-225-2515.

Portsmouth Museum of Art- Street Art

2011-07-12T10:09:00.000-04:00

It’s summer time and the living is easy….and the Portsmouth Museum delivers up a show with "Street AKA Museum" that is worthy of the summer time seal of approval. This show has brought together street artists from around the world to do installations on the sides of buildings throughout the city.

I had a small amount of time to walk around the city hunting for these wall paintings so, admittedly, I only saw a few of them. (The museum is giving guided tours and has locations listed on their website.) The introduction of serendipity to my viewing made it feel like a treasure hunt. As I wandered the streets it was pure delight and amusement to discover the paintings. This is also one of the few museum displays that my dog, Henry, is welcome to view- made more inviting by the many water dishes left out by the downtown merchants.

While hardly a new idea it is refreshing to see a small city tackle a project that takes a certain amount of political will to make happen. There must have been a permitting process as these paintings probably qualify as signs. There was also some vocal public opposition to wall murals that deviated from the bland and acceptable historical depiction. Cathy Sununu, director of the Portsmouth Museum, must have done a fine job of explaining how courting controversy and keeping up with the cultural Joneses (or Berlins or Amsterdams or San Franciscos) helped to further Portsmouth’s image as a cultural leader in the state and drive tourist dollars to its merchants. There must have been support to make this sort of magic happen.

So grab your sunscreen and head to Portsmouth for a diverting day of art. Better yet- bring a friend and discuss the difference between art and grafitti. And definitely check out Clark’s Ice Cream on State Street.

Trio

2011-06-02T11:06:00.001-04:00

John LaPrade

McGowan Fine Art announces a show featuring the work of John LaPrade, Marisa DiIorio Peters and Wendy Prellwitz. The show will run from June 21- July 29, with an artist’s reception on June 24 from 5 to 7 PM. This show is free and open to the public.

John LaPrade

This is a show intended to reintroduce gallery goers to three experienced artists from around New England: John LaPrade, Marisa DiIorio Peters and Wendy Prellwitz. “The three have quietly operated under the radar in our stable of artists,” says gallery director Sarah Chaffee. “I thought it was time to display their work and let everyone know what I appreciate about their technique.”

John LaPrade, of the Worcester area, has been creating art for over 30 years that explores rich subconscious imagery overlaid with memory and nostalgia. He has worked in a number of mediums over the years but this show will focus on his desktop series, which is created on an old high school writing desk with its distinctive paddle shaped arm. Multiple layers of colored pencil, watercolor, collage and enamel creates a textured surface exploding with color texture and some surprising imagery. In “Mill Town” the industrial buildings of Worcester provide a back drop for trees and a cemetery. The graffiti of the desk are visible creating yet another layer both visually and metaphorically.

Wendy Prellwitz

Marisa DiIorio Peters

Boston area artist, Wendy Prellwitz has a new body of work that focuses on the river passing through her city. Her medium of monotype is well chosen for the subject matter. In ‘First Light #6” she captures the shimmering of the water as the morning sun hits its rippled surface. Monotype allows for the soft edges and muted colors that are so evocative of water. These prints are romantic in their coloring but with an abstract viewpoint. “Water itself has no pattern and little color, except for the forces of wind and tide and the reflections of light and sky. I aim to evoke the feeling and movement of water, the surface wave patterns and the sand ripples left behind,” says the artist.

Marisa DiIorio Peters

NH artist, Marisa DiIorio Peters has been with the gallery for over eleven years. Her organic shapes bring to mind plant forms and the sensuality of floral reproduction. Pods, orifices, branches, and flowers float across the surface of her canvases with a dream like quality and luscious colors. “The reality of constant flux in nature and of the metamorphosis of living things are what motivate these images,” says the artist. “But I have long been engrossed with the materiality of oil paint; my love of manipulating surface and color stems from an attachment to the highly seductive nature of the paint.”

Wendy Prellwitz

Jamie Bowman & Marcus Michels

2011-04-20T15:49:00.001-04:00

McGowan Fine Art announces a show featuring the work of Jamie Bowman and Marcus Michels. The show will run from May 10-June 10, with an artist’s reception on May 13 from 5 to 7 PM. This show is free and open to the public.

In the rush to soak in the imagery of a painting, viewers often forget to look beyond the figure or still life. This show that demands more of the viewer- be seduced by the lovely visual imagery but linger over the artists’ mastery of the paint. These two artists approach their different genres with a similar zest for brushwork.

Jamie Bowman, currently an adjunct instructor at the UNH studio program, chooses still lifes as the means to tell the story of how her paintings are created. Simple arrangements of flowers or figurines allows her to focus attention on the scraping, daubing and smudging she lavishes on her canvases. In “Still Life with Shell and Spoon” the weave of the linen peeks through the paint offsetting the texture with luscious strokes of silvery paint. The paintings feel more resolved than they actually are. The viewer knows what they are looking at but recognizes that edges & details disappear into the paint. Bowman states that she paints “fleeting moments of a certain experience. Moments in which, as in memories, objects begin to appear with relative clarity but then slip away quickly.”

Marcus Michels, painting faculty at Ringling School of Art in Sarasota, has a similar interest in what the paint can do when it meets the linen. In “Leandra Leaning” the scumbled paint creates an interplay of woven fabric and impastoed pigment, adding another layer to the emotionally charged imagery. The figure is deep in thought, leaning on a door way- one foot in, one foot out. “Painting the figure in an interior space is a way for me to give the viewer a somewhat voyeuristic look into the figure’s anxiety, urgency, or obliviousness to tension. My paintings are about realizing the complexity of human behavior,” says Michels. The complexity extends to his paintings with their underpinnings bared. Sketching and thin washes are juxtaposed with heavier applications of paint giving a similar voyeuristic view of the artist’s process.

The Art Shipping Conundrum

2011-04-14T12:36:00.002-04:00

Shipping of art is not as easy a task as you might think. Over the years and a few claims here and there, I have learned how and who to use.

Think that box is too big? Think again!

The biggest hurdle is insurance. Just because someone takes your money for insurance does not mean that they will pay out for a claim. Read the fine print or ask VERY specifically if their insurance covers fine art. The major carriers- UPS and FedEx- do not insure artwork, regardless of how much money you pay to have it insured. Currently the US Postal Service will insure fine art, but the recipient has to bring the damaged item and packing materials to the Post Office for inspection. Consider the recipient- because this step could be a hardship especially if the item was sent as a gift.

I use my local UPS store for shipping larger art work. They will use UPS & FedEx but contract through a third party for the insurance. It is expensive but worth it. The volume of packages that all the major shippers handle means rough handling is inevitable. The third party insurance requires that the item meet their packing requirements.

I HIGHLY recommend that you let a professional pack it. The UPS store also provides this service. Packing standards are very stringent and insurance will probably not cover a claim unless you have followed industry packing standards to a T. This means at least 6" of packing in each dimension. So if your are packing a painting that is 30x24x2 the minimum the box will be is 42x36x14. I often get calls from customers saying that their package has arrived and it is as big as a couch, but it has arrived safely. A final caveat- reused boxes are frequently not covered by insurance.

I also recommend asking how much experience the professionals have in packing art. I have confidence in my UPS store because they have been working with me for years. They know what questions to ask. That being said- I always pre-wrap the art. I put a sheet of foam core on each side about 2" larger than each the item. This pre-wrapping makes me feel better about leaving something with a potential new employee who isn't familiar with handling artwork.

A plethora of packing materials

There is a new alternative to shipping with the big guys. The US Postal Service has been trying to make inroads into small package delivery. They are reasonably priced and will insure the artwork. They also have no standards for packing. This doesn't mean that I wrap artwork in paper and send it out. My method of packing small items is to cut a sheet of cardboard about 2" wider than the piece and about 4 times longer. Start rolling the artwork up in the cardboard- corrugated will automatically crease and fold to your piece. Tape this in place. Now repeat going in the opposite direction- remember to cut the cardboard a few inches wider. You now have about 3 or 4 layers of cardboard on each side. Tape these all securely. The artwork should be immovable in its little cardboard cocoon.

If you have artwork that is extremely valuable or have lots of artwork to move, I recommend a mover that specializes in art only. There are a few of them out there that I am familiar with. They will come into your space and carefully wrap a piece before it is put into their van to be taken to another location and crated for moving. I don't know what their claim rate is, but I bet it is very low. The companies I know are Artemis, which I have used numerous times through the Art in the Embassies Program, and Atelier 4, which I am familiar with through our participation in the AAF show in New York. If you are unsure, don't hesitate to ask for referrals. I am also familiar with some more local and regional art handlers- call and ask!

Another little tip is to include an invoice or sheet of paper that includes your address and contact information and the information of the recipient INSIDE of the package. This enables the shipper to track you down if the shipping/tracking label has become damaged and unreadable.

So- those are my shipping tips, let me know yours. I hope everything arrives safely!

True Romance and Other Fictions

2011-03-22T12:03:00.000-04:00

McGowan Fine Art announces the opening of “True Romance and Other Fictions” featuring works by Bert Yarborough. The show will run from April 5 to May 6, with an artist’s reception on April 8 from 5 to 7 PM. The public is welcome.

Mr. Yarborough has been a regular figure on the NH art world for the past two decades working both in front of and behind the scenes. His paintings are in the collection of the Currier Museum, the Hood Museum & Southern NH University. He has been an interim Art Gallery Director at Colby Sawyer College & Plymouth State University. Yarborough has also been summer faculty for Mass College of Art, Fine Arts Work Center in Provincetown & Harvard University. He is currently professor of Art at Colby Sawyer College.

While most of Yarborough’s painting is done in a studio, the natural world fills his surfaces with planets, human figures and the beach side birds. Yarborough uses theses various constructs as repositories for his rich color combinations and sensual brush stroke. This show continues his study of the natural world. It is comprised of paintings incorporating imagery derived from drawings and studies executed on the beaches of the Provincelands National Seashore in Provincetown, MA. “The work attempts to stretch the symbolic and the abstract by combining the two with iconographic images such as the sun, birds and water,” says Yarborough.

He has also used this body of work to explore the margin between painting and sculpture. Several works re-introduce figurative elements in combination with multi-media collage materials such as paper, reed and wood. “The use of collage as relief and structure strives to negotiate the distance between painting and sculpture as well as image and material,” Yarborough notes. They are a personal response to the world that surrounds him .

Stops Along the Way- Paintings by Bob Larsen

2011-02-11T07:00:00.005-05:00

McGowan Fine Art announces “Stops Along the Way” featuring the paintings of Bob Larsen. The show will run from March 1 through April 1, with an artist’s reception on March 11 from 5 to 7 PM. This show is a benefit for Canterbury Shaker Village and is free and open to the public.

Bob Larsen is a noted local artist and former lawyer. His work has been featured most recently at the Sharon Arts Center, but also at the Sulloway Gallery in Concord, NH and the Forbes Galleries in New York City. As a lawyer Bob was in charge of the art acquisition and exhibition program at Sulloway & Hollis Law Firm where he was able to give outlet to his creative side by curating. In the past 15 years his passion to paint crystallized into something more than a hobby. A four month sabbatical and the inevitable retirement gave him the large chunks of time needed to develop his artistic skills.

Larsen has been recognized in the past for capturing the iconic structures of the state: the Capitol Dome, the buildings of Canterbury Shaker Village. For this show he revisits many of these icons but puts a twist on them. He bridges past and present by incorporating the contemporary and historic landscape. In ‘Benning Wentworth House” he has included the shadowy silhouettes of the Naval Shipyard cranes towering over the dignified yellow mansion. In “Lempster Wind Farm” the Washington Town Hall steeple vies with the stately wind towers. Some of the other icons he depicts are Strawberry Banke, Canterbury Shaker Village, the Bridges House and Gould Hill Orchard in Concord and the Cog Railway.

Mr. Larsen’s paintings are readily recognizable by their strong shadows and frequent use of reflections in windows. Attention to detail is his hallmark. In “Ministry” his close up of an historic window in the Ministry Building of Canterbury Shaker Village depicts the distorted images of other buildings, distant landscape and the shadowy image of a bowl and ewer sitting on the sill- effectively rendering three different worlds. “These paintings take me quite a bit of time to work out” says Larsen. “They might take a month a piece and I am a ruthless cropper. The painting generally starts off quite a bit larger than the finished piece. As I finish up I start to distill it down to the final composition.”

100 Artists of New England

2011-02-10T15:56:00.000-05:00

Last year I started working with author Ashley Rooney to identify artists in New Hampshire to include in her recently published book 100 Artists of New England. Ms Rooney has published many books on a wide range of subjects from old barns to small kitchens to shingle style homes. She excels at bringing together a broad variety tied together by a common theme. She has done it again with this book.

Because Ashley, who lives down in Massachusetts, could not be plugged in to the art scene in each state she reached out to different galleries and art organizations for their input. Like many projects there was time spent making selections, then trying to round up images and profiles on the the artists. Time was short as Ashley was working on a deadline and I had other projects on my plate to look after. It was pressure for me and the artists I had helped to select, but it is the sort of thing that makes my job interesting. The artists of New Hampshire that I helped to identify are Gary Haven Smith, Peter Milton, Sandy Wadlington and Paul Pollaro.

I was only able to identify as New Hampshire artists as Ashley was reaching out to galleries in others states to identify their favorite artists. I was gratified to see that some of the ones I would have liked to select were chosen any ways. Artists such as Noriko Sakanishi, Holly Meade and Kim Bernard.

We are hoping to do a show in the near future to highlight a select group of artists from the book and bring in Ms Rooney for a book signing. So stay tuned!

Love, Lust & Desire III

2011-01-10T14:26:00.000-05:00

McGowan Fine Art announces the opening of “Love, Lust & Desire” featuring the works of over 60 different artists. The show will run from January 25 to February 12, with a reception on January 28 from 5 to 7 PM. There is a snow date of February 4.

February is a month that inspires the romantic in all of us- but are you tired of giving the same old box of candy or vase of flowers? In celebration of Valentine’s Day, McGowan Fine Art presents “Love Lust & Desire,” a group show of over 60 artists. The majority of these artworks will be smaller than a sheet of paper, with prices between $25- $300- perfect for framing and presenting to your sweetheart. Or make it a date and pick out a valentine for each other. With such a big theme a lot of surprises are to be expected. And the reception is the perfect opportunity to meet the artist who has created your Valentine.

The artists’ submissions from this show are as varied as the artists themselves. This year promises a number of jewelers running the gamut from beading to metal to paper. Lisa Hall’s work is rich with weaving and pattern and harkens back to the glamour of the 1920’s. Mary Ann McNicholas makes funky drawings of legs and shoes sandwiched between glass to create a colorful necklace. The elaborate coiled and beaded bracelets of Claire Larabbe would be dramatic touches for a simple outfit for your Valentine.

Many artists turn toward animals for inspiration. Jane O’Hara’s touching portraits inspire tenderness in the viewer. “Hip Hop” and “Howl” feature beautifully rendered animals on a blank background. Ann Eldridge’s simple line drawings illustrate some of the more humorous aspects of relationships such as in “His Young Dog Tried To Fill the Space My Old Dog Filled.” Deb Kinson’s paintings combine objects such as twigs and pearls alongside exquisitely painted songbirds.

There are also many more traditional landscape and still life paintings speaking to everyone’s love of nature and the natural. Jamie Bowman’s elegant still life “Bowl and Figs” displays a nuanced palette of whites, grays and plum. The florals of Jan Roy are a counterpoint with their vibrant jewel tones and simple compositions.

This is a show that will amuse and amaze. So bring your Valentine in for the gift of beauty.

Nazi Art Spoliation

2010-11-20T20:34:00.000-05:00

I saw the documentary The Rape of Europa this past week in Concord, NH. The viewing was a collaboration between the Red River Theatres and the Currier Museum of Art in conjunction with their Secret Life Of Art exhibit.

It is an exhibit which aims to demystify why and how a museum operates. It includes a recently restituted pair of alter paintings from an Austrian Museum to the grandchild of its original owner. The grandchild, 81 year old Tom Selldorff, opened the movie with a moving account of his struggle for restitution of the artwork.

I will not take up a lot of space rehashing the film, suffice it to say that it is well worth seeing. It tells the story of the destruction and looting of Europe's great museums by the Nazis. It cannot be separated from the story of World War II- a powerful story that we all need to be reminded of once in a while.

I was unaware of the extent of the systematic destruction and looting of museums and libraries that the Nazis practiced. I was also unaware that the Allies had created a special unit, The Monuments Men, to mitigate the destruction of European art. They helped in the planning of bomb drops to ensure that museums and cultural artifacts were avoided. They were instrumental in coming in after major battles to prevent looting.

It begs the question of what is Culture and what is its importance. In view of the Nazis desire to exterminate certain cultures it became clear that Culture is the shared history of a group told through their collection of art, books, architecture, religion and language. By removing those things physically the Nazis tried to remove their identities.

It was made evident how important Culture is by people's willingness to put their lives on the line for it. There were powerful still shots of the curators and residents packing treasures of the former Tsars of Russia to be shipped to Siberia before the siege of Leningrad. Later these curators lived in the bombed out museums to safeguard remaining treasures from exposure to the harsh Russian winter. In Occupied Paris a mousy art historian, Rose Valland, was forced to help the Nazis catalogue and move artwork to Germany. By night she recorded where works went to aid in their retrieval after the war. This belies the argument that "Yes, art is important, but...."

I cannot overstate that part of the experience of this film was viewing it collectively with 150 other people. I do not often go to movies and have forgotten the power of being swept into a story and to hear others reactions to the more horrific or brutal scenes. There was an elderly audience member who had intimate experience with the Holocaust. She was obviously hard of hearing and was unaware of how loudly she conversed with her friend. She confirmed that many of the events in the film were true and happened to her family. It was humanizing by being both funny and emphasizing our safety to express ourselves, out loud in our community.

This was an example of how the collaboration of two institutions- Red River and The Currier strengthened their abilities to tell a story by reaching out to other mediums. If you have a chance- see both the movie and the exhibit. And by all means, don't miss their next collaboration!

Small Views

2010-11-04T15:50:00.000-04:00

C. Chin, Stilling Street, Boston

McGowan Fine Art announces the opening of “Small Views” featuring small works by Cathy Chin, Melissa Anne Miller, Shane Neufeld and Sandy Wadlington.

The show will run from November 30 through December 31, with an artists’ reception on December 3, from 5 to 7 PM. The public is welcome. The reception takes place the evening of Midnight Merriment in Concord. The Main Street will be closed to traffic from Pleasant to Centre. Caroling and hay rides will be taking place to celebrate the start of the Holiday Season. For more information visit Main Street Concord.

Inspired by the most recent work of artist Cathy Chin, gallery director, Sarah Chaffee worked to put together a show featuring similarly sized works. “Cathy’s small, urban studies - motivated by a road trip - had a fresh feel that I thought people needed to see,” said Chaffee.

S. Neufeld, Green Fundy After Storm

It coincided with a recent batch of watercolor studies by Shane Neufeld who since becoming an architect has not had much free time to paint. A trip to Nova Scotia this past summer, with its sparkling light and dramatic bay served as an impetus to start again. This show is rounded out with the talent of artists Melissa Anne Miller and Sandy Wadlington.

S. Wadlington, First Snow of the Season

Landscape has a fascination for people as both a respite and a reflection of our place in it. In the respite category are the small pastels of Sandy Wadlington that minimize the human impact on the landscape. “Frosty Morning,” a view of a pine grove provides opportunity for Sandy to display her technique and mastery of atmospheric effects. A careful weaving of small strokes builds up a rich surface texture. The pale silvery grays feel like a winter fog settling over the dark trees. “Working small is also quite intimate and peaceful. You are in your own little world. Every little mark has a purpose, and you put it there, or erase it, or something in between,” says Wadlington.

S. Neufeld, Pines Over Studio,
Penguin Island

Another view of the landscape as romantic respite is Shane Neufeld’s watercolors of the Bay of Fundy. They are more color studies with their broad, wet strokes of pigment. “Pines over Studio, Penguin Island” is a symphony of greens contrasting against white, sunlit buildings.

C. Chin, Tailgating

Both Melissa Anne Miller and Cathy Chin take to the city streets for inspiration. Cathy’s diary of images provides us unlikely subjects of beauty- McDonald’s restaurants, old gas stations and exit ramps. In “Tailgating” her brush turns to a tangled mass of signs and phone wires dominated by the tail end of a car. The red of brake lights bleeds into the enameled blue of the trunk- a tour de force in color. In “Stillings Street, Boston” (at top) Ms. Chin breaks down the buildings and signs into sun-drenched planes - blues, viridians and grays. It is a veritable quilt of color.

S. Wadlington, Frosty Morning

Art Heist!

2010-10-20T17:02:00.004-04:00

I went to a presentation at the Currier Museum of Art on the theft at the Isabella Stewart Gardner Museum of Boston.This presentation was in conjunction with the Currier's current exhibit "The Secret Life of Art: Mysteries of the Museum Revealed." It was a fascinating look inside the mysterious and seemingly glamorous world of art theft and clearly of interest to others as the auditorium was packed with at least 300 people.
The largest art theft in history took place on March 18, 1990 and is still actively pursued by the FBI & security from the Isabella Stewart Gardner Museum. Anthony Amore, chief of security at the Gardner Museum, and special agent Geoffrey Kelly gave us an inside look.

The first part of the presentation was a little slow as Mr.Amore presented all the facts of the theft complete with images of the crime scene. It was heart breaking to hear him describe the destruction of such valuable pieces- the thieves sliced the canvases out of the frames. My assumption had always been that thieves do this to roll the works up for easy transport, but he said the lack of paint chips pointed to them being carried out flat. Paintings this old, with many rounds of restoration and relined with layers of linen, have stiffened with age. Shock number one!

Mr Amore also referred to the thieves throughout the presentation as common thugs and miscreants. At first it sounded like anger or indignation at the act but he continued on to counter the common belief that art heists are ordered by wealthy people who want to possess singular pieces. He said their have been no known instances of this from solved cases. Art thieves generally are common criminals who have stars in their eyes caused by estimated values of artwork. They often hope to ransom the works back to the museums they were stolen from.

Another misconception is that all art in museums is insured. This seems unbelievable but then I think to my own experience with helping to guide people on art insurance. It isn't always the best use of your money. If a piece is truly one of a kind, no amount of insurance money can replace it. And in the case of the Gardner Museum it is stipulated that the collection remain intact or dissolved with all proceeds going to Harvard. Harvard has tactfully not tried to rub salt into this particular wound by demanding the museum be dissolved. The Gardner holds out hope that the art will be returned and the collection restored to its original and intended state.

By the end of the lecture it became clear that Anthony Amore and Geoffrey Kelly are a dog and pony show to help keep the memory and facts about the heist alive. It is part of the Gardner's plan to retrieve the art. It is a very noble dog and pony show though, one I was interested in hearing. I am interested enough to be eagerly anticipating a book about art theft by Anthony Amore due out this spring!

Be sure to partake of all the interesting programming that the Currier has scheduled around the "The Secret Life of Art: Mysteries of the Museum Revealed."

Catherine Tuttle - Peaks and Valleys

2010-10-08T12:04:00.001-04:00

McGowan Fine Art announces the opening of “Peaks and Valleys" featuring the paintings of Catherine Tuttle. This show will run from October 19 through November 26, with an opening reception on Friday, October 22 from 5 to 7 PM. Both the exhibit and the opening are free and open to the public.

Catherine Tuttle’s distinctively styled paintings are enjoyed throughout Northern New England, with shows in Vermont, Massachusetts, and her home state of New Hampshire. She is best recognized for her vibrant colors and striking approach to natural subject matter. Although nature is a constant in Catherine’s paintings, she has successfully depicted a variety of subjects - familiar New Hampshire landscapes, tidal streams and marshes, and bright garden flowers.

In this exhibit, Catherine returns to her exploration of the White Mountains of New Hampshire, and the shorelines of Great Bay & Plum Island. Although she is known for her vibrant watercolors she has returned to her roots by painting in oil. This change was spurred on by classes with noted NH portraitist and landscape artist Ralph Stone Jacobs. “I find I can more fully describe the qualities of deep space, atmosphere, and the solidness of earth with oil paint,” says the artist. Her palette in the oils reflects this statement with solid, dark greens and grays.

Many of the vistas are rendered in both watercolor and oil. “I have often found pleasure painting the same mountain range or river scene in both media,” says Cathy. In the watercolor of Tuckerman Ravine she takes advantage of the transparent nature of the medium by portraying a rising cloud of mist above the headwall, whereas the dark, rich oil painting gives the headwall of stolid permanence. She has also portrayed Plum Island and Oyster Bay in both mediums. In “Plum Island, Tidal River” a delicate pink on the horizon of the watercolor conveys late afternoon atmosphere and a sense of distance, while the oil of the same scene takes advantage of the mediums rich colors.

“We have carried Cathy as an artist for almost 20 years and it has been exciting to watch her expand her vision in response to her growing skills,” says gallery director Sarah Chaffee. “She has really found her footing with the most recent works in oil. They feel like Cathy Tuttle paintings with her bold use of color and confident brush stroke. These paintings are sure to appeal to anyone who admires nature in New England.”

How to Hang a Piece of Art

2010-09-16T14:49:00.015-04:00

At McGowan Fine Art I hang artwork all the time. I hang art in the gallery. I hang art at client's homes or offices. It is so much fun that on weekends I will change artwork around in my own home. When people watch me do it they want to know if I use a laser level and how I do it so fast. I don't use a laser because a regular level works just fine and I am fast because I do it all the time..... and I have a system down. For you, loyal readers, I am going to share the patented McGowan Fine Art can't fail hanging directions.

Hanging Art on a Wire

Things to know
§ Height: In general, art should be hung so that when a person of average height (moderately tall woman, shorter man) looks at the piece, their eye falls approximately ⅓ of the way down into the image.
§ Bump-ons: These small plastic circles keep art from moving once on the wall. Put 1 in both of the bottom corners, right up to the edge of the piece.

How to hang:
1. First, determine the appropriate height by holding the piece up to the wall. Make a small mark immediately above the frame in the approximate center of the piece.

2. Grasp a tape measure, with the end held in the opposite hand With the piece resting on the floor, glass towards your body, hold your fingers, centered, under the wire (approximately 8-12” apart – more for a large piece, less for a small piece) and pull the wire taut. Measure the horizontal distance between the two spots (for argument’s sake let’s say 10 inches), and the vertical distance down from the top of the frame (For argument’s sake we will say it is 7 inches.) If it’s easier, you can make a little mark on the piece where your fingers are, so you have something to measure.

3. Measure from the mark you made on the wall the vertical distance you found measuring the wire-( 7”). Make a mark.

4. Measure out horizontally from this new mark ½ the distance you found measuring the wire (the 10 inch measurement) – make a mark, one on either side of your center height mark. These marks will be the same distance apart as your horizontal measurement (10 inches.) Try to keep these roughly at the same height. Estimating is okay as long as you are close – if you have a tough time keeping them the same height, just measure down from the ceiling for both marks to make sure they’re the same.

5. Put your 2 hooks in the wall, making sure that the bottom of the hook (not the nail) goes at your mark.

6. Hang the piece on the wire, making sure to support the piece carefully until the wire is secure on both hooks. Use a level to double check that the piece is straight. Voila!

Contemporary: Lotus Lien, Lynda Litchfield, Fred Lynch

2010-08-27T11:31:00.010-04:00

McGowan Fine Art announces the opening of “Contemporary” featuring the work of Lotus Lien, Lynda Litchfield and Fred Lynch. The show will run from September 7- October 8, with an artists’ reception on September 10 from 5 to 7 PM.

“Minimalist work is not always as popular as it should be,” says gallery director Sarah Chaffee. “I think people believe that there isn’t enough to look at or be engaged with. This show, featuring three different interpretations of a minimalist aesthetic, is quite engaging, but requires a little work from the viewer. What initially seems quite simple or monochromatic is actually filled with subtle details and color shifts. I thought by bringing three different artists together to address minimalism that it would allow people to compare and contrast.”

Fred Lynch, of Maine, has shifted from pure two dimensional painting to a more sculptural format. He uses oil and enamel paints on MDO, which is a two inch thick board giving the paintings lots of dimensions. But his technique doesn’t stop at painting. He incises into the enamel surface creating intricate patterns. Oil paint wiped across these surfaces is caught in the incised lines giving them a quality of a printed image. The patterns are an investigation and organization of space. “It is my feeling that my paintings are about systems that aid in producing new and seemingly countless shape variations,” says Lynch.

Lynda Litchfield, also of Maine, works in the ancient medium of encaustic. This is a wax based paint which Ms. Litchfield takes full advantage of. Her translucent surfaces glow providing a luminous surface for her lyrical lines. In “Diagram D (Echo)” a scalloped line moves vertically across a sea glass green and earth colored surface. The painter’s hand is evident in the slight overlap of strokes where a third shade of color is in evidence. These pieces are extremely quiet- even contemplative. Ms Litchfield’s lines provide the map for the eyes to skate over the surface.
Lotus Lien, a recent graduate of New Hampshire Institute of Art makes sculptures that are reminiscent of the cairns found along New England’s hiking routes. Her stacked stones are created with porcelain and smoke fired with natural materials such as seaweed or banana peels. The burning of these items creates an uneven surface color of the richest, natural hues: maroon, brown, gray and blush. These orbs are then carefully stacked on a support to create a tension between size, balance and color. A defiance of gravity is their defining trait but the round forms are sensuous enough to make them a visual delight.

Karl Drerup, Masterworks

2010-08-02T16:48:00.010-04:00

McGowan Fine Art announces the opening of "Masterworks: Enamels, Paintings and Drawings" featuring the art of Karl Drerup. The show will run from August 10 to September 3, with an opening reception on August 13 from 5 to 7 PM. This show is co-sponsored by The Enamelist Society, an organization committed to the education and recognition of the art of enameling.

Born in Germany in 1904, Karl Drerup originally studied drawing and painting after leaving monastic life. While pursing advanced studies in Italy, he was drawn to the traditional craft of majolica - brightly colored earthenware, a passion that would influence his later work. Life and history pushed Karl and his wife to the Canary Islands to escape the Nazis in 1934, and it wasn’t until his arrival in New York City in 1937 that he started pursuing his interest in becoming a designer-craftsman. His first venture into the craft world was making ceramic vessels with a friend, and they quickly found a market for their work. Karl soon began teaching himself the art of enameling - applying his painter’s sensibility to enhance the craft. His skill and craftsmanship are visible in all of his endeavors.

In 1946 the head of the League of NH Craftsmen, David Campbell, enticed Karl to NH to help build the emerging organization and the greater crafts community. It was an easy choice for Karl and his wife to leave the bustling city for the rural life of Thornton, NH. Since his time in Spain and the Canary Island, the countryside had always appealed to him. In 1948 he was asked to establish an art program at Plymouth Teachers College. By the time of his departure 20 years later, Karl had created a full department with 10 faculty members and over 100 students.
All the time he was teaching he continued his enamel work, which was well suited to the cramped studio in the woods. With a minimum of equipment and space he was able create pieces that reflected both his natural environment and his background as a devoutly religious man. Rather than creating a deep, three-dimensional space as you might with paint, Karl flattened out his images and took advantage of the ornamental quality of enamel. Surfaces abound with bright blue boats and sunshine, or lively squirrels, deer and fox from top to bottom of the plate. In his religious images trees, hunters and Saint Eustis all share the same plane and delight the eye with jewel-like colors. The seductive and ornamental qualities of the melted pigments were the perfect medium for this imagery.
Karl Drerup’s paintings and drawings tell of his early training as an artist. His lines, the work of a trained draftsman, also tell Karl’s personal history. His sketchbooks abound with images of hillsides in Italy, Spain and the Canary Islands as well as pages filled with the indigenous people he shared these spaces with. Later work, such as “Gore Brook, Thornton,” depicts the beautiful landscapes of Northern NH. All of these drawings and paintings, source material for his enamels, are strikingly beautiful in their own right.

McGowan Fine Art will also host noted enamel authority, Rick McMullen, for a slide presentation on enameling techniques called “Unveiling the Mystery of Enamel.” The presentation will be on August 28 at 11 AM in the gallery and will address techniques such as plique-a-jour, basse-taille, cloisonné and more. Mr. McMullen’s professional knowledge will be edifying for antiques dealers, jewelry specialists and appraisers but enthusiasts of any level will find his clear explanations rewarding.

This show will be held in conjunction with a show of Mr. Drerup’s drawings at Plymouth State University called “Karl Drerup: A Modernist Drawn to Life.” It will run from August 14 – October 23. For more information visit http://www.plymouth.edu/gallery/category/exhibits/.

After Hours Appointment? Happy, Happy, Joy, Joy!

2010-07-13T20:34:00.013-04:00

Despite all of our advertising, website and word of mouth many people still do not know our retail hours. They are Tuesday through Friday 10-6 , Saturday 10-2 or by appointment. Most of our regular customers know that those hours are guidelines. We will never be open fewer hours than that but frequently we will be open more hours than that.

Our trusty framer, Brian, arrives at the gallery at 7:30 AM Monday through Friday- meaning that if you need to drop something off, he is here. He can help pick out framing but he is not very good with the computer so he can't give you a price quote. He doesn't like to chat about art but we find he has an unerring eye when it comes to framing and fancy layouts.

Even though our hours say we are closed on Mondays one or more of us is frequently at the gallery. Having this day free allows us to make appointments without worrying about covering the gallery. I will use it to hang new shows or do some of the dirty work around the gallery. It is casual Monday for us so we will often be in jeans- or in painting and wall patching clothes. It is the rare Monday that at least one of us is not on duty. The caveat is that we tend to leave by 4 in the afternoon.

We frequently have early morning meetings which means we arrive at the gallery at 7:30. If we stop into the gallery first it may mean you receive an email that early. It gives the illusion that we work 24 hours a day!

We are also happy to make appointments to meet you at the gallery. Some people think that they will be inconveniencing us if they make an appointment, but it is exactly the opposite. We could be open seven days a week - sitting & waiting and hoping that you will show up on a sunny Sunday. Or we can make an appointment knowing that you have made a special trip to see us. We think this is a much better deal for everyone. We have opened the gallery at 6 AM, stayed until 8- or showed up on Holidays. We are very accommodating.

So..... how happy are we to make an after hours appointment? This happy:

Unleashed! A Benefit for the ARL of NH

2010-06-04T12:10:00.020-04:00

McGowan Fine Art announces the opening of “Unleashed!" featuring the work of Janet Duncan, Bruce Campbell, Jane O’Hara, Elizabeth Mayor, Holly Meade and Adelaide Murphy Tyrol. The show will run from June 22- July 30, with an artist’s reception on June 25 from 5 to 7 PM. This show is a benefit for the Animal Rescue League of NH and is free and open to the public.

“Unleashed!” is the dream of McGowan director, Sarah Chaffee, who is singularly devoted to her rescue dog Henry. “I have always had a strong connection to animals and I support rescue operations,” says Chaffee. “It was hard to pick just one organization when my audience comes from the tri-state area, but I think that helping any rescue organization is a win-win for animals.” The show itself will feature the works of 6 artists from around New England. The works range in medium from woodblock print to wire sculpture.

Both Adelaide Murphy Tyrol and Jane O’Hara do more classic portrait-style interpretations of companion animals. Jane’s series of dogs from her neighborhood convey her love for them and their myriad personalities without taking away their dignity. In “Best Friend-Trusty” a Boston Terrier strikes a macho pose but melts the viewer with a large grin and an even larger tongue. Adelaide’s “Peace and Love” likewise portrays an appealing white dog holding an olive branch. The dog’s tag is a red heart which adds a colorful accent to his white fur.

Holly Meade uses wood and linoleum blocks to create her engaging images. In “Red Horse” she neatly fills the page with the image of a jumping horse- neck arched, tail in the air and hooves pointed. It is elegant and wild at the same time. Janet Duncan also employs a graphic style with her watercolors. In “Pablo & Savvy” her broad swatches of color create an array of color- and also a moment of sharing for a young girl paddling a kayak with her shaggy dog. In “Everywhere That Mary Went” a young girl leads her lamb around a lawn. The bright green of the grass challenges a red jacket and snowy, white lamb to create a vibrant composition.

The unique work of Bruce Campbell provides three dimensional relief to Unleashed! Bruce is a catalogue designer for the Metropolitan Museum and uses his commute time on the train to create simple wire sculptures of animals. With a minimum of tools and fuss he bends the wire to create gestural figures of moose, dogs, reindeer and butterflies. These are occasionally given some sparkle by the inclusion of sea glass. The lines of his work relate to the woodblocks of Elizabeth Mayor. Her deceptively simple lines and shapes are spiced up with the addition of pigment and colored White-out. In “Mmmm..Kitty” a thin white line defines the arching back of the cat. Elizabeth then uses White-out to fill in the surrounding negative space. It is a playful use of materials to match her playful imagery.

All in all this is a show that is sure to delight animal enthusiasts and art lovers. There will be works by other artists available- Judy Lampe, Barbara Carr, Louise Chouinard, Hannah Phelps and more

Gary Haven Smith Studio Tour

2010-05-10T05:54:00.019-04:00

This past Saturday eight of us caravaned out to Gary Haven Smith's studio to see how he creates his sculptures and paintings. It was a bit rainy but that helped to keep the black flies away- always a scourge this time of year in NH!

This first image is of the outside of Gary's sculpture shed. The large door allows him to back his truck up to unload the huge rocks onto the trolley for his stone saw. You can see a new sculpture sitting at the entry.

This second image shows his saw in the background. It is about 1 story high and uses a diamond tip blade (strand). He has rails to pull stones on a trolley towards the blade. A consideration in his design is the limitations of his equipment. He can only lift the saw blade up about 5 or 6 feet so that the stones cannot be too large or need to lie down and accommodate a horizontal cut. Another consideration is that his crane can only lift 2000-2200 pounds. Eliminating weight by removing stone is imperative.

Next to the stone cutting studio is a another space where he mills metal pins for joining stone, carves slate, assembles smaller pieces. There was an amazing amount of equipment - and ingenuity on display. It becomes clear that Gary is a problem solver when it comes to interpreting his vision.

Upstairs is his painting studio which is less coated in stone dust! It was a tight space so it was difficult to take many photos without seeing the backs of all the attendees. This is a shot of the painting station with a jumble of oil paints and the encaustic medium he uses to apply them to slate and lead. It is fun to see some of his older paintings and how they relate to the most recent work.

After we were done touring the studio everyone spent a few moments to walk around Gary & Susan's lovely yard which has a variety of Gary's older and newer pieces. These sculptures benefit so much from being placed in a landscape. The light color and curvilinear lines of the stone provides a contrast to the dark green trees and grass.

For those of you who missed the tour we will do it the next time we have a show of Gary's work in about 2 years.

John Bonner, Bits Of Sea

2010-05-04T12:12:00.009-04:00

McGowan Fine Art announces the opening of “Bits of Sea" featuring the paintings of John Bonner. The show will run from May 18- June 18, with an artist’s reception on May 21 from 5 to 7 PM. This show is free and open to the public.

John Bonner finds his inspiration in the gritty seaside towns of the North Shore of Massachusetts Bay. The wind roughened clapboard, houses perched on harbor side hills and elusive views of the ocean through historic homes are his chosen imagery, but it is the thinly applied glazes of paint and broad strokes which are the true appeal of his paintings.

Sewall Street Fall Over Spring is the quintessential Bonner scene. Painted clapboard has lost its vivid color and milled lines through exposure to the ocean. The colors are muted and edges lost, but the expanse of blue sky with billowing clouds brings freshness to the scene that might otherwise be missing. The bright blue sky glints off of windows and reflects on the wind coarsened homes. Long shadows cast between the closely built homes and randomly arranged telephone poles bring a strong sense of place to these pieces. These can only be paintings of a Northern New England town. As in Sewall Fall, Harborview Over Porch provides a small glimpse of the ocean placing these scenes firmly on the coast.
These rugged scenes give Bonner ample opportunity to ply his craft. In the small gem Fallen Spruce, he uses rough oil washes to imply fences or wispy branches of a tree. By not wasting the viewers gaze with detail he calls attention to the heightened morning light and strong structure of the buildings. “It captures my informal nature,” says Bonner. In Wild Blue Yonder the artist puts this informal nature to work with bold strokes in the blue sky and unusual perspective looking past a house to the sky beyond. These are paintings to remind you of home, but then take you beyond to a place of color, movement and light.

From Homer to Hopper at The Currier Museum

2010-05-03T22:18:00.012-04:00

Just went to see the Homer to Hopper show at the Currier Museum in Manchester, NH. Full disclosure here - when I thought I was going to be an artist my medium was watercolor. I love it and all of its possibilities.

Watercolor is often treated as the ugly, younger sister to oil painting and sculpture. Because of the necessity of moving quickly with the medium many think that it requires little thought - and all action. Those who have become proficient at watercolor know that it is a medium that requires more than fast action, you must think quickly too. As a painting emerges the painter must be willing to chance it all with each new layer or incorporate the mistakes. From Homer to Hopper displays a beautiful and broad range of paintings in which to closely study the medium.

This show follows the arc of skill in American watercolor mastery from the early 1800's to the present day. For the early painters it was a medium that was easily transportable and lent itself to the quick portraits an itinerant painter needed to produce. I deduce from the early American examples presented that it was mainly used to color and didn't really take advantage of the natural tendencies of the medium- to pool, puddle, bleed and glow. These paintings are coarsely done but charming and serve to highlight the leaps that watercolorists made less than two generations later.

In the later 1800's we see the ascendancy of painting over imagery. Homer's "Fishwives", shown above, is a stunning tour de force of layers built up to create the moody, atmospheric scene. The artist has not shied away from scraping at the surface to expose a the paper through the pigment. The rich colors and heavy contrast negate the myth of the light, airy watercolor.

Prendergast's The Stony Pasture shows a lighter touch with watercolor. It is the antithesis of Homer's heavy hand with pigment. All the colors are fresh and sit on the surface of the paper. He has allowed the pigment to pool naturally creating a graded line at the edge of each shape, curving it around to create volume. He has let go of the fussy detail seen in the earliest watercolors in this show and allowed the strokes to seen. It is a seemingly spontaneous approach.

I was unable to find images from the most contemporary works (you can see many here) but there were some real beauties to be seen. A Burchfield studio scene is stunning. There was also a beautiful Arthur Dove from his Flour Mill Series. I saw another at the Phillips Collection that still sticks in my head- clearly it held a fascination for Dove. There was also an early Georgia O'Keeffe that is quite strong. These more abstracted pieces pave the way for what it to come later in the show.

The contemporary pieces are what really got my attention. The beautiful abstraction Visitors by Mark Toby with its use of opaque white drawing on the surface brought to mind some of the lovely ink and gouache drawings of our own Bert Yarborough. I was not aware that there was a history of using this opaque calligraphic line. This is very appealing to see this thread of aesthetic discovery over time. Another contemporary piece worth spending time with is a large abstract of lines by Sol Lewitt. While simple in concept it is quite mesmerizing. The lines flow across the surface creating a subtle movement. This is a piece I could live with.

I highly recommend seeing this show before it closes on June 7th. While it lures you in with the big guns of Homer & Hopper, it is the lesser known pieces which delight.

Moving Day!

2010-04-12T14:16:00.015-04:00

People don't get to see the process of how Gary Haven Smith moves his sculptures into the gallery. It is frequently done on weekends when there are fewer people to inconvenience. This time it happened on Sunday, April 11.

Gary brought along his son, Devon, to help this time. As Gary and I both get older it takes more time to complete the process and we are thankful for a younger set of muscles.

Gary has a flat bed truck with a crane attached to one corner. After putting on the emergency brake and putting blocks under the tires Devon and I put jacks under each corner to keep the truck from tilting too much as the heavy loads moved from the flat bed to our front step.

Large straps are attached to the pieces for hoisting them up. A hand held control is used to guide the crane around all the obstacles- street signs and the large McGowan Fine Art sign above the door. While Gary operates the controls I helped to guide the pieces away from the brick wall. Devon lined them up on the waiting dolly on the top step.

This bench is the only item that gave us a scare. As it was lowered to the top step the weight was enough to lift a back wheel off the ground and moot the effect of the emergency brake. Despite all the safety precautions the truck started rolling forward. There was a bit of screaming and a bit of running as Gary jumped into the truck to apply the brakes. I had visions of the bench going through our front window and the crane taking out the front columns of the building. Who said art was boring!?

After the dolly is pulled into the gallery an engine winch (the large orange bit of equipment on the back of Gary's truck) is used to remove the sculpture from it and place it on the floor. Some of the sculptures are light enough (a relative term) to be moved by hand. Many need to be placed in the perfect place with the winch- with slight adjustments made by muscling the piece into place.

The tops of some of the sculptures are literally placed by hand. Here is a picture of Devon lowering the top of "On the Way Up." Gary guided it on to the pins on the pedestal. I would guess that the top weighs about 60 pounds- which is harder to lift than you might think!

After 6 hours of doing this the guys went home. I spent another hour or so doing some clean up and hanging the painting in the front window. I hate to leave the front window empty over night. I went home, ate supper and sat down. I was too tired to read. My weekend chores will have to wait until tomorrow.

Gary Haven Smith

2010-03-30T15:25:00.006-04:00

McGowan Fine Art announces the opening of “Focal Point” featuring recent paintings and sculptures by Gary Haven Smith. The show will run from April 13 to May 14, with an opening reception on April 16 from 5 to 7 PM. It is free and open to the public.

Gary Haven Smith has long been recognized as one of New Hampshire’s premier sculptors – completing such public works as The Source, a large sculpture at the Thorne-Sagendorf Gallery at Keene State College and the fountain in the entry of Concord Hospital. Many of his paintings and sculptures are in private and public collections throughout the state including the Currier Gallery of Art and the New Britain Museum of Art.

Color takes a back seat in Gary Haven Smith’s most recent paintings as an outcome of his landscape photographs. Leaves, trees and grasses are a jumping off point for the broad patterns etched into the surface of his paintings. He heightens the contrast by using silver leaf on the dark natural surface of slate. In “Soffice” the reference to a forest scene is still apparent on the surface of the slate. Vertical lines of tree trunks are broken up by the silver silhouettes of leaves. Rich red paint on a textured lead surface hint at the soil beneath- creating an overall play of pattern. The influence of photography has distorted the images in this case so that there are both seen and unseen images. “We don’t see things as clearly as we want to,” says Smith.

His large-scale granite sculptures continue in the same vein as his previous work, exploring curved lines and textured surfaces. Smith says “I see it as deconstructing the boulder.” This is a reference to his cutting into the oversized granite boulders and, in many cases, piecing them back together. In the bench he created for this show he has inserted a smooth, highly-colored piece of red granite into the rough undersurface of a boulder. The geometric perfection of this base fits in like a puzzle piece. The found shape of the sitting surface provides another counterpoint to the seemingly random exterior of the raw stone- the perfect marriage of beauty and function.

There will be a studio tour at Mr. Smith’s home on May 8 at 10:30 AM. People interested in attending should RSVP to the gallery at 603-225-2515. The group will meet at McGowan Fine Art at 10 AM to carpool to his studio.

Artist of the North Country Studio Workshops

2010-02-22T14:53:00.008-05:00

McGowan Fine Art announces the opening of “Artists of the North Coun try Studio Workshops” featuring the works of 20 different artists. The show will run from March 9-April 9, with a reception on March 12 from 5 to 7 PM. This is free and open to the public and a portion of all sales will benefit North Country Studio Workshops.

North Country Studio Workshops is an educational organization that has served the creative community since 1990. The goal of the workshops is to provide an affordable, quality art education experience for established and emerging artists. Every two years participants gather at Bennington College in Vermont to learn from nationally acclaimed faculty and to network with their peers.
In this collaboration with McGowan Fine Art, participants from previous workshops were asked to submit work inspired by their classes at NCSW. The mediums employed range from bookmaking, metal, glass, & wood to solar printmaking. The styles are as varied as the mediums, reflecting the experiences of the students with their instructors. For two dimensional work the encaustics of Lissa Hunter range from representational to more abstracted natural forms. She uses the medium to its maximum effect in “Tumbling Stones.” The translucent layers of wax glow with light and giving the stones life-like colors. There are several other two dimensional artists joining Lissa in the show. Margaret Merritt combines solar plate etching with photography to illustrate the flora & fauna of her garden. Denise Linet uses printing techniques on fabric to create more expressive and colorful interpretations of flowers as in “A Riot of Roses.”

In the three dimensional realm are several ceramic artists. Joshua Primmer’s Eastern influenced Ikebana vases and teapots are very sculptural, while Devitt Liptak and Teresa Taylor use their forms as a surface to decorate with incised drawings or carved ribs. In the jewelry category will be the show stopping glass bead necklaces of Marcia Herson and the coolly, elegant constructions of Paulette Werger. Her “Moon and Branch” neckpiece combines sterling and pearls into a piece of wearable art. Exploring the tradition of book making is Adele Sanborn’s “Maggie’s Interlude”- more of a paper sculpture than book with a brightly painted heart inside of a paper home. Susan Lirakis’ pieces are a somewhat more traditional interpretation of a book while still including a twist- her “Fun Facts About Birds” book is in the shape of a bird! Polly Allen takes paper to a whole new level with brightly colored strips woven into a stunning basket shape.

This is a show that promises an excellent variety of works for all levels of art lovers.

artwork in order of appearance: Susan Lirakis, Denise Linet, Jessica Seaton, Paulette Werger, Lissa Hunter. To see more by these artists and others go to mcgowanfineart.com.

Having Your Artwork Appraised

2009-12-12T11:07:00.040-05:00

People frequently call me to ask if I will appraise their artwork- it is the start of a long and involved conversation which starts with "I don't do appraisals." That being said I try to help people who call with this question.

The first thing I try to ascertain is if the art is an original or a reproduction. Being a reproduction does not necessarily mean that something is valueless. When possible I like to see the artwork to determine this.

If it is done by a famous artist is it in the correct medium (oil, etching, watercolor)? I have seen a number of Van Goghs in the gallery but they turn out to be reproductions- determined by the fact that they are printed instead of painted.
Is it a true artprint process (intaglio, lithograph, monoprint) rather than a reproduction method? By looking at a print through a magnifying glass you can determine if it is a reproduction if the ink is applied in dots- a machine process. You should also see the embossed edge of the plate at the outer perimeter of a real print.
Do the brush strokes match what is painted? Famous art is being reproduced on canvas and "enhanced" with brushstrokes.
If the piece has age to it, flip it over and look at the back. The wooden stretcher bars of a painting will show oxidation (turned dark brown) to indicate age. All of the components should look about the same age.
Is there a signature? Most artwork has little value without a signature. Check the back too! If it is quite dirty or the varnish has discolored the signature could be hidden.

The second thing I try to ascertain is if you want the appraisal so that artwork can be insured, valued for an estate or if you are simply curious about its worth. For legal or insurance purposes you will need an appraisal done by an appraiser. The value will need to backed up with auction records of comparable works by the same artist. Appraisers are liable for their appraisals so they research thoroughly. They have also gone through years of training or apprenticeship. For this reason they need to charge for their services. In return you will receive the information backing up their estimation of worth on the art. The appraisal will need to be written on their letterhead. They should also be willing to share their credentials. If you are merely curious, you probably don't want to pay for an appraisal and should skip to the paragraph on "looking on the internet." If you have a contemporary piece the gallery where it was purchased should be willing to provide updated valuations on request.

Value is determined by what an artist's work fetches on the secondary market- this means there must be records of the work being sold at auction. Your painting by great grandpa may have great sentimental value and could potentially fetch a decent price on the open market, but it may have no appraisal value because the artist has never sold at public auction. People often ask what a piece is worth before opting for conservation work. They feel that if the painting is only worth $200 but the conservation work will cost $300 that they shouldn't move forward. My feeling is if you like the artwork and hope to pass it on to future generations then conservation is worth while. If you compare the costs of conservation to the cost of a new piece of art it REALLY makes sense.

So how do you determine if the artist has any art world recognition? The first place to look for information on an artist is the internet. A good site is artnet.com. You can at least find out if there are any auction records for your artist. You will need to pay a fee if you want to look at the records, but you may buy a limited number of inquires for about $20. Be careful- it is addicting! Another great resource is Ebay. This will at least give you a sense of what the going prices are if there are any listings. Compare works of the same medium, similar subject matter and similar condition to get the most accurate estimate of value. If the artist has a more local or regional fame, the state or town Historical Society is another great resource.

If you do need an appraiser I am happy to recommend some names of people that I have worked with. Be clear on what you are receiving from them- is it a replacement value or fair market value? Replacement values are much higher. They reflect the cost of going out and purchasing another piece of art similar to the one you currently have. A fair market value reflects what you might receive if you took your art to a dealer to be sold. I recommend that a copy of this appraisal be kept on the back of the artwork so that it is never separated from it.

Ted Arnold- Objects of Desire

2009-11-20T16:23:00.007-05:00

McGowan Fine Art announces the opening of “Objects of Desire" featuring the paintings of Ted Arnold. The show will run from December 1-January 2, with an artist’s reception on December 4 from 5 to 7 PM.

Ted Arnold is a Dartmouth educated painter from Maine by way of California. The West Coast landscape still informs his still lifes and mise en scénes with strong light and vibrant colors, but his subject matter of china, teacups and other prosaic kitchen utensils are the stuff of more universal appeal. He also harnesses these bright colors to portray festive family gatherings and street scenes.

Arnold’s studio has shelves full of teacups, platter, urns, and richly decorated fabrics that he uses as models for the densely painted canvases. “I don’t think of my teacup paintings as simply stillifes” says Arnold, “but as conversations.” Each painting requires a careful balance of colors and shapes with a composition formed from his collection of china and fabric. Some cups- because of their unusual color or seductive shape- star in many of the paintings. Patterns of china emerge to create families- similar yet distinct like a reunion of cousins and siblings. Elegant bleeding blue china stars throughout the show as a counterpoint to the homely orange daisy teacup or green Fiesta ware plate. “The cups and pots and creamers are from many lands and of many persuasions like people in our cities,” says the artist.

Arnold also looks for the relationships- or conversations- between people. In “Billy’s Dinner” he has taken a very thin slice of home life- a family dinner. This painting is almost twelve feet long and broken into three sections. The length of the painting allows the story to unfold in time as you walk the length of it- a narrative in real time. People and the detritus of a meal are scattered across the surface. There are dark figures receding into the background, wine glasses and plates glint from the glowing candles. A hand holds up a glass to toast the figure across the room. Each person and table setting is truly having a conversation of color and form.

The reception takes place the evening of Midnight Merriment in Concord. The Main Street will be closed to traffic from Pleasant to Centre. Caroling and hay rides will be taking place on Main Street to celebrate the start of the Holiday Season. For more information visit mainstreetconcord.com.

Bridal Registry- At an Art Gallery?

2009-11-05T16:55:00.018-05:00

Are you about to be married and dread the process of taking yourself and your future spouse to a giant chain department store to register for china and crystal? Have you waited to find the perfect mate- and in the meantime filled your home with all of the essential furnishings? Or do you aspire to have an art collection of your own now that you are settling down?

In the past I have been asked if we do bridal registries at McGowan Fine Art- and the answer is a resounding yes! It is a great way to start or add to your collection, and the process is easy.

If you are familiar with the gallery, just come in and I will create a list of artwork that you like. I can help you to choose a variety to give people a broad selection of price ranges. I will create a webpage with your selections on it which can be sent as a link to people making registry requests.

If you are not familiar with the gallery I would recommend making an appointment so that we can give you a complete tour of the gallery and our extensive collection of art. We can then create a list or webpage of the items you would like.

If people have purchased a piece of artwork that is not appropriate, we make it easy to return if done in a reasonable amount of time Another option is for people to purchase gift certificates which can then be be used to purchase a piece of art.

Sandy Wadlington Caran d'Ache Demonstration

2009-10-10T13:22:00.010-04:00

Many people showed up to see the Sandy Wadlington Caran d'Ache demonstration. Some people wanted to simply watch, others were here to participate, but all had fun.

It was fascinating to watch Sandy work. As you might guess, she starts off quite loosely and then begins to build up the contrasts- always mindful to leave the lights just as you would with watercolor. Closer inspection of some of the more finished pieces revealed that she doesn't use as much detail as many think. She gives the illusion of detail coupled with the beautiful surface texture that water mediums have. Spots, puddles and pools build up to create leaves, fields and ocean.

People picked up a few tips and then looked at her paintings anew- with the knowledge of how they were made.

There were many thanks from participants and requests for more events like this. I heard and I will try!

Burlington Art Hop

2009-09-07T08:48:00.014-04:00

My friendly art escort, Mark Waskow- one of the Art Hop's organizers. We enjoyed some lively discussion regarding our different approaches to art collecting.

I had the pleasure of being this year's jurist for the Burlington Art Hop in Vermont. The event does not take place until the weekend of September 11 & 12, but I had to do the jurying before hand. Even though all pieces entered are included, there is a selection for the jurist's show and awards for first, second and third place for paintings and for sculptures.

The Art Hop is run by SEABA- the South End Arts and Business Association. I was very interested in what they were doing to create a relationship between Commerce and the Arts as I serve on the board of Concord Main Street and Concord's Creative Economy Task Force. I had an opportunity to meet Carlos Haase, their dynamic director who makes sure the events happens without a hitch. It is a big event that attracts 40,000!

I have been to Burlington Vermont many times over the years but I did not know about the South End. It is a fun mix of antique stores, bakeries, used book shops, artists, light industrial and more. It is a place I plan to visit again. I can personally recommend Myers Bagels for breakfast & Fresh Market for lunch. I had a tuna on baguette although the cold sweet potato salad looked really good. (I am on the hunt for the best tuna salad on the East Coast.) I was simply too full for even a cookie from Harvest Bakery, but they looked liked they serve a mean sandwich too.

The art work was wildly varied- both in skill level and content. But it is hard to not be caught up in the exuberance of the event and the variety of art to see in one walkable area. It sounds like a real happening. If you are in the area I highly recommend a visit. I regret that I was so caught up in the activity of judging that I neglected taking photos of the outdoor sculpture. These run the gamut from monumental keys, to interactive drumming posts and a shrine to outdated appliances swathed in burrs- don't let your dog get too close!

A Few More Images

2009-08-08T20:49:00.002-04:00

Melissa Miller and Jane Ryan painting at the Wentworth Coolidge Historic Site.

Plein Aire Painting Weekend

2009-08-08T12:24:00.005-04:00

Today is the first day of the Plein Aire Painting weekend and lots of artists have showed up. Some are taking advantage of the beautiful view of the water and have set up next to the iconic anchor.

But many more have sought shade on such a beautiful day. This is Barbara Carr painting a view of the Wentworth Coolidge Mansion looking towards Little Harbor.

This is the painting that Jeannette Steele is working on.

Hannah Phelps and Linda Spaanenburg are set up underneath a tree also.

Dewitt Hardy ensconced himself right on the anchor!

Deb Claffey painted a closeup of a shrub on the property- reminiscent of her studio work.

Placing a New Sculpture

2009-08-06T16:10:00.001-04:00

I purchased a sculpture from Lotus Lien a few months ago and finally placed it. Placement of sculpture in a garden can be trickier than placing it in your home. The backdrop is constantly changing.

I always think of what my favorite garden writer, Henry Mitchell, said about sculpture in the garden- "It is not a team player." It can easily dominate the planting or even worse- it looks like gilding the lily. Sometimes too much is just too much.

I had a spot in mind but it quickly became apparent how wrong it was. There was no mystery to the placement. It just looked plonked down and didn't relate to any of the plants around it. So I looked for a spot where there was low growing plants. It also seemed to fare better with smaller leaved plants- so that the large orbs contrasted with their delicacy.

This is the sculpture's final spot. It is a little hidden behind a spirea so that you have to sneak up on the sculpture. Its large round forms in shades of gray and terracotta provide relief from all the green and flowers without overwhelming them. It makes me smile every time I see it.

For those who might be wondering- this sculpture cannot stay out year round. It will be moved inside once the weather drops to freezing.

Studio Visit- Sandy Wadlington

2009-07-27T16:08:00.009-04:00

One of the favorite parts of my job is going on studio visits. Artists often bring their personal vision of beauty to their homes and studios. They accumulate interesting things, have beautiful gardens and collect marvelous art from all of their friends.

Their studios are full of things too. There are often postcards, newspaper clippings and pages ripped from books that have images that inspire them. There will also be incomplete sketches or the sorts of drawings and paintings that they might never sell. This is all fascinating to me- like an opportunity to see how they think.

I visited the home and studio of Sandy Wadlington this past week to see how her show in September is shaping up.

Sandy's studio is small and cozy. It is full of the art in process. As pieces near completion they are put up on the wall for her to assess as she works on other pieces.

I am amazed at how many pastel sticks she uses. As you can see there are boxes and boxes of them. She has also tacked up paper bags underneath her work are to catch any pastel dust that filters down as she works. Pastels have very little binder in them to make them hold together or even hold on to the paper. Therein lies their beauty- they are almost pure pigment, giving a finished pastel unsurpassed color.

Sandy has also been working on a number of charcoal drawings which have the same same beautiful, atmospheric effect she gets with pastel but minus the color. For me they have the soft quality of a lithograph.

The show is shaping up nicely and Sandy and I decided on the images for the postcard. We are both looking forward to the show in September.

The Glamourous World of Art

2009-07-21T12:43:00.007-04:00

Mary McGowan always jokes about 99% of our job is schlepping art from here to there. This was definitely part of our day last week.

In anticipation of delivering a big job we moved 150 pieces from the bottom level where the frame shop is to the main floor. Brian, our framer, was glad to be able to have the room in his workspace again! Amanda packed the first car full for a delivery the next day after a quick call to confirm that the delivery was still on.

Throughout the day the amount of storage area available at the job site kept shrinking. Calls were made, hair was pulled, teeth were gnashed. Construction schedules had fallen behind and there was currently moving men installing all the furniture. By the end of the day it was clear that we would have very little storage area so only Amanda would be making her delivery.

Amanda showed up at the job site, but.... there was no place to put the artwork. So back she came... and the second round of schlepping began. Everything from Amanda's vehicle and the main gallery was moved down a level.

But we all kept our humors about it and worked out a system. Mary who is the master packer stayed downstairs and arranged things so that all of the frames were safe. Amanda and I did the running up and down the stairs. We made fast work of it and none of us needed to make an appointment with our chiropractors.

Janet Duncan Opening Reception

2009-06-21T17:42:00.002-04:00

Janet Duncan's work was well received on Friday night. She is a charming lady with equally charming art. Here she is talking with a couple of fans. To see her work- go here.

2009-06-09T06:54:00.009-04:00

McGowan Fine Art and the NH Humanities Council hosted a discussion with Peter Milton on the Future of Printmaking in the Digital Age. This took place at the Coolidge Center for the Arts in Portsmouth and was attended by more than 40 people, including the former director of the Humanities Council, Charlie Bickford.

Peter also brought one of his LED Display images of his most recent print "Sightlines I, Tracking Shot." There was much discussion on how the two different presentations affected the print.

After the seated discussion Peter mingled with the guests and answered the questions on his many prints.

Almost Done!

2009-05-14T18:29:00.002-04:00

The show is hung and the painting of the walls is almost done. I will install the baseboards and the new gallery is complete!

Construction Continues!

2009-05-05T11:54:00.003-04:00

We worked all day on Monday, May 4th and we accomplished quite a bit. We built freestanding walls around the existing columns.

We painted!

We patched!

We even wore our safety goggles.

Coolidge Center for the Arts

2009-04-27T16:28:00.007-04:00

For those who have been following me on twitter you know my big news- McGowan Fine Art will be taking over the exhibition program for the summer at the Coolidge Center for the Arts located at the Wentworth Coolidge Historic Site in Portsmouth, NH. It will be very exciting for us to be on the seacoast- and especially exciting for out artists.

It is also a lot of hard work. I have been juggling the writing of press releases, getting postcards made, buying extra credit card machines- all in anticipation of this new venture.

We will be stretched pretty thin trying to man (or woman) two galleries, but we will manage. I thought people would be interested in seeing the raw space before we give it a makeover in the next few weeks. I don't have a budget like some of the TV Makeover programs but I think it should look pretty good by the time we are done.

The first show will be:

May 13- June 7
Reception Sunday May 24 5-7PM

Alison Goodwin
Peter Milton
Becky Darling
Peter Sabin
Mark Shapiro
Sheri Tomek
Jane Ryan

We will also have an artist's talk on June 7 from 2-3 PM with Peter Milton addressing the future of the print. This is in collaboration with the NH Humanities Council. Please join us- the last talk Peter gave was standing room only!

We will also have an e-newsletter specific to the Portsmouth location which will only go out for the summer. If you would like to sign up- just contact me at art@mcgowanfineart.com.

2009 Concord Telefest

2009-03-19T12:39:00.001-04:00

For local people- don't forget to watch Concord Television Arts Telefest coming up in a little over a week. It is a great weekend of programming highlighting the cultural offerings and artists of the Concord are. Click on the logo to the left for more information.

Where to Eat In Concord, NH

2009-02-23T18:21:00.016-05:00

Picture of me doublefisting some gelatos in Rome to prove that I may not be a gourmet, but I am certainly a gourmand.

I get a lot of questions about where to eat in Concord after visiting the gallery. I usually give people the caveat that they are receiving recommendations from someone who is a celiac (allergic to gluten and all things wheat). But I figure if a restaurant can hold the interest of a non-wheat eater then it can't be too bad. This list is not all inclusive, it is just the places that I have eaten at and can personally recommend.

Angelinas - Medium priced. Charming & quirky in a little out of the way alley only two blocks from the gallery. It serves Italian food. My favorite is the Filet Mignon with bleu cheese.

Barley House- medium priced. This place is fun! Always crowded and for good reason. It is across from the Capitol, about 3/8 mile from the gallery, so you get a rowdy mix of legislators, lobbyists & locals. When I fall off the wheat wagon I have one of their Irish Whiskey Burgers with Sweet Potato Fries. Sinful! The owner, Brain Shea, serves with me on the board of Main Street Concord so this could be a shameful plug... but it isn't. His place is really good! He has also recently instituted a gluten free menu.

Bread & Chocolate- low priced and excellent food. This is a bakery that makes sandwiches. They are all premade and there is a huge selection. When I could eat wheat (years ago) my favorite was tuna on oatmeal bread- mmmmmm! If you go at lunch there is almost always a slow moving line. Franz, the owner, just does things his own way- and thank God! The sandwiches are huge, so if you are not a big eater consider sharing with your date or saving for later. Be sure to save room for dessert! They are right around the corner from the gallery on South Main Street.

Celery Stick Cafe at the Concord Food Coop- low priced and less than a block from the gallery on South Main Street. If you are looking for tasty and healthy food- this is the place for you. It is self serve, but has a separate eating area with windows that look out to the sidewalk. They have the only gluten free granola bar I have ever seen- drizzled with chocolate! My favorite dish, when they have it is black rice with sweet potatoes. And they have fabulous soups for the cold weather months.

Constantly Pizza- low priced and good! It is right around the corner from the gallery on South Main Street and serves pizza, sandwiches & homemade soups. It is a local hangout for nearby businesses and state workers. It is friendly & noisy- a lot like walking into someone's large family kitchen.

Elizabeth's Kitchen- low priced. Greek Food, only open for breakfast and lunch. This has just relocated to the Capitol Building (under the big gold dome). From the outside this place doesn't look like much, but the food is authentic. The chicken lemon soup is wonderful and the stuffed grape leaves are worth ordering again and again. Try it, you'll like it!

Gamil's - low priced and fabulous! This is right around the corner from the gallery on Pleasant Street and relatively new. It serves Egyptian food.... which I can't say I have had before. You will recognize may of the items as being Mediterranean: toubeleh, baba ghanoush, grape leaves, spanikopita. The owner was an Olympic swimmer back in 1969! I love little facts like this and that you can find it out in a short conversation with the waitress while also getting food recommendations. We ordered their tasting platter which was more than adequate for 4. I will definitely be going back and telling all my friends about this restaurant.

Granite Restaurant- a little more expensive but worth it. Their staff is topnotch, as is the food. You can buy 1/2 glasses of wine, which I like. My favorite thing to do is order a few appetizers instead of a whole meal. I definitely recommend the lamb lollipops, although their menu changes frequently. Only about a mile from the gallery on Pleasant Street- unfortunately not open for lunch on weekends. Reservations recommended.

Hermanos Cocina Mexicana -medium priced and conveniently located right across the street from the gallery. Live Music Sunday through Thursday evening. They are pretty tight about opening right on time, don't expect to get in at 10 minutes before 5, but they are open 7 days a week. My favorite is the garlic chicken nachos.

Moritomo's- medium priced Japanese cuisine. I would walk here but most people might want a car to get there from the gallery- about 3/4 of a mile away. It is on Fort Eddy Road off of Loudon Road. Good sushi and good service. Be sure to get the edamame.

Siam Orchid- medium priced. I like Thai food. Some people don't. If you do, this is a good one. The rice is always perfect and you can specify the amount of heat you want. About 1/2 mile from the gallery, across from the Capitol- an easy walk with lots of window shopping on the way.

Sunny's Table- located on Depot Street just two blocks from the gallery, this Asian Fusion restaurant is a welcome addition to the Concord scene. It is a casual, upscale place featuring local goods and produce. While a little pricey it is definitely worth it and the service is great. Treat yourself- especially to the zingy squash soup!

Love, Lust & Desire

2009-02-10T16:31:00.018-05:00

There was a positive sea of people at the gallery for the opening of Love, Lust & Desire! You almost couldn't move, but somehow people managed to pick out their favorites and buy them.

Here is Jessica Pappathan, assistant curator at St Anselm College with Amanda McGowan. Jess brought her sister Cassandra Pappathan, a new young writer for the Concord Insider. Cassie wrote a wonderful article about attending the opening called How To Behave At An Art Reception, which is a great primer for first time gallery attendance. As you can tell by the photo- it involved a lot of fun!

Many of the artists were baffled by how the show would go up on the walls with just clips. They had never seen anything quite like it. I have to confess that I took the idea from another gallery which had one wall devoted to "affordable art" hung in this manner.

It has also appealed to a lot of buyers! We have had streams of people coming to the gallery to check it out. The different interpretations of the theme have intrigued viewers. Often times they will go through the show 2 or 3 times because they have missed seeing pieces.

It has been an ever evolving show too. As the artwork is sold, new pieces go up. This has allowed people to take their valentines home.

Another wonderful article appeared in the Concord Monitor, written by Melanie Plenda- you can read it here.

Jay Surdukowski, pictured second from left, a former assistant to me and now a high powered lawyer at Sulloway & Hollis is pictured here with some of his friends. He had several pieces in the show- and definately won the award for bringing the most fans!

North Country Studio Workshops

2009-01-30T12:03:00.005-05:00

In February of 2008 McGowan Fine Art hosted a show of participants from the North Country Studio Workshops held at Bennington College. It featured over 40 artists in diverse media . It was such a successful show for us and brought publicity to the NCSW program that we decided to repeat it again in 2010.

In an effort to help this large group show go more smoothly I went over to Bennington College last night to give a presentation on how to work with galleries to the attendees of NCSW 2009. I also spoke about approaching galleries in general. Here I am talking (I hope I wasn't lecturing!) to the participants. About 40 people showed up, which was a decent amount as there were two other options for participants to choose from during the time slot. While I talked quite a bit about the Entry Form for the show to be held in 2010, most people were curious about how to approach galleries in general. Apparently it is a big mystery!

Standard protocol to approach a gallery is to first call to see if they are accepting submissions. While I will look at anything that is sent to me via the mail, there are many galleries that will not. Ask what they would like to see, but the standard package usually includes slides, retail price list, resume, statement, articles, and a SASE if you would like your materials back. Make sure that the images are of recent work and that they are available if the gallery would like to take your work on.

NEVER just send an email with attachments or directing someone to a website. Chances are that a spam filter will toss out your email and unsolicited invitations to look at websites are lacking the personal touch that it takes to get me to pay attention. I receive far too many of them from artists who are scattered all over the world. Our gallery is more regional so I try to mostly represent artists from the Northern new England area. That is another tip- target the galleries you approach to make sure that your work is a good fit with the gallery.

Always keep in mind that when a gallery does not accept your work it is a business decision and not a personal judgement. Insurance restrictions and storage space are always on a gallery director's mind. They are very familiar with what their clientele will like, or not like. Their decisions are based on what is best for their clients, the business and you. If your work is consigned to a drawer, never to be shown it doesn't do anyone any good.

And now a quick word from our sponsor- North Country Studio Workshops which has done such a great job of giving high quality educational opportunities to the artists of New England. They help to make artists and galleries more successful! NCSW brings in nationally recognized artists to lead intensive workshops in their medium. Anyone may attend, but they were developed to primarily give access to professional development for Northern New England artists. Thanks!

Our Littlest Visitors

2008-11-14T15:47:00.007-05:00

At McGowan Fine Art we have entertained Brownie Troops, Elder hostel, high school art classes, college level classes and more. They come here to learn what a commercial gallery is all about, what is art or how to be a professional artist. I have always enjoyed these groups- it is a break from my normal routine and I get to do one of my favorite things- talk about art.

I think having groups of younger kids exposed to art is very important. It teaches them to make it a part of their every day life. I think of it as teaching them to be cultural consumers.

This past Wednesday I hosted the World School from Nashua, NH. I had about 20 4-year olds in the gallery along with 8 adult chaperons. They were a fabulous little group of well behaved children- my favorite kind! I think they may have been overwhelmed by the experience but it may come back to them at a later date as having been a fun day. They really focused on the "why you shouldn't touch" speech I had given them earlier and had many questions on my reaction if one of them damaged a piece.

Hands down the most admired item in the whole gallery was my dog Henry. This is a picture of Amanda helping a young boy admire him. They tended to want to crowd in and lay hands on him all at once. He was very patient with them but I think he was a little distressed by the hubbub.

Jane Ryan Reception, October 24, 2008

2008-10-27T16:29:00.003-04:00

Maine artist, Jane Ryan shown talking to one of her fans. Lots of people came to the opening,
but I forgot to pull my camera out until the last minute... as everyone was getting ready to leave.

Peter Milton Round Table Discussion October 11, 2008

2008-10-18T12:38:00.007-04:00

McGowan Fine Art hosted a round table discussion on Peter Milton's latest print, Tracking Shot. About 20 of Peter's collectors attended to help him tease out the implications of going digital. It was a lively discussion with many of the attendees, some artists in their own right, interjecting with good questions. For those who are unaware of the controversy- Peter recently published his print both as a digital edition and as an intaglio. Purists are not quite sure what to make of this.

Peter has started using Adobe Photoshop to create the composition of his piece. Previously the compositions were created through painstaking photocopying of images after much tinkering with enlargement and reduction. Peter had reached the limits of this method and thus turned to "the beast" Photoshop.

After the discussion led by Mary McGowan the guests stayed for an opportunity to talk in more depth with Peter and look at his prints.

Children's Illustrators Opening- September 12, 2008

2008-09-13T17:33:00.015-04:00

So the evening started off slowly... I plan these events so far in advance but who was to know that it was a race weekend bringing in fans from around New England and that Barack Obama was speaking at the Tech. Both conspired to clog the highways heading North keeping most of the artists from arriving on time. Tracey Dahle Carrier was first and is shown here speaking with a collector.

Beth Krommes showed up next, shown here in the green sweater talking with a fan. Both Tracey and Beth are from NH so were able to get around some of the traffic.

Soon the crowds really started showing up - there was barely any room to move (although it doesn't seem like it in these photos. People had so many questions for the artists. Mary, Amanda & I were kept busy introducing fans to the artists and shepherding the artists downstairs to sign books that Gibson's Bookstore made available that evening.

Sheila Smallwood, children's editor at Houghton Mifflin, is shown here on the left of Rebecca Bond-yet another illustrator! Sheila was instrumental in getting this show off the ground so long ago. She pointed me in the direction of an Studio Goodwin Sturges who reps so many wonderful children's illustrators. It was difficult to choose just the the seven that I did.

Sheila's pocket puppy, Riley, is shown amusing one of the many young fans who turned up to meet real, live artists! (photo credit Michelle Johnson)

Here is Scott Magoon standing in front of his prints. He arrived 45 minutes late because of traffic. As soon as he walked through the door he was accosted by a young reader who was very concerned that he wouldn't get his book signed. Scott was originally from NH but has since moved to the big city to be an editor for Houghton Mifflin.

This is Amanda chatting with Wade Zahares. We have worked with Wade on some larger projects so it has been wonderful to meet him in person and share his stunning pastels with everyone.

We also had many people from the Currier Museum of Art come to see this show thanks to Tracey Dahle Carrier who works there. This is Susan Leidy, deputy director of the museum. I think I have captured her in a more serious moment as she was chatting up many.

Karl Drerup Opening at St Anselm College, September 11, 2008

2008-09-12T14:58:00.000-04:00

It was a very crowded evening at the Chapel Arts Center at St Anselm College. Father Iain Maclellan and assistant curator Jessica Pappathan did a marvelous job of putting the show together. The photo to the left shows lecturing curator, Jane Port and her husband Alan talking with longtime Drerup family friends Larry and Pia Sunderlund.

Pictured at left is Gerry Williams and his wife, Jenny. As a young man Gerry collaborated on some impromptu animal sculptures with Karl Drerup while teaching at Plymouth State University.

Melissa A. Miller Opening, August 8, 2008

2008-08-14T12:48:00.006-04:00

The Opening on August 8 was well attended. This is Melissa speaking with NH Home photographer, John Hession.

Day One at the Lakeside Living Expo

2008-07-18T16:58:00.003-04:00

Day one at the Lakeside Living Expo and lots of people have been through the booth. It is a little steamy but everyone is very pleasant. I think everywhere is hot.

Little River Oriental Rugs of Concord is our neighbor in the lodge.

Peter Ferber, a local artist is demonstrating around the corner.

Set up at the Lakeside Living Expo

2008-07-18T12:48:00.004-04:00

McGowan Fine Art is exhibiting at the Lakeside Living Expo in Guilford, NH at Gunstock Resort this weekend.

Mary and Sarah set the booth up yesterday... with only a few glitches. I'll take photos throughout the exhibit.

Hope to see some of you here!

Henry Freedman's Reception, June 20, 2008

2008-06-23T10:07:00.002-04:00

The artist, Henry Freedman, talking to a friend.

Maya Ofir & Marcia Herson Jewelry Trunk Show, May 30, 2008

2008-06-02T12:00:00.002-04:00

Friday evening was a fun and successful event. The Manchester Jewish Federation as part of the sister cities program is hosting the Israeli jeweler, Maya Ofir. As part of the exchange McGowan Fine Art had a trunk show featuring the work of Maya and one of the hosts, Marcia Herson. Here Maya sets up some of her jewelry in a case.
Maya going over her cases of jewlry to choose pieces for display.

Marcia Herson & Maya Ofir, in front, at end of evening. It was so much fun to meet a craftsman from another country that, at least I, know very little about. Her designs are definitely inspired by her ancient land- featuring ancient glass, raw stones and gold. Maya was lovely and so knowledgeable about her materials. Marcia Herson is a treat, as always to be around.

Sandy Wadlington Reception on May 9, 2008

2008-05-16T14:48:00.003-04:00

There were a lot of people in to meet Sandy Wadlington and look at her new work. Fun was had by all!

Talking to the artist.

Insuring Your Art

2008-05-03T12:42:00.001-04:00

Homeowner’s policies do not cover art, antiques or jewelry. For these you will need a rider. Depending on what you have purchased, these riders are not too expensive and may offer you piece of mind. Call your agent to find out what they require to purchase a rider and how much it will cost.

The first thing you need to decide is if your art will need to be insured. If something is really valuable I highly encourage you to have it insured. Repairing or replacing something that is costly is more onerous than doing the same for an inexpensive piece. Your homeowner’s policy probably covers many of your items with a “decorative” value. The average homeowner’s policy covers $50,000 for household contents which may cover many pieces. It certainly does for me! I have purchased many pieces of pottery and inexpensive prints for under $300.

You will need an invoice or valuation from a gallery or appraiser to present to your agent in order for a piece to be insured. It will need to have to be an invoice that states the name and contact information of the gallery or appraiser. Some insurers prefer that it be on letterhead. It should state the replacement cost of the piece so you will need to get these prices updated every couple of years to reflect the most current values of your artwork.

I do these valuations for my clients every couple of years, but I am only qualified to state current prices for artists that I represent. For everything else you will need to see an appraiser. I am happy to provide names of qualified appraisers in the area.

Hanging Artwork

2008-05-03T12:18:00.006-04:00

So you have purchased a piece of art- Congratulations! If it is a work on paper it will need to be framed in order to preserve and protect it. If it is on canvas or panel, talk with the gallery about protecting the piece and presenting it properly. Some pieces do not require framing and are enhanced by a simple, frameless presentation. We can help you make that choice.

Choosing where your purchase will be hung is an important part of proper presentation. A couple of things need to be considered when hanging art.

The space should be the appropriate size to accommodate the artwork. That means that it should not be crowded with very little wall space around it or have window frames encroaching on it. The opposite can be true too. One of the most common mistakes is to buy lots of small pieces that can make a room feel all chopped up and lacking a focal point. People are intimidated by large paintings. They think they will be too overpowering in a room. A large piece or two will be an anchor for a room and give it a focus. It is best to vary the sizes of the items you purchase. If you are not sure about the large painting in your home, ask to take one home and try it.

Another way to fill a large space is to group several small pieces together. It is important that the pieces relate to each other. This can mean finding a common color, line or theme. One of the easiest solutions is to group several pieces by the same artist- perhaps a series, but finding the connections between different artists and styles can be exciting. They often inform each other and cause people to take a second look.

Another common mistake is to hang artwork too high. In general the focal point of the painting should be at eye level. Another rule of thumb is eyelevel should fall about 2/3 the way up a painting. If I hang pieces next to a desk I will frequently lower them a little so that the person at the desk can enjoy them while sitting.

There are of course exceptions to every rule. One time I hung the artwork for a couple who were both 5 feet tall. Their eye level and my eye level differed by almost a foot! I adjusted the height of everything accordingly. I have also seen someone’s home where large pieces were crowded by the small rooms and low ceilings. It was a charming space which reflected the owner’s taste. Remember that ultimately it needs to look good and not strain someone’s neck to view.

Prints and Reproductions

2008-05-03T12:15:00.011-04:00

A confusing issue for art buyers is the term “print.” It can be used to refer to a reproduction and to a fine art print.

A reproduction is a copy of an original piece of art. Even though a print has an artist’s signature does not mean that it is an original. The signature could have been reproduced from the original!

A fine art print is the original art. The artist will create an image on a plate or block (matrix), which will be inked. The image is then transferred to a piece of paper. These prints can be in editions as small as 1 (monoprint) and up to 250-300, although most range in the 50-125 size. Because these prints can be produced as multiples, they are frequently less expensive than paintings. The price will be based on both the artist’s reputation and the size of the edition. On occasion an artist will use a master printer to print their work. There are many reasons for this. The printing process can be physically difficult or the technical nature of a print requires a very skilled hand to bring the artist’s vision to fruition.

A new process for reproduction has further muddied the waters. Giclees (pronounced zhee-clay) are produced on very high quality ink jet printers from very high resolution images of the original artwork. Because the image is on a computer it gives the artist much greater control over the colors than any other reproduction process. This process is expensive as reproductions go, but gives buyers an in-between price point on an artist’s work without forgoing on quality. These are frequently hand signed by the artist, but are nevertheless a reproduction.There are a number of photographers and digital artists who use the giclee process to print original works. These are originals and not reproductions as the originals exist on computers until they are printed. The giclee process is perfectly suited to their mediums.

How Do You Collect Art?

2008-05-03T12:15:00.010-04:00

Another reason that many people never start an art collection is that it can seem so overwhelming. So much to learn! One way to limit what you have to look at it is to only collect a certain style, medium or geographical region. Some of my clients will only collect New Hampshire or Maine artists. Some like to focus on just prints or only living artists. Others are only interested in abstracts. This is one way to really give your collection focus. It is also a way to become very knowledgeable about a certain segment of the art world. One of my favorite collectors focuses on prints and ceramics. His collection is prodigious- as is his knowledge. He is able to keep abreast of everything new in the print world and frequently teaches me a lot about it.

Go to shows at galleries. You can see a lot of work by an individual artist. If you go to the opening you will have a chance to meet the artist and ask them about their process. Don’t expect to always like what the gallery is showing, but you are exposed to it and are allowed to make up your own mind. Disagreeing about the merits of different art allows you to view and collect within a context. I often find that people will start off saying they don’t like something and then, over time, warm up to it.

Once you have decided that it is time to start purchasing, let the gallery know what you want to see. Tell them your budget and style constraints. They should be willing to pull out a number of pieces for you to view. Don’t be afraid to let them know how you feel about the work. That sort of guidance helps them to bring out more appropriate work.

Most galleries will allow you to take a piece home on approval. They may ask for a credit card number if you are not a regular customer. If you like a piece ask the gallery person if this is an option.

You are going to see a real range of prices in a gallery. Generally an artist can charge more for their work if there is a high demand for it or if they are a more established and respected artist. Don’t hesitate to ask if there seems to be a discrepancy between quality and price. The gallery should be able to explain it satisfactorily. It usually boils down to the fact that an artist’s work has sold consistently at that price.

Once you have purchased a piece of artwork, the gallery should provide you with information on the artist- perhaps a bio and artist statement. They should also provide you with, at the very least, an invoice stating what you have purchased and for how much. You will need this for insurance purchases (more on this later.) Often times galleries will provide a certificate of authenticity as if it guarantees that you have purchased a real piece of art. I find certificates of authenticity pretentious and serve only to bolster the purchaser’s confidence in what they have just bought. The only real guarantee is to purchase from a trusted gallery.

Where Do You Collect Art?

2008-05-03T12:14:00.005-04:00

Many people are intimidated by the thought of entering a gallery or are concerned that there will be an admission fee. Commercial galleries have no admission fee as a museum does. They make their money by selling the artwork to people, but you are under no obligation to purchase something because you have walked through the front door.

In most galleries you will probably be allowed to wander through on your own. This is a great way for you to be come familiar with a gallery’s artists. If you see something you like, be sure to ask if there is more. There are often many pieces which are stored. After you have visited several galleries you will find that certain ones appeal to you more than others. Galleries are mostly owned by individuals who have a distinct personality, which is reflected in the art that they offer. Make sure that you get on their mailing lists so that you will be notified of all upcoming shows.

There are also ample opportunities to buy art at art schools, artists’ open houses, art auctions and even eBay. One of my customers only buys from second hand shops. He has a wonderful eye and picks up some quality pieces for very little money. He then frames them in top notch frames to make the pieces look really special. When you purchase art from people you are not familiar with be sure to ask very specific questions about condition- especially if they are framed which might mask condition problems. I have seen many pieces purchased sight unseen, which then have to go to the conservator to be repaired from being improperly handled or framed.

The only places I do not recommend purchasing art are on a cruise ship. These sales take place far from home when people are not thinking clearly- they are often extremely relaxed as they are on vacation or have had too much to drink. Resist! Your defenses are down and it is a spur of the moment, impulse purchase often driven more for a desire for a memento of the trip than a love of the art. Save your money and buy a snow-globe.

Once you have found a couple of galleries that you like, try to visit them frequently. Things change often- new artists are brought in, shows change regularly. It is also a good way to establish a relationship with a gallery and to learn more about their artists. Once they know what you like they will probably contact you when something of interest comes in- giving you first choice.

Why Do you Collect Art?

2008-05-03T12:12:00.006-04:00

I often hear people say that they cannot afford to purchase art, but this frequently means that they are frightened of showing that they don’t know anything about it. The learning and discovery is, to me, the most thrilling aspect of collecting art. It is an opportunity to hone your eye and expand your horizons. For many years I enjoyed wine but felt that I could never learn about “good wine.” I felt it was beyond my experience and abilities. At some point in my life I decided to try experimenting. There are some wine shops I feel comfortable going in to and describing what I like and asking for recommendations. I state my budget and my tastes. I have learned a lot- I will even occasionally drink a rose! Art can be like this too. You will find that there is some affordable and good art to be had if you start looking and asking questions.

Some gallery salespeople may try to tell you that art is an investment. Sometimes it is and sometimes it isn’t. There are a lot of factors that go into investment grade- or blue chip art. Your primary reason for purchasing art should be for the enjoyment of the piece. It should give you pleasure for years to come. Unlike cars or clothing, it will never rust or go out of style. If you still insist on buying art that could potentially hold its value- look at the artist’s resume. Are they in good collections? Museum Collections? These are indicators that an artist might go the distance, but this should be considered a fortuitous bit of luck- often times realized only by your children or grand children.

Collecting art doesn’t just benefit you; it benefits artists and galleries too. I like to think of a purchase as a direct grant to an artist. Through your purchase you are saying that you think their work is good and worth pursuing. The money keeps that artist in rent and food so that they can continue to create more art. This is the main reason that McGowan Fine Art is committed to showing the work of living, regional artists.

Purchasing art also helps to keep your favorite galleries open, giving you an opportunity to view lots of different work. Commercial galleries do not receive government funding or have boards to raise funds, so they thrive or falter depending on how much support they get from people coming through their doors. So not only are you doing all this good work- you also get a beautiful piece of art to hang on your walls!

My favorite reason to collect art is that I love it and I love how it looks in my home. It is an opportunity to express my tastes and make an individual statement. One of the best compliments someone ever paid me was “your home looks like you.” My home offers me rest and relaxation – and the art is a big part of that feeling. I try to instill that spirit in others when they are purchasing art for their home. They should really love the piece and it should make them happy when they look at it.

Another very personal take on collecting art can be read about at Art Register.