Rolph Scarlett Mixed Media

Kerry Smith R.E.M. - Murmur Mixed Media on Crescent board Year: 2022 Size: 21x20in Signed, dated by hand COA provided Ref.: 924802-1633 *Black frame with a mirror-gloss finish avail...

Abstract geometric painting with a cool toned palette of green, blue, and grey with accents of black and white against a sea foam green colored acrylic wash background "Blue and Grey Green Plan" made by Hudson Valley artists, Donise English, in 2022 Graphite, colored pencil, and acrylic painting on vellum 24 x 18 inches unframed, 31 x 25 x 1.5 with an 8-ply white mat, non-glare plexi, and simple black moulding Signed, verso Excellent condition and ready to hang This abstract geometric painting on vellum was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a blue green toned background of acrylic wash. A grid of box-like patterns in sky blue, green, grey, and black with white line work are stacked to create an irregular shape or an "imagined city grid", says the artist. The painting on vellum is complemented by a simple black frame with an 8-ply white mat, non-glare plexi, and wire backing. It's in excellent condition and ready to hang. About the artist: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. A central checkerboard formation floats over a ground of pastel color or washes of grey or cream. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. The artist recently retired from her decades career teaching at Marist College and is now devoted full time to her art making. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Katherine S. Dreier, 'Variation 4, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Chef Pasta - Vintage Illustration in Ink and Watercolor A charming illustration, by Irene Pattinson (American, 1909-1999), shows a chef in an 1800's toque blanche, pouring oil from an ornate bottle over a bowl. His face, with spectacles, a moustache and goatee in fine line work, is painted in vibrant pink watercolor for an added splash of color. Signed in the bottom right corner, "i.p." Presented in a new white mat with foam core backing. Mat size: 8.5"H x 11"W Paper size: 6.75"H x 6.75"W Image size: 4.13"H x 3.63"W Irene Pattinson (American, 1909-1999) studied at the California School of Fine Art (now The San Francisco Art Institute), San Francisco State College and The Marion Hartwell School of Design. She was President of the San Francisco Woman Artists Association 1955-56. Provenance: The Artist, Estate of Irene Pattinson: David Carlson; Estate of Larry Miller Fine Art, Robert Azensky Fine Art. Solo Exhibitions: Lucien Labaudt Gallery 1955; San Francisco Museum of Art, 1961 (39 works). Selected Group Exhibitions: San Francisco Art Association Annual 1948, 54, 55; San Francisco Woman Artists, 1957-1960; Oakland Art Museum Annual, 1951, 58; California Palace of the Legion of Honor, 1960; Richmond Art Center, 1955, 56, 57, 58; San Francisco Art Institute 1959, 60. The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62, 63; Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1960; Fourth Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1963. Awards: First Place, San Francisco Woman Artists Assoc., 1957, 1959; San Francisco Art Festival 1957;Literature: San Francisco Art Institute - A catalog of the Art Ban 1962/63; San Francisco and the Second Wave: The Blair Collection Exhibitions: 1963 The Art Bank of the San Francisco Art Association, San Francisco, CA 1963 California Palace of The Legion of Honor: Forth Winter Invitational, San Francisco, CA 1962 The Art Bank of the San Francisco Art Association, San Francisco, CA 1961 San Francisco Museum of Art, San Francisco, CA 1960 California...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Family at the Beach WPA Modernism American Scene Social Realism Mid 20th Century William Gropper (1898 - 1977) "Family at the Beach" 27 1/2 x 19 1/2 inches Mixed media on paper, c. 1940 Signed lower left Provenance: Estate of the artist. The drawing will ship from the home of Mr. Gropper's grandson. Bio Throughout his life, William Gropper used his artistic talents to protest social injustice. Born in New York City, he grew up there in poverty and left high school to work as a dishwasher and delivery boy. He eventually began a career in art and was able to study with Robert Henri and George Bellows from 1912 to 1915. He adopted their realistic painting style, and his own work expressed sympathy for common laborers and outrage at society's ills. In 1919 Gropper established a reputation as a political cartoonist working for the New York Tribune. His blunt, forceful style attracted the attention of other publications, and he provided illustrations and cartoons for a variety of magazines, from the left-wing New Masses to mainstream Vanity Fair. Like many social realist artists of the 1930s, Gropper supported liberal political causes, depicting subjects such as the plight of migrant laborers and striking factory workers. In his first gallery exhibition in 1936 at ACA Galleries, Gropper's work was so well received by critics, collectors, and artists that the following year he had two one-man exhibitions at ACA Galleries. In 1937, Gropper traveled west on a Guggenheim Fellowship and visited the Dust Bowl and the Hoover and Grand Coulee Dams, sketching studies for a series of paintings and a mural he painted for the Department of the Interior. That same year he had paintings purchased by both the Metropolitan Museum of Art and the Museum of Modern Art. Gropper exhibited at the 1939 New York World's Fair, Whitney Museum of American Art (1924-55), Art Institute of Chicago (1935-49), Carnegie International (1937-50), Pennsylvania Academy of the Fine Arts (1939-48), and National Academy of Design (1945-48). He was a founder of the Artists Equity Association and member of the National Institute of Arts and Letters. From 1940 to 1945 William Gropper was preoccupied with anti-Nazi cartoons...

MODERNIST DRAWING New Hope Mid-Century WPA Abstract Non-Objective Jazz Modern. Signed with a "Ramstonev" stamp lower right. RAMSTONEV Cooperative Art Project (1937-1939). In the late 1930s, Charles Ramsey became close friends with Charles Evans and Louis Stone. He persuaded them to join him teaching his New Hope summer classes in non-objective painting. Soon, a history-making collaboration began. In 1937, meeting in Evans' studio at the rear of Cryer's Hardware store on Main Street in New Hope, a decision was made to establish the Co-Operative Painting Project. They were intrigued by the cooperative ad-lib process by which jazz musicians created their music. Believing this to be the quintessential American contribution to music, they theorized that a similar result might be obtainable with art, a "visual jam session." This particlarly fascinated Ramsey, who was a jazz buff and had a large collection of jazz records. The objective was to jointly collaborate in the creation of a painting as well as applying collective criticism during its creation. By creating forward movement by general consent, they believed they could produce a higher level of beauty. By consensus it was decided that subject matter would be non-objective. Up to eight people would participate and stop when the painting "felt" finished by common agreement. These co-operative works were done in several different mediums- the majority in pastel, but some in watercolor, gouache, graphite or cut paper collage. On occasion, the group would create a series, as opposed to a single work, created in steps by three or four artists. One of the occasional participants was famed New Hope poet, Stanley Kunitz. These series could range in number from four to sixteen paintings in each. The first of a series would be very basic and the last a fully finished work. In the scope of importance among the New Hope Modernist...

Yiddish Theatre Cubist Costume Design 1924 Deco Color Field Modernism Broadway. Boris Aronson (1898 – 1980) "Day and Night," 17 ½ x 13 inches. Gouache ...

Katherine S. Dreier, 'Variation 5, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Detailed abstract geometric painting inspired by city grids in light grey, blue, and yellow "Specifically Nowhere", made by Hudson Valley based artist, Donise English, in 2023 gouach...

Gloria Dudfield Tractor at Work 6-10-64 Gouache and Oil Pastel on Paper 36"x32 1/2" Unframed Signed and dated lower right in crayon Very Good Condition - Minor wear consistent with ...

Richard Garrison collects information from typically overlooked aspects of daily life. Observed data from places like big box stores and parking lots are systematically transformed i...