James Ensor
Skeletons Warming Themselves
1888
Belgium
17th of November 2011
25th of October 2011
Francis Campbell Boileau Cadell
Interior: The Orange Blind
Oil on canvas
Circa 1927
111.8 x 86.4 cm
Glasgow Museums, Art Gallery and Museum, Kelvingrove. Hamilton Bequest 1928.
This autumn the Scottish National Gallery of Modern Art launched the first in an annual series of exhibitions devoted to the Scottish Colourists. The Scottish Colourist Series: FCB Cadell is the first major retrospective of his work to be held in a public gallery in almost seventy years and brings together almost 80 paintings, from collections across the UK, many of which have rarely, if ever, been shown in public before.
Francis Campbell Boileau Cadell (1883-1937) is one of the four artists popularly known as ‘The Scottish Colourists’, along with S. J. Peploe, J. D. Fergusson and G. L. Hunter. Cadell’s work is perhaps the most elegant of the four: he is renowned for his stylish portrayals of Edinburgh New Town interiors and the sophisticated society that occupied them; equally celebrated are his vibrantly coloured, daringly simplified still-lives of the 1920s, and his evocative landscapes of the island of Iona. — ArtDaily
(Source: BBC)
28th of June 2011
“
When Krasner was a student at the National Academy of Design in 1929, a rule was in a place — apparently with no attempt at justification — that women were not allowed to go into the basement. Yet students who wanted to paint fish from life had to do so in the basement, where it was cooler and the smell would not carry. Krasner (whose father was a fishmonger) and her friend Eda Mirsky entered the forbidden territory to paint fish and to challenge a rule to which they objected on principle. The two were then suspended for “painting figures without permission,” quite a charge at an art school. ”
—
ARTINFO - Seven significant — or just surprising — things revealed by Gail Levin’s research for her new book, “Lee Krasner: A Biography”
22nd of June 2011
It’s Smoother, It’s Creamier
I’ve decided to put this lovely painting up for sale. The painting consist of gouache, pencil, pen and ink. It is covered in a glossy polyarcylic base and is signed on the back.
(Source: jairustonel)
31st of May 2011
The Shop and Warehouse of Duncan Phyfe, 168–172 Fulton Street, New York, NY, 1816–20
Unknown Artist
New York City
Watercolor, black ink, and gouache on white laid paper
These three buildings housed the manufactory and wareroom of Duncan Phyfe’s thriving cabinetmaking business. This was the point of origin for some of the most acclaimed furniture of the early nineteenth century, and seen in the center of the image are two elegantly dressed women appraising Phyfe’s wares. To ensure steady control over the daily operation of the company, his home was located directly across the street at 169 Fulton, as was typical of many master craftsmen in this period. Furthermore, Phyfe witnessed the steadily rising value of real estate and actively invested his profits in the accumulation of other properties in the neighborhood.Source: Unknown Artist: The Shop and Warehouse of Duncan Phyfe, 168-172 Fulton Street, New York, NY (22.28.1) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
26th of April 2011
Painted glass room divider in a chemist’s shop, date & location unknown.
via The Haunted Lamp
13th of April 2011
Real life inspiration for a future dollhouse installation
The above piece is by the artist Tom Slaughter and was done in 1983. It hangs in the home of my boss, and ever since I saw it I have been inspired - to recreate it in my dollhouse! I had this idea for placing a piece of glass in between the two lip sofas in the dollhouse as a room divider, but the plain glass needed some sort of decorative ornamentation. The room is already pretty Neoclassical (in the French Empire style) so I wanted to use a classical element (like a column) but as my steez is mixing old & new, doing an elaborate column in any classical order wouldn’t do. Seeing the Slaughter piece brought the whole idea together for me.
I experimented with drawing on glass with a paint pen. It worked marvelously well, so I now just need to get more pens in black, white & the primary colors, and go to town with a simple, Postmodern-y column design of my own. I think the finished product will show a little bit of influence from Keith Haring and Ettore Sottsass (Memphis Group) as well. Oh shoot… I just remembered I need to find a fresh piece of glass now, because my roommates and I already used every last piece of glass from all the picture frames in my house to test the paint pens. I forsee a trip to Sam Flax in my future…
27th of January 2011
Susanne Kühn
CDF, Magenta, v.d. Weyden, 2010
Acrylic on canvas, 130 x 110 cm
Haunch of Venison (London)
13th of January 2011
5th of January 2011
Evidence of a trend can be everywhere if you’re looking for it. This could be pure personal preference, but I feel as though Charles Demuth is having a bit of a moment now that this whole “American-Heritage-Fakerjack” movement has reached a point of wintery saturation. Demuth’s body of work is a paean to the golden age of American manufacturing, the perfect compliment to the Kodachrome 4x5s of sharecroppers and GOBs that are popping up on mood boards all over Soho.
Image courtesy of ACL
Everyone in NYC who hasn’t already, please go to this show at the Whitney, it’s fantastic and is up till April 2011.
12th of December 2010
Miniature reproduction paintings by Richard Pettibone
Wouldn’t one of these be great in the dollhouse? Yeah. I just don’t have an extra $25,000 - $35,000 laying around right now. Seen at Sotheby’s Fusion: Contemporary Art & Design preview.
7th of December 2010
Beyond the Plastic Facade
15th of November 2010
From the Faraway, Nearby, 1938
Georgia O’Keeffe (American, 1887–1986)
Oil on canvas
Happy Birthday Georgia O’Keeffe!
Source: Georgia O’Keeffe: From the Faraway, Nearby (59.204.2) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
20th of September 2010
I am so fucking pleased with my little Renoir.
19th of September 2010
Folk art family portrait in miniature
Framed primitively in walnut-stained coffee stirrers.
Artwork cut from a postcard for the inaugural sale at Keno Auctions, May 1st 2010, Stamford, Connecticut
Descended in a New Hampshire family until 1990; The Gallery at Bristol-Meyers Squibb, A Loving Likeness American Folk Portraits of the Nineteenth Century, From the Raymond and Susan Egan Collection, 1992 Discussed and illustrated A Loving Likeness American Folk Portraits of the Nineteenth Century (Princeton, New Jersey: 1992), pg. 22-23 
PAIR OF DOUBLE PORTRAITS
Attributed to Sturtevant J. Hamblin (American, 1817-1884)
Boston, circa 1840
Inscribed on verso “LAURA ANN, AGED 9 YEARS, MARY ELLEN, 7 YRS, GEORGE ALBERT AGED 4 ½ YEARS AND WILLIAM WOOD 2 1/4”
oil on canvas
29 by 36 in. (each)
Provenance
Sold at Sotheby’s, Fine American Furniture, Folk Art, Folk Paintings and Silver, October 20, 1990, lot 100;
Mr. and Mrs. Raymond Egan Collection, New Jersey;
David Schorsch, New York;
Private Collection
Exhibitions
Literature
Sale 1001 Lot 436
Estimate: $40,000-80,000
Sold for: $154,700
In situ
