WORKS ON PAPER AND PAPER ART
THE LIONHEART GALLERY
TABLE OF CONTENTS INTRODUCTION GEOFFREY STIEN – Mixed Media and Collage on Paper Paper Works
3 5
BARBARA OWEN – Painted Cut Paper Forms Paper Cuts Tangible Lines Paper Sculpture
15 17 27 41
ROXANNE FABER SAVAGE – Monotypes and Paper Lithography Overgrowth Lake Series Home Plate and Kitchen Sink Series Clovers Heaven’s Powerlines Live Wires roxyshow/ELEPHANT
55 57 60 67 75 81 89 93
DAVID HUTCHINSON – Watercolors and Ink on Paper Works The Aesthete Second Metamorphosis Genet on Rembrandt
99 101 105 111
GREGG WELZ Paper Cuts
117 119
KAREN VOGEL – Monotypes Paper Works Postscript
131 133 143
LIZ DEXHEIMER – Monotypes and Traceries Magenta Koi Trace Series
159 161 166
CLAUDIA MENGEL – Monotypes Large Figure Study Small Figure Study
169 171 179
HELEN CANTRELL Montypes
191 193
SERGE STROSBERG Watercolors
197 199
SARAH FRENCH Monotypes and Paper Lithography
205 207
CHRISTOPHER SHORE Cardboard Etchings
215 217
PHILIPPE HALABURDA – Mixed Media Woks on Paper Paper Works Aacetabuulan Caniis Miror Casiiop Cityy Cuuntacch Straao Esipii Saroitaa Hiivernn Stuyyvesaan Uppstaat Plaiin Uuser Urrba
227 229 241 249 257 265 271 281 287 295 301
BETSY PODLACH – Oil and Egg Tempera on Paper Florals
309 311
MARY MANNING Monotypes
319 321
EVERT WITTE Charcoal Drawings
325 327
DON BRACKEN Charcoal Drawings
333 335
PRICELIST
339
THE LIONHEART GALLERY
The Lionheart Gallery in Pound Ridge, New York is located in Northern Westchester’s Hudson River Valley on the border of Stamford and New Canaan, Connecticut. The Lionheart Galley has beautifully lush grounds with a pond and a aviary garden. Gallery Director Susan Grissom curates each exhibit from work chosen from the artists’ studio. We have eight exhibitions a year. Our inventory consists of painting, printmaking, fine art photography,Mixed Media and Sculpture. We also have a small works library with affordable works of art, art books, and art gifts. Our hours are Wednesday thru Saturday from 11 to 5 and Sunday from 12 to 5. and by appointment. Those traveling a distance would be advised to call ahead, as the gallery is occasionally closed for private viewings with collectors. Group visits welcomed with notice.
THE MOST PRIMAL MEDIUM, PAPER Works on paper have fundamental appeal. Drawings are intimate; they elicit immediate, emotional responses. Contemporary artwork defined by paper, from graphic work to complex mixed-media soliloquies, intensifies that impact. The Lionheart Gallery represents a corps of artists who share a devotion to paper and excel in making it a canvas for explorations that are powerful, often beautiful, always innovative and, ultimately, examples of enduring appeal for collectors. Sharing a high proficiency with technique, the gallery’s artists push the boundaries of tradition, embracing representation and abstraction—sometimes in a single work—to produce imagery that packs a visual punch through rich narratives or mere whispers of thematic qualities. Sarah French exalts the avian iconography of Martha’s Vineyard in monotypes with both nobility and swagger. Claudia Mengel’s figurative monotypes pay homage to Matisse and Cezanne in equal measures, and recovering lawyer Geoffrey Stein wields mastery over paper of many varieties in creating large-scale collage portraits of influential figures. Roxanne Faber Savage harnesses multiple processes to create deceptively simplistic images, usually abstract, that deconstruct monumental themes, such as the tragic plight of African elephants. Liz Dexheimer chases the illusory and transcendent qualities of light and atmosphere in hypnotic lithographs and monotypes. Karen Vogel references the enduring influence of typography to comment on the communication breakdown of the Digital Age, while David Hutchinson transmutes words by and about French writer Jean Genet in multiple layers of overwriting. Barbara Owen and Greg Welz take paper itself to an innovative new level—using the medium as material in three-dimensional drawings that bring a sculptural sense of movement to what was once strictly a two-dimensional affair. Read on to explore in greater detail the work of these and the gallery’s other artists who work masterfully on and with paper, and get in touch with any questions at 914.764.8689. The gallery’s website is www.thelionheartgallery.com. Susan D. Grissom, Gallery Director
GEOFFREY STEIN
Geoffrey Stein is a recovering lawyer, who has been painting full-time since 2000. He received an MFA from the Slade School of Fine Art, London in 2007. Stein lives and paints in New York City. He is represented by the Lionheart Gallery in Pound Ridge, NY and the Minster Gallery in the UK. I paint to find out what I think about the world: to discover the things I do not have words for. I savor the slips of the hand that express one’s unconscious feelings. I am interested in the tension between abstraction and realism. I do not want to make an academic copy of the model or a photorealistic illustration. My paintings explore the tension between what needs to be shown and what does not, the seen and the unseen. In my studio practice I utilize collage as a formal element. It provides a way of putting down tone or erasing previous marks. There is a randomness in collage; the secondary meaning in the text or image becomes an important part of the finished work. Collage allows me to layer multiple images over the scaffolding of a drawing. I use materials from the subject’s world to create their likeness.
PAPER WORKS
GEOFFREY STEIN
6
J.P., 2015 Collage and Mixed Media on Paper 28.5” x 30”
7
Surf Dude, 2015 Collage and Mixed Media on Paper 29.5” x 29”
8
Drinking Coffee, 2014 Collage and Mixed Media on Paper 25.5” x 19”
9
Blue Kuan, 2014 Acrylic and Collage on Paper 22” x 19.25”
10
Blue Double Portrait, 2014 Acrylic and Pencil on Paper 15” x 24”
11
Orange Sweater, 2013 Mixed Media and Collage on Paper 15.5” x 30”
12
Blue Jeans Back, 2012 Mixed Media on Paper 21” x 19”
13
Blue Self Portrait Mixed Media and Collage on Paper 30” x 16”
14
Heather, 2005 Mixed Media and Acrylic on Paper 54” x 51”
BARBARA OWEN
Barbara Owen is a contemporary painter and mixed media artist. Her work has been featured in numerous curated and juried exhibitions from the Newport Art Museum, Newport, RI, Minor Injury Gallery, Brooklyn, NY, The Arts Center in Troy, NY, the University Art Gallery of Mass Dartmouth, New Bedford, MA, Yellow Peril Gallery, Providence, RI, and the Lionheart Gallery, Pound Ridge, NY. Owen graduated from Bennington College with a Bachelor of Arts degree as an Interdivisional Major in Sculpture and Poetry. She wrote her creative thesis under the direction of the poet Ben Belitt, studied sculpture with Brower Hatcher and Lee Tribe as well as studied painting with the painter/art critic Sidney Tillim. Upon graduation she went on to apprentice with the sculptor Brower Hatcher for four years. It was during those years, and a move to New York City, that she turned to painting. Starting with hand-painted paper I cut out shapes, leaving them whole or retaining a simple boundary, before assembling them into painting-like compositions, the end result being highly colorful and vibrant abstractions, reminiscent of lace or crochet-work but without any recognizable or repeating patterns. In these I am experimenting with depth, superposition and inviting the viewer to examine the subtle boundary between flat work and the third dimension. Historically I have been an artist who has worked on pieces in the studio alone and shown them only after months, even years of scrutiny before the public ever sees them. Now I find my self coming to the gallery with my folders of cut paper and some idea of what I want to do. Keeping in mind that I have several hours, maybe that whole day, and with the curiosity of what I will in the end create in that space. Although these works are prepared in the studio, their final configuration only takes place as they are assembled on the wall. The installed piece combines process and object, it presents the inseparability of knowing/not knowing. The installation is the result, sum and residue of action, time and space. My work has evolved through the act of process: one piece leads to another. For me the most effective way to make art, is to find a methodology; which allows the painterly process, once set into motion to proceed as a natural force.
PAPER CUTS
BARBARA OWEN
18
Small Study Burst of Color, 2015 Ink and Acrylic on Cut Paper 12” x 9”
19
Cut Circles Over Painted Circles I, 2015 Ink and Acrylic on Cut Paper 48” x 30”
20
Cut Circles Over Painted Circles II, 2015 Ink and Acrylic on Cut Paper 48” x 30”
21
Red Overwhelms, 2013 Ink and Acrylic on Cut Paper 12” x 9”
22
Pinky Red, 2013 Ink and Acrylic on Cut Paper 12” x 9”
23
Little Layered Blooms, 2012 Ink and Acrylic on Cut Paper 9.25” x 11.25”
24
Luxuriance of Scarlet, 2015 Ink and Acrylic on Cut Paper 31” x 27”
25
Poetry Series (Cloud), 2013 Ink and Acrylic on Cut Paper 14” x 11”
TANGIBLE LINES BARBARA OWEN
28
Black Sumac, 2017 Ink and Acrylic on Cut Paper 85” x 43”
29
Letter of Intent, 2017 Ink and Acrylic on Cut Paper 33.5” x 28.25”
30
Black Lines Blue Reflection, 2017 Ink and Acrylic on Cut Paper 17.25” x 21.25”
31
Lines Drawn with Paper, 2017 Ink and Acrylic on Cut Paper 48” x 33”
32
Ink Blooms (Red Dance), 2017 Ink and Acrylic on Cut Paper 36” x 28.5”
33
Lines and Outlines II, 2017 Ink and Acrylic on Cut Paper 14” x 11”
34
Lines and Outlines IV, 2017 Ink and Acrylic on Cut Paper 14” x 11”
35
Painted Circles and Cut Circles I, 2017 Ink and Acrylic on Cut Paper 29” x 23”
36
Painted Circles and Cut Circles II, 2017 Ink and Acrylic on Cut Paper 29” x 23”
Left to Right Black Sumac Lines Drawn with Paper Ink Blooms (Red Dance) Lines and Outlines II Lines and Outlines IV Spinning Orange II (Blue and Gold)
Left to Right Letter of Intent Black Lines Blue Reflection Only (Red Reflection) Painted and Cut Circles I Painted and Cut Circles II
PAPER SCULPTURE BARBARA OWEN
42
Miss Havisham, 2017 Ink and Acrylic on Cut Paper 30” x 34”
43
Puff of Red, 2017 Ink and Acrylic on Cut Paper 35” x 29”
44
Rosy Pink Puffs (5 Puffs), 2017 Ink and Acrylic on Cut Paper Size Variable
45
Wisp, 2017 Ink and Acrylic on Cut Paper Size Variable
46
Puff of Blue, 2017 Ink and Acrylic on Cut Paper 29” x 20”
47
Calligraphy, 2017 Ink and Acrylic on Cut Paper 52” x 28”
48
Two Ideas, 2017 Ink and Acrylic on Cut Paper 40” x 32”
49
Cascade of Clouds, 2017 Ink and Acrylic on Cut Paper 26” x 21”
50
Palm, 2017 Ink and Acrylic on Cut Paper 15” x 17”
51
Twist, 2017 Ink and Acrylic on Cut Paper 18” x 14”
52
Paper Wall Sculpture I, 2014 Ink and Acrylic on Cut Paper Size Variable
53
Paper Wall Sculpture II, 2014 Ink and Acrylic on Cut Paper Size Variable
54
Paper Wall Sculpture III, 2017 Ink and Acrylic on Cut Paper Size Variable
ROXANNE FABER SAVAGE
Roxanne Faber Savage, b. Boston, Massachusetts, United States of America; Currently lives and works in Connecticut and New York. Roxanne/ “Roxy” is an award winning multidisciplinary artist with printmaking as her primary medium. She is a dynamic instructor and visual artist whose print works and installations are exhibited in solo and juried exhibitions in Museums, Galleries, Art Spaces in the Northeast, New York, New Mexico, Miami Beach, Scotland and Hong Kong. Her artworks are held in private and corporate collections in the US and abroad. Roxanne creates works on paper and other substrates, pushing the boundaries of traditional printmaking. She creates inventive prints on multiple substrates and painterly mixed media works using graphic imagery to tell her personal human stories. Roxanne is professionally affiliated with Mass MoCA, Makers Mill, North Adams, MA, The Boston Printmakers, Boston, MA, Manhattan Graphics Center, NY, NY, Silvermine Art Guild, New Canaan, CT, Center for Contemporary Printmaking, Norwalk, CT, Women’s Studio Workshop, Rosendale, NY, The Lionheart Gallery, Pound Ridge, NY. Eva Hesse once explained that she uses repetition in her work because it recalled the absurdity of life… “If something is absurd, it is much more exaggerated, more absurd if repeated.” As a multidisciplinary artist, I work in a range of media and materials with printmaking as my primary art form. For many years, I have been exploring ancient and contemporary symbols in my artwork. My imagery features ordinary things from daily life: birds, houses, balls, moons, swimmers, power lines, clover, text and language. These icons appear and resurface frequently throughout my work, tapping and mining my subconscious thoughts and emotions. My process involves defining a symbol or iconic picture and then “working it” until it’s meaning(s) are revealed. I enjoy “material play” – crossing disciplines with print, paint, photography, xerography, textile, digital media, sewing, and installation. In the studio – and in the gallery, I gather up loads of materials and build my imagery through an alchemy that is both intuitive and practiced.
OVERGROWTH
ROXANNE FABER SAVAGE
58
Overgrowth I, 2015 Plexiglass Intaglio Monoprint 42” x 29.75”
59
Overgrowth II, 2015 Plexiglass Intaglio Monoprint 42” x 29.75”
LAKE SERIES
ROXANNE FABER SAVAGE
61
Lake Series 1, 2015 Plexiglass Intaglio with Carborundum Aquatint Monoprint 22� x 30�
62
Lake Series 2, 2015 Plexiglass Intaglio with Carborundum Aquatint Monoprint 22� x 30�
63
Lake Series 5, 2015 Plexiglass Intaglio with Carborundum Aquatint Monoprint 22� x 30�
64
Lake Series 7, 2015 Plexiglass Intaglio with Carborundum Aquatint Monoprint 22� x 30�
Left to Right: Lake Series 1 Lake Series 2 Lake Series 3 Lake Series 4 Lake Series 5 Lake Series 6 Lake Series 7
HOME PLATE and KITCHEN SINK ROXANNE FABER SAVAGE
68
Home Plate 1, 2015 Mixed Technique Monoprint 42” x 29.75”
69
Kitchen Sink I, 2015 Mixed Technique Monoprint 42” x 29.75”
70
Home Plate 3, 2015 Mixed Technique Monoprint 42” x 29.75”
71
Home Plate I, 2015 Mixed Technique Monoprint 42” x 29.75”
72
Kitchen Sink II, 2015 Mixed Technique Monoprint 42” x 29.75”
Left to Right: Home Plate I Kitchen Sink II Home Plate II Home Plate 6 Home Plate 5 Home Plate 4 Kitchen Sink I Home Plate 3
CLOVERS
ROXANNE FABER SAVAGE
76
Clover 7, 2013 Monotype and Paper Lithography 44” x 31.5”
77
Bunch Clover, 2013 Monotype and Paper Lithography 44” x 31.5”
78
Clover 1, 2013 Monotype and Paper Lithography 44” x 31.5”
Left to Right: Bunch Clover Clover 1 Clover 7 Clover 3 Red Clover, Red Clover Clover 2
HEAVEN’S POWERLINES ROXANNE FABER SAVAGE
82
Heaven’s Powerlines I, 2015 Paper Lithograph Monoprint with Mixed Media 30” x 22”
83
Heaven’s Powerlines IV, 2015 Paper Lithograph Monoprint with Mixed Media 30” x 22”
84
Heaven’s Powerlines III, 2015 Paper Lithograph Monoprint with Mixed Media 30” x 22”
85
Heaven’s Powerlines II, 2015 Paper Lithograph Monoprint with Mixed Media 30” x 22”
86
Heaven’s Powerlines VIV, 2015 Paper Lithograph Monoprint with Mixed Media 30” x 22”
Left to Right: Heaven’s Powerlines II Heaven’s Powerlines III Heaven’s Powerlines V Heaven’s Powerlines VI Heaven’s Powerlines VIV Heaven’s Powerlines IV Heaven’s Powerlines I Heaven’s Powerlines VII Heaven’s Powerlines VIII
LIVE WIRES
ROXANNE FABER SAVAGE
90
Live Wires III, 2015 Paper Lithograph Monoprint 13” x 14”
91
Live Wires I, 2015 Paper Lithograph Monoprint 13” x 14”
92
Live Wires II, 2015 Paper Lithograph Monoprint 13” x 14”
roxyshow/ELEPHANT
ROXANNE FABER SAVAGE
94
Rainbow Elephants Triptych, 2016 Silkscreen 32.5” x 58”
95
Sideshow Totem, 2016 Silkscreen 84” x 24.5”
96
Endless Loop of Tears, 2016 Silkscreen 26” x 74”
97
Telephant, 2016 Silkscreen with flocking 19.5” x 38.75”
DAVID HUTCHINSON
As a concept based abstract artist, my work investigates the nature of communication and the meaning of visual presentation. Over the years I have developed a few devices that are consistently employed: the use of over-writing (the transcription drawings), a ‘chromatic alphabet’, and an ‘achromatic alphabet’. The way in which these tools are used vary, depending on the work’s emphasis or intended message. The work may change slightly from project to project, but the underpinnings remains constant. In reading the texts of Jean Genet, I am continuously amazed at how he utilized formally evocative language to entice his readers into a complex world of amoral imagery, using the persuasive power of language to seduce his audience into the world’s dark underbelly. Christian painters have been doing something similarly for multiple generations by visually translating challenging, inhuman stories into graphic representations with incredible magnetic pull. For nearly two decades, I have been trying to push this phenomenon by emphasizing modernism’s push-and-pull between presentation and content. A large part of the body of my work has been working with the texts and life of Jean Genet to examine how the nature of formalism can absorb and subsume questionable morality by willfully re-presenting the material in a different artistic vocabulary.
THE AESTHETE
DAVID HUTCHINSON
102
The Aesthete I, 2012 Watercolor on Paper 54” x 40”
103
The Aesthete G, 2012 Watercolor on Paper 54” x 40”
104
The Aesthete H, 2012 Watercolor on Paper 54” x 40”
SECOND METAMORPHASIS DAVID HUTCHINSON
106
Second Metamorphosis G, 2014 Watercolor on Paper 29.5� x 22.25�
107
Second Metamorphosis J, 2014 Watercolor on Paper 29.5� x 22.25�
108
Second Metamorphosis K, 2014 Watercolor on Paper 29.5� x 22.25�
Left to Right: Second Metamorphasis B Second Metamorphasis K Second Metamorphasis D Second Metamorphasis G Second Metamorphasis H Second Metamorphasis L Second Metamorphasis M Second Metamorphasis J
GENET ON REMBRANDT DAVID HUTCHINSON
112
JG on Rembrandt II, 2000 Paint Marker on Paper 48” x 36”
113
Balcony, 2000 Ink on Paper 14” x 11”
114
Death Watch, 2000 Ink on Paper 14” x 11”
115
JG on Rembrandt I, 2000 Paint Marker on Paper 48” x 36”
GREGG WELZ
Gregg Welz, a lifelong resident of Norwalk, Connecticut, is a conceptual artist who configures cut and folded pieces of drawing paper into repeating patterns, creating gradations of light and cast shadow. From early watercolor lessons at the age of twelve to an art and design education at Pratt Institute in Brooklyn, New York, Welz has continued to experiment artistically. He notes that his imagination is influenced by geometries found throughout the environment, both natural and man-made. “I am drawn to this abstract process as a means of expressing the visual symmetry around me: architecture, water patterns, or stone walls, for instance,” says Welz of his cut paper practice, citing Sol LeWitt and Louise Nevelson among his sources of inspiration. “Using the grid confines or contains the composition to its singular space; I envision the boundaries broken through to infinite scale.” Utilizing paper with texture and weight is important to the artist; he likes the tactile feel of it. While he sometimes works in colored papers—rich crimson, Mediterranean azure blue—many of his recent pieces are minimalist confections of white on white. The work is delicate yet crisp, the patterns graceful and angular, as intricate as a classical symphony and as elegant as pleats in couture fashion. The folds of the paper in these three-dimensional works form shadows that make one more layer of pattern and color; even in the monochromatic compositions, the shadows cast a variety of shades. “When I first created the paper cuts series, shadows were a pleasant after effect,” Welz notes. “As my work develops, I look forward to what the shadows may reveal.” Some of the artworks in Paper Cuts are more elaborate than others; indeed, Welz compares cutting paper to preparing a palette of mixed paint, and his studio tools are blades instead of brushes. He then lays out the grid and completes each square, over and over. Each piece of paper has been scored, cut, folded, and affixed with a riser; completion can take several weeks of repetitious practice. The artist enjoys viewers’ reactions to his work and is often queried on his patience. Paper Cuts includes works such as Up and Over, a perfect square composed of 169 smaller squares, each its own tile of origami-like folds. The detailed shapes Welz has folded into the creamy white paper conjure endless associations: tiny kites, ornate frosting roses, snowy peaks, experimental architecture, spinning pinwheels, scales on a pale fish, or facets in a diamond. Simultaneously stimulating and meditative, Welz’s cuts and creases form individual universes that are nuanced when seen from any focal point. Viewers will find something new to contemplate with each look.
PAPER CUTS GREGG WELZ
120
Tilt–a–Whirl, 2016 Drawing Paper 40” x 40”
121
Red Currents, 2014 Drawing Paper 20” x 16”
122
Blue Currents, 2014 Drawing Paper 20” x 16”
123
Open and Close, 2016 Drawing Paper 40” x 40”
124
Islands in the Wind, 2016 Drawing Paper 20” x 16”
125
Black Composition, 2014 Drawing Paper 20” x 16”
126
Up and Over, 2016 Drawing Paper 40” x 40”
Left to Right Open and Close White Sea Blue Tilt–a–Whirl Public Square Up and Over Blue Chips White on White White Over Orange Pop Winter Stars
Left to Right Black Composition Nutmeg Blue Points of Bright Red Currents Islands in the Wind Blue Currents Sound Waves American Flag
KAREN VOGEL
Karen Vogel is a printmaker and painter who finds inspiration in the natural world. Exploring the connection between patterns, textures, layers, colors, perspective and scale, she is interested in the parallels between art-making and landscape design, her two passions. Ms. Vogel has studied painting and drawing at The Art Students’ League (New York, NY), The Corcoran College of Art and Design (Washington, DC), The San Francisco Art Institute (San Francisco, CA) and The Center for Contemporary Printmaking (Norwalk, CT). She has a Master Garden Certificate from the University of Connecticut, and is currently enrolled in the Landscape Design Program at the New York Botanical Garden. Her prints and paintings have been featured in museums and galleries across the country. Connecticut venues include the Housatonic Museum, (Bridgeport), River Street Gallery (New Haven), Kohn-Joseloff Gallery (Cheshire), Bendheim Gallery (Greenwich), the Center for Contemporary Printmaking (Norwalk), White Gallery (Lakeville) and Fairfield’s Art/Place Gallery, Bruce Kershner Gallery and Fairfield University. In New York, she has shown at the Brooklyn Front Gallery. Ms. Vogel’s work has been collected by numerous private and corporate patrons. She has completed commissions for the National Academy of Science (Washington, DC) and American Public TV Stations (Washington, DC). Earlier in her career, she was an Art Consultant for The Aldrich Gallery (San Francisco, CA) and served as Director of Art and Exhibition Programs at the American Institute of Architects (Washington, DC). The artist is currently an active member of the Center for Contemporary Printmaking (Norwalk, CT) and Silvermine Guild of Artists. She teaches printmaking classes from the studio she maintains in Norwalk, CT.
PAPER WORKS KAREN VOGEL
134
Red Zone, 2014 Monoprint 30” x 22”
135
Groundworks, 2013 Monoprint 18” x 18”
136
Green Point, 2013 Monoprint 18” x 18”
137
Mixed Signals, 2013 Monoprint 30” x 22”
138
Cross Walk, 2013 Monoprint 25” x 25”
139
Sidewinder I, 2015 Monoprint and Mixed Media 29.75� x 19.25�
140
Sidewinder II, 2015 Monoprint and Mixed Media 29.75” x 19.25”
Left to Right Sidewinder I Sidewinder II Red Zone Groundworks Cross Walk Greenpoint Memorial Park Mixed Signals Purple Haze
POSTSCRIPT
KAREN VOGEL
144
Budapest Blue, 2017 Monoprint 41” x 29”
145
Run Way, 2017 Monoprint 18” x 18” print on 30” x 22” paper
146
Unwind, 2017 Monoprint 18” x 18” print on 30” x 22” paper
147
Tango, 2017 Monoprint 30” x 22”
148
Sunny Side, 2017 Monoprint 30” x 22”
149
Sunrise, 2017 Monoprint 18” x 18” print on 30” x 22” paper
150
Undercover, 2017 Monoprint 18” x 18” print on 30” x 22” paper
151
Aquamarine, 2017 Monprint 30” x 22”
152
ACE, 2017 Monoprint 30” x 22”
153
Good Vibration I, 2017 Monoprint 18” x 18” print on 30” x 22” paper
154
Good Vibration II, 2017 Monoprint 18” x 18” print on 30” x 22” paper
Left to Right Faulty Towers Undercover Sunrise Dawn of Light Around Midnight Dawn to Dusk Unwind Labyrinth Silhouette Run Way Red Zone Good Vibrations I Good VIbrations II
Left to Right Purple Passages Aquamarine ACE Daze II Sunnyside Tango Budapest Blue Limelight
LIZ DEXHEIMER
Liz Dexheimer’s paintings and works on paper have been exhibited widely throughout the northeast region and also in the southeast. Her work, including commissioned pieces, is in numerous private and corporate collections around the country, including the corporate headquarters of Frontier Communications, J.W. Marriott (Essex House), Ritz Carlton and United Peoples Bank. A native of Manhattan, Ms. Dexheimer currently resides in Washington, CT, where she maintains a painting studio. She creates her monotypes with the assistance of master printer Marina Ancona at 10 Grand Press in Brooklyn and in Santa Fe. She studied at Oberlin College, the School of Visual Arts and Parsons School of Design. She is a juried member of the Silvermine Artists Guild and is affiliated with several galleries in the eastern US.
MAGENTA KOI LIZ DEXHEIMER
162
Magenta Koi I, 2015 Monoprint 24” x 18”
163
Magenta Koi II, 2015 Monoprint 24” x 18”
164
Magenta Koi III, 2015 Monoprint 24” x 18”
165
Magenta Koi IV, 2015 Monoprint 24” x 18”
TRACE SERIES
LIZ DEXHEIMER
167
Trace Series, 2015 Monoprint 17.75” x 17.75”
168
Trace Series, 2015 Monoprint 17.75” x 17.75”
CLAUDIA MENGEL
“My work comes from not looking, but experiencing the world around me, and then translating these visual and emotional perceptions. With every creation, there is a new discovery, a new problem, a new solution. Every time I approach the blank white space, I take a unique journey always unlike the last, and never like the next. It is what keeps me coming back.” Claudia Mengel has been studying, instructing, and making art for many years. Fourteen years ago, she left her corporate career as Vice President of Creative Services at J.P. Morgan Chase Manhattan Bank and began concentrating on her art full-time. An accomplished painter and printmaker whose work is in many private collections in the tri-state area, she exhibits at several galleries and is a member of Silvermine Artist Guild and a member of the Center for Contemporary Printmaking, where she served on the board. The artist received her degree in printmaking from the Brainerd Art School at the State University of New York at Potsdam. She has continued her studies at the Art Students League in New York, the Silvermine Art Center, the Center for Contemporary Printmaking, and the Darien Art Center, as well as with private teachers. She has studied with Robert Reed, Professor of Art at Yale. She also studies and works with Hugh O’Donnell, Professor of Art at Boston University, Constance Kiermaier, a prominent New England artist, Master Printer Marina Anacona, and Master Printer Anthony Kirk, who has printed with major American artists including Helen Frankenthaler and Wolf Kahn. Born in New York City, Ms. Mengel now works and lives in Westport, Connecticut.
LARGE FIGURE STUDY CLAUDIA MENGEL
172
Bottoms, 2012 Monotype 41” x 30”
173
Bottoms II, 2012 Monotype 41” x 30”
174
Pamela II, 2012 Monotype 41” x 30”
175
Three Green Figures I, 2012 Monotype 41” x 30”
176
Pamela I, 2012 Monotype 41” x 30”
Left to Right: Bottoms II Three Green Figures I Bottoms Two Blue Figures I Three Green Figures II Two Blue Figures II
SMALL FIGURE STUDY CLAUDIA MENGEL
180
Figurative Eggplant Room, 2012 Monotype 22” x 15”
181
Next Two II, 2012 Monotype 22” x 15”
182
Figures in Garden, 2012 Monotype 22” x 15”
183
Eve V, 2012 Monotype 22” x 15”
184
Next Two VI, 2012 Monotype 22” x 15”
185
Seated Figure, 2012 Monotype 22” x 15”
186
Eve VI, 2012 Monotype 22” x 15”
187
Figure Turning, 2012 Monotype 24” x 18”
188
Seated Figure II, 2012 Monotype 22” x 15”
Left to Right: Eve V Next Two VI Eve VI Three Figures Figurative Eggplant Room Next Two II Two Figures Sitting Figure Turning Figures in Garden Seated Figure II Sitting Pretty Seated Figure I
HELEN CANTRELL
Born March 1947 in Chicago, Illinois, Cantrell moved to New York City in 1968, and has lived along the Northeast coast for the past 40 years, currently in Old Lyme, CT. An early art inspiration was a Horizon magazine article on Richard Diebenkorn and the Bay Area Figurative painters. Elected an artist member of the Silvermine Guild of Artists in 1998, when Cantrell retired from work as a typesetter in NYC and moved to Connecticut, she has been painting and making prints fulltime for the past 16 years, most recently large-scale woodcuts.
MONOTYPES
HELEN CANTRELL
194
Green Square Suburbia, 2013 Monotype 16” x 16”
195
Suburbia Cul de Sac, 2013 Monotype 16” x 16”
196
John and Joyce Backyard, 2011 Monotype 22” x 22”
SERGE STROSBERG
Strosberg was born in Antwerp, Belgium and was trained at some of France’s nest art schools : Academie Julian and The Beaux-Arts in Paris. He learned the di cult and beautiful technique of oil and egg tempera from Joerg Hermle, a german expressionist painter. In 2002, he was the recipient of the Jan Cockx Prize given by The Director of Muhka (Museum of Contemporary Art of Antwerp). Recently, some of Strosberg’s paintings were acquired by The Shanghai Himalayas Art Museum, the Felix Nussbaum Museum (Germany), The Musee of Pontoise (Paris), The Southern district court of Florida and Mercersburg Academy which has 2 William Merritt Chase paintings in its collection. His work has also been exhibited in more than 40 group shows including two with Lucian Freud and Pearlstein at The Felix Nussbaum Museum (Germany) and The Musee de Pontoise near Paris (France).Strosberg has produced more than 15 individual exhibitions including Artsenat (France), Elaine Baker Gallery (Florida), Paul Fisher Gallery (Palm Beach), Alexandre Gertsman Contemporary (New York), The Jewish Museum (Amsterdam), The Ann Norton Sculpture Gardens (Palm Beach, Florida) and The Lighthouse Center for the Arts (Jupiter, Florida). His work is currently in 140 private collections in Europe and the United States In 2018, the Coral Springs Museum (Florida) will present a survey of his work.The show “Tales of the High Line” at The Lionheart will be the artist’s second show at the gallery and presents portraits and cityscapes inspired by the mesmerizing NY “Coulee Verte” (High Line). Working very much like a collage artist, using paper clips and cutouts, Strosberg attempts to decontextualize socioeconomic events that recently occured after the crash, painting absurd situations and some of the dark and well known facets of Manhattan as well as political turmoil outside of the USA.Using portraiture in a satirical way, he brings expressionism and realism together in paintings that are very fresh and pop…
WATERCOLORS
SERGE STROSBERG
200
Malik So Chic,2014 Watercolor on Paper 14” x 11”
201
Vienna, 2012 Watercolor on Paper 11” x 14”
202
Julia Under the Red Spotlight, 2012 Monoprint 18” x 18”
203
Jordan Fox, 2009 Watercolor on Paper 14” x 11”
204
Official Hank, 2009 Watercolor on Paper 14” x 11”
SARAH FRENCH
Artist Sarah French’s whimsical mixed-media works are influenced by a chance encounter on the shores of Martha’s Vineyard. A painter, collage artist and writer, French’s published children’s book, Summer Friends, was inspired by her daily beach walks with her dog, Minnie, when a seal would suddenly appear in the ocean and follow them as they walked down the beach. “It made me wonder what the seal was thinking and this story unfolded,” Explains French. “Being an artist, I was able to `paint’ the story with my hand-made papers and collage.” French has been practicing her art for over 20 years, starting with landscape painting en plein air; her work has evolved to include collage. She studied art at the University of Vermont, the Rowayton Art Center and the Silvermine School of Art in New Canaan, CT. She has exhibited her paintings locally and on Martha’s Vineyard.
PAPER LITHOGRAPHY SARAH FRENCH
208
Egret in the City, 2016 Paper Lithography 13” x 11”
209
NYC Skyline I, 2014 Paper Lithography 13” x 11”
210
NYC Skyline II, 2014 Paper Lithography 13” x 11”
211
Menemsha Shack I, 2014 Paper Lithography 13” x 11”
212
Menemsha Shack II, 2014 Paper Lithography 13” x 11”
213
Bait Shop, 2014 Paper Lithography 13” x 11”
CHRISTOPHER SHORE
I have always gravitated toward line in my art. Each of my works start out organically, with one line, and then another, building up a complex network. I prefer curves and spirals, the types of lines that are abundant in nature. As each successive line is created, I begin to analyze the developing image and push and pull the lines until they begin to take form. Often, as these figures emerge, I accentuate and help define them yet allow them to remain abstract and ambiguous. the unseen. Everybody tends to see things differently and in my prints, I emphasize the flexibility of perception, cognition, and the relative nature of our world. While I often qualify them as particular images, I am open to the viewers interpretation of what they see. Although the basis of my work is abstract, I find that the shapes of heads and faces of animals and anthropomorphic beings. My lifelong interest in mythology, religion, and spirituality has focused my way of thinking to read these types of images in my work. I teeter on the edge between figuration and abstraction, often pushing and pulling until I evoke something concrete yet essentially ambiguous. Within these networks of lines emerges a form, provoked into being by the viewer.
CARDBOARD PRINTS CHRISTOPHER SHORE
218
Noon, 2001 Cardboard Engraving Print 11” x 9.5”
219
Hippoporoman, 2001 Cardboard Engraving Print 11” x 9.5”
220
What I Heard, 2003 Cardboard Etching 19.75” x 15.75”
221
4 and 20 No. 5, 2017 Monotype 12” x 13”
222
4 and 20 No. 14, 2017 Monotype 12” x 13”
223
Equiss II (Black), 2017 Cardboard Engraving Rinse Print 14.5” x 11.5”
224
Equiss III, 2003 Cardboard Etching 10” x 13.5”
Left to Right Equis II (Black) Equestrian I Equis III Equis II Noon Untitled (Small Red) What I Heard Bird Dusk Cygnus Hippopotoman Elehpant Dorian 4 and 20 No. 1 (Black Bird) 4 and 20 No. 2 (Red Bird) Asana
PHILIPPE HALABURDA
Philippe Halaburda was born in France in 1972. He received his diploma in 1995, Superior Degree Graphic Art School from the EDTA Sornas School, Paris. Having lived and exhibited from Paris (France) to Zurich and Berne (Switzerland), Philippe Halaburda now divides his time between a studio in Aix-en-Provcence and his graphic art director activity in Paris. Halaburda’s paintings and drawings have been exhibited throughout the US, in Canada, Europe (France, Italy, Spain, Germany, Austria, Belgium) and Australia. He was a guest resident of the Villa Baulieu Workshop in Aix-en-Provcence in 2008. His work is in the collection of many corporate and non-profit institutions including the Radar (Bayeux, France), Draguigan permanent Art Collection (Draguignan, France) and the Villa Baulieu Art Collection (Aix-en-Provence, France). His work is in private collections in the United States, France, Belgium, Spain, Italy, Switzerland, Canada, The Netherlands andChina. His work attempts to reflect the ongoing exploration of the abstract in human nature, moving between the accidental and the consciously structured, juxtaposing spontaneous or geometric forms. He strives for a sense of order with feelings and emotions. One layer influences the next, one color brings the next, one shape creates the next. An ambiguous notion may often appear in the work, leaving the viewer to be engaged in decoding the meaning of the work. He’s very concerned with the effects of change, growth and loss inherent in his own creation process, taking the chance of losing the whole, but often rewarded by an off chance inspired image of repeated and duplicated colors and shapes. That’s why his work is very similar with maps or satellite aerial views. The surfaces and the strokes must awaken attention in the viewer and inspire imagination form one’s own experiences. Philippe Halaburda lives and works in the South of France.
PAPER WORKS
PHILIPPE HALABURDA
230
Cayce Lotu, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
231
Void Ghanta, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
232
Topyseaq, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
233
Moaner, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
234
Para the Hispte, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
235
Endorfin, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
236
Narbut Bonda, 2014 Acrylic, Felt Tip and Colored Pencil on Paper 41” x 30”
Left to Right Cayce Lotu Why Jel Tohpp Awanto Casset Beach Distortion Mouse or Pola Parelie Ghost They Know Wiennus Azieru Triibe The Humpii Scrib Mineap Joich Para the Hispte
Left to Right Moaner Narbut Bonda Elgant Krokayy Filss Araskan Safari Voltaire Topyseaq Endorfin Void Ghanta Desognaa Damaso Loner Buria
AACETABUULAN
PHILIPPE HALABURDA
242
Aacetabuulan Deese, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
243
Aacetabuulan Syylin, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
244
Aacetabuulan Arrhay, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
245
Aacetabuulan Verrore, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
246
Aacetabuulan Loqquens, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right Aacetabuulan Loqquens Aacetabuulan Syylin Aacetabuulan Verrore Aacetabuulan Arrhay Aacetabuulan Awwkardd Aacetabuulan Boddhii Aacetabuulan Deese Aacetabuulan Saffron Aacetabuulan Cheenpo Aacetabuulan Naddurr
CANIIS MIROR CASSIIOP
PHILIPPE HALABURDA
250
Caniis Miror Cassiiop B, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
251
Caniis Miror Cassiiop G, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
252
Caniis Miror Cassiiop K, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
253
Caniis Miror Cassiiop L, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
254
Caniis Miror Cassiiop M, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right Caniis Miror Cassiiop B Caniis Miror Cassiiop C Caniis Miror Cassiiop D Caniis Miror Cassiiop I Caniis Miror Cassiiop K Caniis Miror Cassiiop L Caniis Miror Cassiiop M Caniis Miror Cassiiop E Caniis Miror Cassiiop G Caniis Miror Cassiiop H
CITYY
PHILIPPE HALABURDA
258
Cityy – 5th Street, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 16” x 12”
259
Cityy – 23rd Street, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 16” x 12”
260
Cityy – 24th Street, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 16” x 12”
261
Cityy – 47th Street, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 16” x 12”
262
Cityy – 125th Street, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 16” x 12”
Left to Right: Cityy – 4th Street Cityy – 5th Street Cityy – 23rd Street Cityy – 125th Street Cityy – 50th Street Cityy – 47th Street Cityy – 87th Street Cityy – 12th Street Cityy – 24th Street Cityy – 25th Street
CUUNTACCH STRAAO
PHILIPPE HALABURDA
266
Cuuntacch Straao 1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
267
Cuuntacch Straao 2, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
268
Cuuntacch Straao 7, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right: Cuuntacch Straao 1 Cuuntacch Straao 5 Cuuntacch Straao 2 Cuuntacch Straao 4 Cuuntacch Straao 6 Cuuntacch Straao 7 Cuuntacch Straao 3
ESIPII SAROITAA
PHILIPPE HALABURDA
272
Esipii Saroitaa Blaau D1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
273
Esipii Saroitaa Blaau Cb, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
274
Esipii Saroitaa Blaau E1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
275
Esipii Saroitaa Ree A1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
276
Esipii Saroitaa Ree E1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
277
Esipii Saroitaa Yeelo A1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
278
Esipii Saroitaa Yeelo C1, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right: Esipii Saroitaa Blaau Cb Esipii Saroitaa Blaau E1 Esipii Saroitaa Blaau D1 Esipii Saroitaa Yeelo A1 Esipii Saroitaa Yeelo C1 Esipii Saroitaa Ree E1 Esipii Saroitaa Ree A1 Esipii Saroitaa Ree C1 Esipii Saroitaa Ree D1
HIIVERNN
PHILIPPE HALABURDA
282
Hiivernn 2018, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
283
Hiivernn 2038, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
284
Hiivernn 2022, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right: Hiivernn 2018 Hiivernn 2022 Hiivernn 2028 Hiivernn 2032 Hiivernn 2038
STUYYVESAAN
PHILIPPE HALABURDA
288
Stuyyvesaan 22, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
289
Stuyyvesaan 66, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
290
Stuyyvesaan 55, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
291
Stuyyvesaan 77, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
292
Stuyyvesaan 88, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right: Stuyyvesaan 88 Stuyyvesaan 99 Stuyyvesaan 66 Stuyyvesaan 77 Stuyyvesaan 44 Stuyyvesaan 55 Stuyyvesaan 22 Stuyyvesaan 33 Stuyyvesaan 11
UPPSTAAT PLAIIN
PHILIPPE HALABURDA
296
Uppstaat Plaiin 2, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
297
Uppstaat Plaiin 6, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
298
Uppstaat Plaiin 8, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right: Uppstaat Plaiin 6 Uppstaat Plaiin 2 Uppstaat Plaiin 7 Uppstaat Plaiin 8 Uppstaat Plaiin 4 Uppstaat Plaiin 3 Uppstaat Plaiin 5 Uppstaat Plaiin 1
UUSER URRBA
PHILIPPE HALABURDA
302
Uuser Urrba 200, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
303
Uuser Urrba 600, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
304
Uuser Urrba 700, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
305
Uuser Urrba 800, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
306
Uuser Urrba 1000, 2016 Acrylic, Felt Tip and Colored Pencil on Paper 26” x 20”
Left to Right: Uuser Urrba 100 Uuser Urrba 200 Uuser Urrba 300 Uuser Urrba 400 Uuser Urrba 500 Uuser Urrba 600 Uuser Urrba 700 Uuser Urrba 800 Uuser Urrba 1000
BETSY PODLACH
Artist Betsy Podlach was born and raised in Bedford, NY before her artistic evolution took her from Harvard University, where she was a National Merit Scholar and a Watson Scholar, to stints as a Visiting Artist in Umbria, Italy. At the beginning of her professional career, Betsy’s work was collected by the Princess Donnatello Borghese of Rome, who was so impressed with her work that she invited Betsy to return the following summer, and provided her with an apartment and studio within her family castle near Rome. Betsy also credits numerous scholarships from Harvard and the New York Studio School as well as the International School of Art in Umbria with allowing her to take time to develop her craft. My still lives and landscapes are also the result of seeking to present an image that was born and exists outside of time. They are also a creation begun with observation and completed through the process of something new being found as the canvas develops and though my confidence of what is true beyond and beneath what I see directly.
FLORALS
BETSY PODLACH
312
Hyacinths in a Jar, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
313
Pink Flowers in Vase, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
314
Flowers XI, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
315
Vase with Flowers I, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
316
Hyacinths on Red Cloth, 2014 Oil and Egg Tempera on Paper 30” x 22.5”
Left to Right Vase with Flowers I Pink Flowers in Vase Vase with Flowers II Hyacinths in a Jar Flowers XI Bouquet in Vase Black and White Roses Hyacinths on Red Cloth
MARY MANNING
Color, color, color! My work contains a strong graphic element and a sophisticated sense of design, but to me color trumps all other aesthetic considerations. I am a printmaker and painter, and my preferred medium is monotype, which is a one-of-a-kind painting printed on paper. This is the most direct form of printmaking - requiring only pigments, a surface on which to apply them, paper and some form of press. As a child of the 1960’s, music is a major influence on my work. The beat, pace, rhythm and lyrics of the music I listen to affect my output. My working practice unfolds in a specific tempo depending on my medium and environment. In my studio, my painting process is slow and considered. I arrange, stand back and reflect, rearrange, stop to deliberate, re-arrange, alter the composition, change the shape structures, rebalance the elements, ponder the composition, modify the colors, rearrange, and so on until slowly a painting emerges over a length of time. The opposite happens when I print in the printshop. My productivity becomes focused by the built-in limitation of time and the collaborative nature of working with a master printer. I give myself over to the spontaneity and immediacy of the printmaking process. I filter, edit, mix colors, improvise, and generate ideas with quick decisiveness. The combination of these two practices allows me to fully work out my artistic ideas. As I approach a project, I give myself challenges to resolve in each piece. For example I’ll set out to only use three colors, or four shapes. Doing so provides boundaries to which to adhere and proves liberating. When a topic interests me, I want to learn all about it. I find that working in a series allows me to immerse myself in the nuances and breadth of a particular subject. I am inspired by literature, world events, music, and nature. My past series have included The Jungle Book, Hurricane Katrina, The Gulf Oil Spill, Birds, Flowers, Animals, Music. I am an abstract artist; amorphous shapes and saturated colors are what flow through my brush. My titles remain ambiguous, so that viewers bring their own interpretation and perspective to what they see. Through the work, I hope they encounter the joy I brought to its creation.
MONOTYPES
MARY MANNING
322
Circles # 5, 2014 Monotype 30” x 22”
323
Balance # 1, 2014 Monotype 30” x 22”
324
Olivaceous, 2014 Monotype 30” x 22”
EVERT WITTE
Evert Witte was born in Nijmegen, The Netherlands in 1951. From 1969 until 1972 he studied graphic design at the Academy of Visual Arts in Arnhem, NL. After his studies he worked for the next ten years as a freelance illustrator. Around 1983 he started to make the transition from commercial to fine art and began showing his work in the Haarlem area, his hometown where the Frans Hals Museum became one of his first collectors. In the late eighties and early nineties he participated in exhibitions in: The Jacob Smits Museum, Mol Belgium; Gallery Art Propos, the Hague NL.; De Kunstkapel, Gouda, NL.; Taller del Sol, Tarragona, Spain; De Vleeshal, Haarlem, NL.; Gallery Kaai, IJmuiden, NL.; Gallery Ramakers, The Hague, NL. In 1991 Evert was awarded an artist grant by the Province of Noord Holland and in ‘92, ‘93, ‘94 by the city of Haarlem. In 1991 he made a study trip to Indonesia and Thailand for the “Temple” series, which he showed in a solo exhibition in Beverwijk, NL. In 1992 he also showed his work, accompanied by the publication “Imprints”, with two like-minded artist friends in Gallery Kaai, IJmuiden, NL. In 1993 he made a road trip in the U.S. from Miami to San Francisco that initiated the “Made in America” series. During that last trip he met photographer Sandra Russell Clark in New Orleans. Evert Came back to New Orleans as a visiting professor of painting and drawing at Loyola University in 1994. At the end of that year he moved from Haarlem to New Orleans where he and Sandra got married the next spring. In 1996 Evert joined the Cole Pratt Gallery in New Orleans and took part in “The Louisiana International Exhibition” at Clark Gallery, Southeastern University in Hammond, LA. and at the “2nd Annual Entergy Louisiana Open Juried Exhibition” at the Contemporary Arts Center in New Orleans. In 1998 after he had his first solo show at Cole Pratt Gallery he and Sandra moved to Bay St. Louis on the Mississippi Gulf Coast, an hour outside of New Orleans. In the first half of the next decade Evert showed his work in group and solo exhibitions at Cole Pratt Gallery, Perry Nicole Fine Art in Memphis, TN, Graighead Green Gallery in Dallas TX. and at the Carroll Gallery of Tulane University in New Orleans. His work was shown in “New American Painting” magazine and he had a profile in “South” magazine. “In 2011 I received a travel and research fellowship from the Jane Crater Hiatt Foundation through the Mississippi Museum of Art. By April of 2012 I found myself crossing the Tiber on a daily basis to study Rome’s abundance of Renaissance art. I did this not as an art historian but as a time traveling apprentice, re-evaluating contemporary painting in it’s western birthplace. In my work I am exploring interconnectedness and the process of painting itself. By simplifying mark making, color choice and construction, emphasizing and making visible the human hand I am trying to touch on the physical and visceral possibilities and limitations of painting.”
CHARCOAL DRAWINGS EVERT WITTE
328
World of Promises No. 1, 2010 Mixed Media on Paper 30” x 22”
329
World of Promises No. 7, 2010 Mixed Media on Paper 30” x 22”
330
World of Promises No. 11, 2010 Mixed Media on Paper 30” x 22”
331
World of Promises No. 12, 2010 Mixed Media on Paper 30” x 22”
DON BRACKEN
Donald Bracken, a nationally known award-winning artist, is a native San Franciscan and UC Berkeley graduate who has lived in West Cornwall, Connecticut, for 34 years. Painting and drawing have always been his primary creative focus. One of his greatest visual in uences has been the windows of the World Trade Center, where he had an artist in residency fellowship in 1997; and he has used that motif as a repeated shape or format idea in many of his works since. In 2007, a series of paintings of deserted farms in the Connecticut River valley became not just about the earth but of the earth when he began to paint the landscapes using soil from the farms he was painting. The earth-polymer material he has developed has a dynamic, visceral, and visual quality that, as it dries and cracks, allows the processes of nature a role in the uid, changing canvases they form together. Much of his focus has continu-ed to shift toward celebrating earth materials, among them leaves, vines, and beaver sticks, as voices unto themselves. As he has become ever more inspired by alternative materials and different ways of looking at nature, form, and structure, his means of expression, even when sculptural, are still essentially drawing and painting. Sculptural elements are a way to make 3-D paintings that he can fully inhabit. His use of vines as a material and a medium began as an element in the earth paintings and has evolved into its own approach, opening up the process of creating works that resemble calligraphy in space.
CHARCOAL DRAWINGS DON BRACKEN
336
Night Walker 3, 2017 Charcoal on Paper 24” x 30”
337
Night Walker 1, 2017 Charcoal on Paper 24” x 30”
338
Night Walker 2, 2017 Charcoal on Paper 24” x 30”
PRICELIST
PRICELIST ACCOMPANYING WORKS ON PAPER AND PAPER ART CATALOG ALL PRICES SUBJECT TO CHANGE * GEOFFREY STEIN 1. J.P., 2015, Collage and Mixed Media on Paper, 28.5” x 30”, $1,500 2. Surf Dude, 2015, Collage and Mixed Media on Paper, 29.5” x 29”, $1,500 3. Drinking Coffee, 2014 Collage and Mixed Media on Paper, 25.5” x 19”, $1,200 4. Blue Kuan, 2014, Acrylic and Collage on Paper, 22” x 19.25”, $800 5. Blue Double Portrait, 2014, Acrylic and Pencil on Paper, 15” x 24”, $1,100 6. Orange Sweater, 2013, Mixed Media and Collage on Paper, 15.5” x 30”, $750 7. Blue Jeans Back, 2012, Mixed Media on Paper, 21” x 19”, $900 8. Blue Self Portrait, Mixed Media and Collage on Paper, 30” x 16”, $ 500 9. Heather, 2005, Mixed Media and Acrylic on Paper, 54” x 51”, $ 2,500 BARBARA OWEN PAPER CUTS 1. Small Study Burst of Color, 2015, Ink and Acrylic on Cut Paper, 12” x 9”, $400 2. Cut Circles Over Painted Circles I, 2015, Ink and Acrylic on Cut Paper, 48” x 30”, $3,800 3. Cut Circles Over Painted Circles II, 2015, Ink and Acrylic on Cut Paper, 48” x 30”, $3,800 4. Pinky Red, 2013, Ink and Acrylic on Cut Paper, 12” x 9”, $400 5. Red Overwhelms, 2013, Ink and Acrylic on Cut Paper, 12” x 9”, $400 6. Luxuriance of Scarlet, 2015, Ink and Acrylic on Cut Paper, 31” x 27”, $ $1,500 7. Little Layered Blooms, 2012, Ink and Acrylic on Cut Paper, 9.25” x 11.25”, $400 8. Poetry Series (Cloud), 2013, Ink and Acrylic on Cut Paper, 14” x 11”, $500 TANGIBLE LINES 1. Black Sumac, 2017, Ink and Acrylic on Cut Paper, 85” x 43”, $8,000 2. Letter of Intent, 2017, Ink and Acrylic on Cut Paper, 33.5” x 28.25”, $3,000 3. Black Lines Blue Reflection, 2017, Ink and Acrylic on Cut Paper, 17.25” x 21.25”, $1,200 4. Lines Drawn with Paper, 2017, Ink and Acrylic on Cut Paper, 48” x 33”, $4,000 5. Ink Blooms (Red Dance), 2017, Ink and Acrylic on Cut Paper, 36” x 28.5”, $3,000 6. Lines and Outlines II, 2017, Ink and Acrylic on Cut Paper, 14” x 11”, $800 7. Lines and Outlines IV, 2017, Ink and Acrylic on Cut Paper, 14” x 11”, $800 8. Painted Circles and Cut Circles I, 2017, Ink and Acrylic on Cut Paper, 29” x 23”, $1,500 9. Painted Circles and Cut Circles II, 2017, Ink and Acrylic on Cut Paper, 29” x 23”, $1,500 10. Spinning Orange II (Blue and Gold), 2017, Ink and Acrylic on Cut Paper, 35” x 25”, $3,500 11. Only, 2017, Ink and Acrylic on Cut Paper, 26” x 21.75”, $3,000 PAPER SCULPTURE 1. Miss Havisham, 2017, Ink and Acrylic on Cut Paper, 30” x 34”, $3,000 2. Puff of Red, 2017, Ink and Acrylic on Cut Paper, 35” x 29”, $3,000
ALL PRICES SUBJECT TO CHANGE * PAPER SCULPTURE (CONTINUED) 3. Rosy Pink Puffs (5 Puffs), 2017, Ink and Acrylic on Cut Paper, Size Variable, $500 each puff 4. Wisp, 2017, Ink and Acrylic on Cut Paper, Size Variable, $4,000 + $500 artist installation 5. Puff of Blue, 2017, Ink and Acrylic on Cut Paper, 29” x 20”, $1,500 6. Calligraphy, 2017, Ink and Acrylic on Cut Paper, 52” x 28”, $1,000 7. Two Ideas, 2017, Ink and Acrylic on Cut Paper, 40” x 32”, $2,500 8. Cascade of Clouds, 2017, Ink and Acrylic on Cut Paper, 26” x 21”, $600 9. Palm, 2017, Ink and Acrylic on Cut Paper, 15” x 17”, $300 10. Twist, 2017, Ink and Acrylic on Cut Paper, 18” x 14”, $500 11. Paper Wall Sculpture I, 2014, Ink and Acrylic on Cut Paper, Size Variable, Price Upon Request 12. Paper Wall Sculpture II, 2014, Ink and Acrylic on Cut Paper, Size Variable, Price Upon Request 13. Paper Wall Sculpture III, 2014, Ink and Acrylic on Cut Paper, Size Variable, Price Upon Request ROXANNE FABER SAVAGE OVERGROWTH Overgrowth I and II 2015, Plexiglass Intaglio Monoprint, 42” x 29.75”, $1,800 LAKE SERIES Lake Series 1–7 2015, Plexiglass Intaglio with Carborundum Aquatint Monoprint, 22” x 30”, $800 HOMEPLATE and KITCHEN SINK SERIES Home Plate 1–6, Kitchen Sink I and II 2015, Mixed Technique Monoprint, 42” x 29.75”, $1,800 CLOVERS Clover 7, Bunch Clover, Clover 1, Clover 3, Red Clover Red Clover, Clover 2 2013, Monotype and Paper Lithography, 44” x 31.5”, $1,500 HEAVEN’S POWERLINES
PRICELIST ACCOMPANYING WORKS ON PAPER AND PAPER ART CATALOG Heaven’s Powerlines I–VIV 2015, Paper SUBJECT LithographTO Monoprint with*Mixed Media, 22” x 30”, $900 ALL PRICES CHANGE LIVE WIRES Live Wires I–III 2015, Paper Lithograph Monoprint, 13” x 14”, $350
THE LIONHEART GALLERY
27 Westchester Ave, Pound Ridge, NY, 10576 www.thelionheartgallery.com 914 764 8689
roxyshow/ELEPHANT
1. Rainbow Elephants Triptych, 2016, Silkscreen, 32.5” x 58”, $3,000 2. Sideshow Totem, 2016, Silkscreen, 84” x 24.5”, $3,000
2015, Paper Lithograph Monoprint, 13” x 14”, $350 roxyshow/ELEPHANT 1. Rainbow Elephants Triptych, 2016, Silkscreen, 32.5” x 58”, $3,000 2. Sideshow Totem, 2016, Silkscreen, 84” x 24.5”, $3,000 3. Endless Loop of Tears, 2016, Silkscreen 26” x 74”, $3,000 4. Telephant, 2016, Silkscreen with Flocking, 19.5” x 38.75”, $1,500 DAVID HUTCHINSON THE AESTHETE The Aesthete I, G and H 2012, Watercolor on Paper, 54” x 40”, $8,000 SECOND METAMORPHOSIS Second Metamorphosis B, D, G, M 2014, Watercolor on Paper, 29.5” x 22.25”, $1,700 Second Metamorphosis H, J, K, L 2014, Watercolor on Paper, 44” x 30”, $2,500 GENET ON REMBRANDT 1. JG on Rembrandt II, 2000, Paint Marker on Paper, 48” x 36”, $4,000 2. Balcony, 2000, Ink on Paper, 14” x 11”, $1,500 3. Death Watch, 2000, Ink on Paper, 14” x 11”, $1,500 4. JG on Rembrandt I, 2000, Paint Marker on Paper, 48” x 36”, $4,000 GREGG WELZ 1. Tilt–a–Whirl, 2016, Drawing Paper, 40” x 40”, $5,000 2. Red Currents, 2014, Drawing Paper, 20” x 16”, $850 3. Blue Currents, 2014, Drawing Paper, 20” x 16”, $850 4. Open and Close, 2016, Drawing Paper, 40” x 40”, $5,000 PRICELIST WORKS 5. Islands in theACCOMPANYING Wind, 2016, Drawing Paper, 20” xON 16”, PAPER $850 AND PAPER ART CATALOG 6. Black Composition, 2014, Drawing Paper, 20” x 16”, $850 ALL PRICES SUBJECT TO CHANGE * 7. Up and Over, 2016, Drawing Paper, 40” x 40”, $5,000 8. White Sea Blue, 2016, Drawing Paper, 32” x 32”, $3,000 9. Blue Chips, 2016, Drawing Paper, 20” x 20”, $850 10. Public 2016, Drawing Paper, 32” x 32”, $3,000 THESquare, LIONHEART GALLERY 11. White on White, 2016, Drawing Paper, 32” x 32”, $3,000 Ave, Pound Ridge, NY, 10576 27 Westchester www.thelionheartgallery.com 914 764 8689 12. White Over Orange Pop, 2016, Drawing Paper, 32” x 32”, $3,000 13. Winter Stars, 2016, Drawing Paper, 20” x 16”, $850 14. Nutmeg Blue, 2016, Drawing Paper, 16” x 20”, $850 15. Sound Waves, 2016, Drawing Paper, 16” x 20”, $850 16. Points of Bright, 2016, Drawing Paper, 20” x 16”, $850 17. American Flag, 2016, Drawing Paper, 30” x 40”, $3,000 KAREN VOGEL
15. Sound Waves, 2016, Drawing Paper, 16” x 20”, $850 16. Points of Bright, 2016, Drawing Paper, 20” x 16”, $850 17. American Flag, 2016, Drawing Paper, 30” x 40”, $3,000 KAREN VOGEL PAPER WORKS Red Zone, Mixed Signals, Sidewinder I, Sidewinder II, Memorial Park, Purple Haze 2014, Monoprint, 30” x 22”, $1,500 Groundworks, Greenpoint 2014, Monoprint, 30” x 22”, $800 Cross Walk, 2013, Monoprint, 25” x 25”, $920 POSTSCRIPT Runway, Unwind, Sunrise, Undercover, Good Vibration I, Good Vibration II, Faulty Towers, Dawn of Light, Around Midnight, Dawn to Dusk, Labyrinth, Silhouette, Red Zone 2017, Monoprint,18” x 18” print on 22” x 30” paper, $1,500 Daze II, Tango, Sunnyside, ACE Monoprint, Aquamarine, Purple Passages 2017, Monoprint, 22” x 30”, $1,500 Budapest Blues, Limelight 2017, Monoprint, 41” x 29”, $2,500 LIZ DEXHEIMER MAGENTA KOI Magenta Koi I–IV 2015, Monoprint, 24” x 18”, $1,650 TRACE SERIES
PRICELIST WORKS ON PAPER AND PAPER ART CATALOG Trace Series I ACCOMPANYING and II 2015, Monoprint, 17.75” x 17.75”, $1,500 ALL PRICES SUBJECT TO CHANGE * CLAUDIA MENGEL
THE LIONHEART GALLERY
LARGE FIGURE STUDY Ave, Pound Ridge, NY, 10576 27 Westchester www.thelionheartgallery.com
914 764 8689
Bottoms, Bottoms II, Pamela I, Three Green Figures I, Three Green Figures II, Two Blue Figures I, Two Blue Figures II 2012, Monotype, 41” x 30”, $2,500
SMALL FIGURE STUDY Figurative Eggplant Room, Next Two II, Figures in Garden, Eve V, Next Two VI, Seated Figure, Eve VI, Figure Turning, Seated Figure II, Three Figures, Two Figures Sitting, Sitting Pretty, Seated Figure I 2012, Monotype, 22” x 15”, $950 HELEN CANTRELL PAPER LITHOGRAPHY
Figurative Eggplant Room, Next Two II, Figures in Garden, Eve V, Next Two VI, Seated Figure, Eve VI, Figure Turning, Seated Figure II, Three Figures, Two Figures Sitting, Sitting Pretty, Seated Figure I 2012, Monotype, 22” x 15”, $950 HELEN CANTRELL PAPER LITHOGRAPHY 1. Green Square Suburbia, 2013, Monotype, 16” x 16”, $475 2. Suburbia Cul de Sac, 2013, Monotype, 16” x 16”, $475 3. John and Joyce Backyard, 2011, Monotype, 22” x 22”, $475 SERGE STROSBERG WATERCOLORS 1. Malik So Chic, 2014, Watercolor on Paper, 14” x 11”, $2,000 2. Vienna, 2012, Watercolor on Paper, 11” x 14”, $2,000 3. Julia Under the Red Spotlight, 2012, Monoprint, 18” x 18”, $2,000 4. Jordan Fox, 2009, Watercolor on Paper, 14” x 11”, $2,000 5. Official Hank, 2009, Watercolor on Paper, 14” x 11”, $2,000 SARAH FRENCH PAPER WORKS 1. Egret in the City, 2016, Paper Lithography, 13” x 11”, $450 2. NYC Skyline I, 2014, Paper Lithography, 13” x 11”, $300 3. NYC Skyline II, 2014, Paper Lithography, 13” x 11”, $300 4. Menemsha Shack I, 2014, Paper Lithography, 13” x 11”, $300 PRICELIST WORKS ON AND PAPER ART CATALOG 5. MenemshaACCOMPANYING Shack II, 2014, Paper Lithography, 13”PAPER x 11”, $300 6. Bait Shop, 2014, Paper Lithography, 13” x 11”, $300 ALL PRICES SUBJECT TO CHANGE * CHRISTOPHER SHORE CARDBOARD ETCHINGS 1. Noon, 2001, Cardboard Engraving Print, 11” x 9.5”, $325 THE LIONHEART GALLERY 2. Hippopotoman, 2001, Relief Cardboard Engraving Print, 11” x 9.5”, $325 27 Westchester Ave, Pound Ridge, NY, 10576 3. Whatwww.thelionheartgallery.com I Heard, 2003, Cardboard 19.75” x 15.75”, $850 914 764Etching, 8689 4. 4 and 20 No. 5, 2017, Monotype, 13” x 12”, $1,000 5. 4 and 20 No. 14, 2017, Monotype, 13” x 12”, $1,000 6. Equis II (Black), 2017, Cardboard Engraving Rinse Print, 14.5” x 11.5”, $450 7. Equiss III, 2003, Cardboard Etching, 10” x 13.5”, $700 8. Equestrian I, 2015, Relief Cardboard Engraving Print with India Ink, 16” x 13”, $800 9. Equiss II, 2003, Cardboard Etching, 13.5” x 10”, $600 10. Untitled (Small Red), 2016, Etching, 3.75” x 3.5”, $200 11. Crystal Bird, 2015, Solarplate Monoprint Rinse Print, 4.5” x 4”, $300 12. Dusk, 2003, Cardboard Etching, 24” x 29”, $1,000 13. Cygnus, 2017, Cardboard Engraving Monoprint, 12.5” x 14.5”, $800 14. Elephant, 2003, Cardboard Etching, 16.5” x 11.5”, $850 15. Dorian, 2012, Paper Lithography, 12” x 12”, $575 16. Asana, Paper Lithography, 12” x 12”, $575 PHILIPPE HALABURDA PAPER WORKS Cayce Lotu, Void Ghanta, Topyseaq, Moaner, Para the Hispte, Endorfin, Narbut Bonda, Why Jel Tohpp, Awanto Casset, Beach Distortion, Mouse or Pola, Parelie Ghost, They Know Wiennus, Azieru Triibe, Mineap Joich,
14. Elephant, 2003, Cardboard Etching, 16.5” x 11.5”, $850 15. Dorian, 2012, Paper Lithography, 12” x 12”, $575 16. Asana, Paper Lithography, 12” x 12”, $575 PHILIPPE HALABURDA PAPER WORKS Cayce Lotu, Void Ghanta, Topyseaq, Moaner, Para the Hispte, Endorfin, Narbut Bonda, Why Jel Tohpp, Awanto Casset, Beach Distortion, Mouse or Pola, Parelie Ghost, They Know Wiennus, Azieru Triibe, Mineap Joich, The Humpii Scrib, Elgant Krokayy, Filss Araskan, Safari Voltaire, Desognaa, Damaso, Loner Buria 2014, Acrylic, Felt Tip and Colored Pencil on Paper, 41” x 30”, $1,200 AACETABUULAN Aacetabuulan Deese, Aacetabuulan Syylin, Aacetabuulan Arrhay, Aacetabuulan Verrore, Aacetabuulan Loqquens, Aacetabuulan Awwkaard, Aacetabuulan Boddhii, Aacetabuulan Saffron, Aacetabuulan Cheenpo, Aacetabuulan Naddurr 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 CANIIS MIROR CASSIIOP Caniis Miror Cassiiop B, Caniis Miror Cassiiop G, Caniis Miror Cassiiop K, Caniis Miror Cassiiop L, Caniis Miror Cassiiop M, Caniis Miror Cassiiop C, Caniis Miror Cassiiop D, Caniis Miror Cassiiop I, Caniis Miror Cassiiop E, PRICELIST ACCOMPANYING WORKS ON PAPER AND PAPER ART CATALOG Caniis Miror Cassiiop H 2016, Acrylic,SUBJECT Felt Tip and Pencil ALL PRICES TO Colored CHANGE * on Paper, 26” x 20”, $750 CITYY
THE LIONHEART GALLERY
27 Westchester Ave, Pound Ridge, NY, 10576 Cityy–5th Street, Cityy–23rd914 Street, Cityy–24th Street, Cityy–47th Street, Cityy–125th Street, Cityy–4th Street, www.thelionheartgallery.com 764 8689 Cityy–50th Street, Cityy–87th Street, Cityy–12th Street, Cityy–25th Street, 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 16” x 12”, $450
CUUNTACCH STRAAO Cuuntacch Straao 1, Cuuntacch Straao 2, Cuuntacch Straao 7, Cuuntacch Straao 5, Cuuntacch Straao 4, Cuuntacch Straao 6, Cuuntacch Straao 3 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 ESIPII SAROITAA Esipii Saroitaa Blaau D1, Esipii Saroitaa Blaau Cb, Esipii Saroitaa Blaau E1, Esipii Saroitaa Ree A1 Esipii Saroitaa Ree E1, Esipii Saroitaa Ree C1, Esipii Saroitaa Ree D1, Esipii Saroitaa Yeelo A1, Esipii Saroitaa Ree C1 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 HIIVERNN Hiivernn 2018, Hiivernn 2038, Hiivernn 2022, Hiivernn, 2028, Hiivernn, 2032 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 STUYYVESAAN Stuyyvesaan 22, Stuyyvesaan 66, Stuyyvesaan 55, Stuyyvesaan 77, Stuyyvesaan 88, Stuyyvesaan 99, Stuyyvesaan 44, Stuyyvesaan 33, Stuyyvesaan 11 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 UPPSTAAT PLAIIN Uppstaat Plaiin 2, Uppstaat Plaiin 6, Uppstaat Plaiin 8, Uppstaat Plaiin 7, Uppstaat Plaiin 4, Uppstaat Plaiin 3, Uppstaat Plaiin 5, Uppstaat Plaiin 1 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 UUSER URRBA Uuser Urrba 200, Uuser Urrba 600, Uuser Urrba 700, Uuser Urrba 800, Uuser Urrba 1000, Uuser Urrba 100,
Uppstaat Plaiin 2, Uppstaat Plaiin 6, Uppstaat Plaiin 8, Uppstaat Plaiin 7, Uppstaat Plaiin 4, Uppstaat Plaiin 3, Uppstaat Plaiin 5, Uppstaat Plaiin 1 2016, Acrylic, Felt Tip and Colored Pencil on Paper, 26” x 20”, $750 UUSER URRBA Uuser Urrba 200, Uuser Urrba 600, Uuser Urrba 700, UrrbaAND 800, Uuser Urrba 1000, Uuser Urrba 100, PRICELIST ACCOMPANYING WORKS ONUuser PAPER PAPER ART CATALOG Uuser Urrba 300, Uuser Urrba 400, Uuser Urrba 500 2016, Acrylic, Felt Tip and Pencil ALL PRICES SUBJECT TO Colored CHANGE * on Paper, 26” x 20”, $750
BETSY PODLACH FLORALS Hyacinths in a Jar, Pink Flowers in Vase, Flowers XI, Vase with Flowers I, Vase with Flowers II, Hyacinths on Red Cloth, Bouquet in Vase, Black and White Roses 2014, Oil and Egg TemperaGALLERY on Paper, 30” x 22.5”, $1,800 THE LIONHEART 27 Westchester Ave, Pound Ridge, NY, 10576 www.thelionheartgallery.com 914 764 8689
MARY MANNING MONOTYPES
1. Circles #5, 2014, Monotype, 30” x 22”, $1,400 2. Balance #1, 2014, Monotype, 30” x 22”, $1,400 3. Olivaceous, 2014, Monotype, 23” x 15” on 30” x 22” paper, $750 EVERT WITTE CHARCOAL DRAWINGS World of Promises No. 1, World of Promises No. 7, World of Promises No. 11, World of Promises No. 12 2010, Mixed Media on Paper, 30” x 22”, $2,000 DON BRACKEN CHARCOAL DRAWINGS Night Walker 1–3 2017, Charcoal on Paper, 24” x 30”, $1,200
THE LIONHEART GALLERY
27 Westchester Ave, Pound Ridge, NY, 10576 www.thelionheartgallery.com 914 764 8689
This catalogue was published as promotional material for the paper work artists at The Lionheart Gallery. Geoffrey Stein, Barbara Owen, Roxanne Faber Savage, David Hutchinson, Gregg Welz, Karen Vogel, Liz Dexheimer, Claudia Mengel, Helen Cantrell, Serge Strosberg, Sarah French, Christopher Shore, Philippe Halaburda, Betsy Podlach, Mary, Manning, Evert Witte, Don Bracken All images copyright of the artist. Images of the works are reproduced courtesy of the artist and The Lionheart Gallery. Curated by Susan Grissom Designed by Chelsea Walsh All rights reserved. No part of this book may be produced, stored in a retrieval system or transmitted in any form or by any means without prior permission in writing of the copyright holder and The Lionheart Gallery. 914 764 8689 www.thelionheartgallery.com 27 Westchester Avenue, Pound Ridge, NY 10576