print exhibitions - childs gallery · print exhibitions volume 70 the bulletin childs gallery...

PRIN

T EX

HIBI

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Volume 70

THE BULLETINCHILDS GALLERY

Established 1937

FALL/WINTER 2019

169

New

bury

Str

eet

Bost

on, M

assa

chus

etts

021

16

617-

266-

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ilds

gall

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PRINT EXHIBITIONS

Volume 70

THE BULLETINC

HIL

DS G

AL

LE

RY

Esta

blished

1937

FALL/WINTER 2019

169 Newbury StreetBoston, Massachusetts 02116

[email protected]

CHILDS GALLERYEstablished 1937

childsgallery.com

Radical Compositions: AbEx Prints and Paintings

August 22 – November 3, 2019Sean Flood: Subterranean/Surface

September 5 – November 10, 2019La Ville Lumière: Prints of Paris

November 7, 2019 – January 5, 2020Herbert Barnett and the Cubist Still Life

November 14, 2019 – January 12, 2020Hannah Barrett: Transitions January 16 – March 15, 2020

In his third solo exhibition with Childs Gallery, Sean Flood explores the New York Transit system, connecting his familiar cityscapes to a frenzied, labyrinthine world below. In prints and paintings, Flood observes the surfaces of the subway and its structures, uniting and confusing space, while paying close attention to the passengers and their interactions. By layering reflections and using mark making to interpret the sound and movement that comes with the hustle of commuting, Flood introduces the viewer to a new perspective of this underground world.

Cityscapes of Boston and New York round out the exhibition, complimenting Flood’s new subterranean venture with his recognizable skylines and street scenes. Through subways and cities, Flood paints a vivid ode to urban life both below and above ground, perfectly encapsulating a bustling metropolitan atmosphere.

1

2

1

1

2

2

EXHIBITIONSean Flood: Subterranean/Surface

SEPTEMBER 5 – NOVEMBER 10, 2019La Ville Lumière: Prints of Paris

NOVEMBER 7, 2019 – JANUARY 5, 2020

childsgallery.com 617-266-1108


AUGUST 22 – NOVEMBER 3, 2019

Developed in New York in the 1940s, Abstract Expressionism was the first uniquely American art movement to garner international acclaim and influence. Featuring prints and paintings by both first- and second-generation Abstract Expressionists, Radical Compositions explores the evolution of the movement from its east coast emergence to its dominance of the American and international art scene, ultimately shifting the epicenter of the art world from Paris to New York.

For centuries, the city of Paris—known as “La Ville Lumière”, or “The City of Light”—has electrified the abounding curiosities of artists and intellectuals worldwide. From Childs Gallery’s unique collection of works on paper, this exhibition is a tour of the Parisian Scene from the 19th century through today.

1 Lee Krasner (American, 1908-1984) Primary Series: Pink Stone (also called Rose Stone), 1969 Lithograph 21 ¾ X 29 ½ INCHES

2 Ruth Eckstein (American, 1916-2011) Nara: Black Pond, 1973/75 Collagraph with collage elements 20 1/2 X 16 1/2 INCHES

1 Jean Michel Mathieux-Marie (French, b.1947) Le Petit Pont, or Hommage à Meryon (detail), 2002 Steel plate drypoint 9 X 5 ¾ INCHES

2 Erik Desmazières (French, b.1948) Passage Choiseul, 1990 Etching, aquaint, and roulette 24 3/8 X 17 5/8 INCHES

Sean Flood, American (b. 1982), Cave Study 1, 2019, Oil on canvas, 60 x 48 inches


HOURS: Tuesday – Friday, 9 am to 6 pm Saturday & Sunday, 11 am to 5 pm

1 1 Train, 2018 Monotype 41 ½ X 30 ½ INCHES

3

3 Independent Studios, 2017 Oil on canvas 48 X 72 INCHES

2 The One, 2019 Oil on canvas 60 X 72 INCHES

Jackson Hole Fine Art FairSEPTEMBER 12 – 15, 2019

SNOW KING SPORTS AND EVENTS CENTER, JACKSON HOLE, WYwww.jacksonholefineartfair.com

IFPDA Fine Art Print Fair OCTOBER 23 – 27, 2019

RIVER PAVILION, JAVITS CENTER, NEW YORK CITYwww.printfair.com

INK Miami Art FairDECEMBER 4 – 8, 2019

SUITES OF DORCHESTER, MIAMI BEACH, FLwww.inkartfair.com

The Bulletin is a revival of the Childs Gallery Bulletin, begun in 1950 by Charles D. Childs. In an effort to keep our clients informed of our current and upcoming exhibitions, we will publish The Bulletin twice per year. We also invite you to send us your email address so that you may receive additional notifications on the artists you are most interested in. Email us at [email protected] with any specific interests.

1. Sawool Kim (Korean), Index 18 – Roots #8, 2017, Acrylic on canvas, 10 x 8 inches, $900 2. Henry Botkin (American, 1896-1983), [Untitled Abstract in Yellow and Pink], Oil on board with mixed media, 8 5/8 x 10 ¾ inches, $2,250 3. Pablo Eduardo (b.1969), Boston Marathon Bombing Memorial - Design #1, 2017, Bronze, 12 x 10 ½ x 5 ¾ inches, $16,000 4. Erik Desmazières (French, b.1948), Le Songe de Malatesta, 1979, Etching, 7 ¾ x 6 ¾ inches, $750 5. Andrew Fish, Skier, 2019, Oil on carton panel, 9 x 12 inches, $1,100 6. Roy Lichtenstein (American, 1923-1997), Mirror #1, from the Mirror Series, Line-cut, screenprint with embossing, and collage on Arjomari paper, 1972, 21 x 21 inches, $20,000 7. Beatrice Whitney Van Ness (American, 1888-1981), Houses in Maine [North Haven], c.1930, Watercolor, 14 7/8 x 21 inches, $1,200 8. George Platt Lynes (American, 1907-1955), [Reclining Male Nude on a Bed], c.1950, Vintage gelatin silver print, 7 ½ x 9 inches, $4,750 9. Marcantonio Raimondi (Italian, c.1480-c.1534), Two Satyrs Placing Silenus on a Braying Ass, c.1515-27, Woodcut, 4 ¼ x 6 ½ inches, $1,200 10. Resa Blatman, Hand-altered Etching 4, 2018, Etching, 10 x 19 ¾ inches, $800 11. Sally Michel (American, 1902-2003), Conversation, 1981, Oil on board, 11 x 14 inches, $10,500 12. Jeanne Duval (American, b.1956), Green Apples, 1997, Oil on linen, 9 x 13 inches, $19,500

GALLERY HIGHLIGHTS

1

2 34

8

11

7

10

6

12

5

9


169 NEWBURY STREET BOSTON, MASSACHUSETTS 02116-2895CHILDSGALLERY.COM 617-266-1108 [email protected]

The Bulletin Volume 70 ` Editor: Richard J. BaianoAssistant Editors: Kathryn Fields, Julie Edwards and Stephanie V. Bond Staff: Samantha Barnett, Katherine Bartlett, Gina Canning

and Sally NortonPhotography: Darren Stahlman|darrenstahlmanphotography.com,

Greg Perko; perkophoto.comDesign: Carlos Ridruejo|caridossa.com

©2019 Bond Baiano LLC / Childs Gallery All Rights Reserved.

OUR PUBLICATIONS

FALL/WINTER 2019

EXHIBITION

Herbert Barnett was an American artist whose life and work was closely tied to New England, and yet, his distinctive style of painting drew heavily upon the artistic innovations of Cubism.

Barnett’s working method is best exemplified by his still life paintings which frequently feature fruit, bottles, and other everyday objects balanced on tilted, topsy-turvy tabletops. He began each work by quickly drawing with the brush to capture the basic contours of his subject. Next, he made a tonal underpainting in oil wash to indicate the most prominent volumes as areas of light and shadow. The painted surface consists of a pattern of discreet, rectangular brushstrokes. Barnett’s emphasis on structure clearly reflects his admiration for Cezanne and the Cubists.

This exhibition is a survey of the artist’s continual exploration of the still life over a 30 year period.

1 Still Life with Daffodils and Poppies, 1937-38 Oil on canvas 30 X 24 INCHES

2 Still Life with Fruit and Flowers, early 1950s Oil on canvas 30 X 36 INCHES

3Compote and Yellow Pitcher, c.1965 Oil on Masonite 24 X 36 INCHES

1

2

3

Herbert Barnett and the Cubist Still Life


EXHIBITIONHannah Barrett: Transitions

JANUARY 16 – MARCH 15, 2020

Hannah Barrett: Transitions is a retrospective mélange of works from the artist’s various series—from the Secret Society to Monsters—that traces Barrett’s development as she progresses from collage to imagination as the source of her portraiture.

Barrett has previously described her paintings as “invented portraits based on collage: copies of photos or in some cases, copies of paintings are cut apart and reassembled into figures of ambiguous gender. Fusing the features of both sexes creates a range of androgynous characters that may be straight, queer, hermaphroditic or just cross-dressing.” Her aim is to create portraiture that deviates from the conventional male or female, and to explore the resulting pictorial and conceptual possibilities in a fun and unexpected way.

In her latest series Monsters, Barrett has created creatures that are fully of her own imagination, with no singular references to reality. In this way her Monsters are entirely fictional, and the viewer can project their own character onto the portraits.

Transitions observes this artistic shift in Barrett’s work from reality-adjacent to entirely-imaginary through a rousing journey within her amusingly eclectic world.

childsgallery.com 617-266-1108childsgallery.com 617-266-1108

2

3

1

1 Hunters’ Picnic: Dememls KuK Trachtenkur, 2012 Oil on linen 50 X 30 INCHES

2 Monsters: Cocktail Hour, 2018 Oil on canvas 42 X 34 INCHES

3 Secret Society: Grantchester Hattersly, 2006 Oil on canvas 16 X 12 INCHES

PRINT EXHIBITIONS

Volume 70

THE BULLETINC

HIL

DS G

AL

LE

RY

Esta

blished

1937

FALL/WINTER 2019

169 Newbury StreetBoston, Massachusetts 02116

[email protected]


childsgallery.com


August 22 – November 3, 2019Sean Flood: Subterranean/Surface

September 5 – November 10, 2019La Ville Lumière: Prints of Paris

November 7, 2019 – January 5, 2020Herbert Barnett and the Cubist Still Life

November 14, 2019 – January 12, 2020Hannah Barrett: Transitions January 16 – March 15, 2020

In his third solo exhibition with Childs Gallery, Sean Flood explores the New York Transit system, connecting his familiar cityscapes to a frenzied, labyrinthine world below. In prints and paintings, Flood observes the surfaces of the subway and its structures, uniting and confusing space, while paying close attention to the passengers and their interactions. By layering reflections and using mark making to interpret the sound and movement that comes with the hustle of commuting, Flood introduces the viewer to a new perspective of this underground world.

Cityscapes of Boston and New York round out the exhibition, complimenting Flood’s new subterranean venture with his recognizable skylines and street scenes. Through subways and cities, Flood paints a vivid ode to urban life both below and above ground, perfectly encapsulating a bustling metropolitan atmosphere.

1

2

1

1

2

2

EXHIBITIONSean Flood: Subterranean/Surface

SEPTEMBER 5 – NOVEMBER 10, 2019La Ville Lumière: Prints of Paris




AUGUST 22 – NOVEMBER 3, 2019

Developed in New York in the 1940s, Abstract Expressionism was the first uniquely American art movement to garner international acclaim and influence. Featuring prints and paintings by both first- and second-generation Abstract Expressionists, Radical Compositions explores the evolution of the movement from its east coast emergence to its dominance of the American and international art scene, ultimately shifting the epicenter of the art world from Paris to New York.

For centuries, the city of Paris—known as “La Ville Lumière”, or “The City of Light”—has electrified the abounding curiosities of artists and intellectuals worldwide. From Childs Gallery’s unique collection of works on paper, this exhibition is a tour of the Parisian Scene from the 19th century through today.

1 Lee Krasner (American, 1908-1984) Primary Series: Pink Stone (also called Rose Stone), 1969 Lithograph 21 ¾ X 29 ½ INCHES

2 Ruth Eckstein (American, 1916-2011) Nara: Black Pond, 1973/75 Collagraph with collage elements 20 1/2 X 16 1/2 INCHES

1 Jean Michel Mathieux-Marie (French, b.1947) Le Petit Pont, or Hommage à Meryon (detail), 2002 Steel plate drypoint 9 X 5 ¾ INCHES

2 Erik Desmazières (French, b.1948) Passage Choiseul, 1990 Etching, aquaint, and roulette 24 3/8 X 17 5/8 INCHES

Sean Flood, American (b. 1982), Cave Study 1, 2019, Oil on canvas, 60 x 48 inches


HOURS: Tuesday – Friday, 9 am to 6 pm Saturday & Sunday, 11 am to 5 pm

1 1 Train, 2018 Monotype 41 ½ X 30 ½ INCHES

3

3 Independent Studios, 2017 Oil on canvas 48 X 72 INCHES

2 The One, 2019 Oil on canvas 60 X 72 INCHES

Jackson Hole Fine Art FairSEPTEMBER 12 – 15, 2019

SNOW KING SPORTS AND EVENTS CENTER, JACKSON HOLE, WYwww.jacksonholefineartfair.com

IFPDA Fine Art Print Fair OCTOBER 23 – 27, 2019

RIVER PAVILION, JAVITS CENTER, NEW YORK CITYwww.printfair.com

INK Miami Art FairDECEMBER 4 – 8, 2019

SUITES OF DORCHESTER, MIAMI BEACH, FLwww.inkartfair.com

The Bulletin is a revival of the Childs Gallery Bulletin, begun in 1950 by Charles D. Childs. In an effort to keep our clients informed of our current and upcoming exhibitions, we will publish The Bulletin twice per year. We also invite you to send us your email address so that you may receive additional notifications on the artists you are most interested in. Email us at [email protected] with any specific interests.

1. Sawool Kim (Korean), Index 18 – Roots #8, 2017, Acrylic on canvas, 10 x 8 inches, $900 2. Henry Botkin (American, 1896-1983), [Untitled Abstract in Yellow and Pink], Oil on board with mixed media, 8 5/8 x 10 ¾ inches, $2,250 3. Pablo Eduardo (b.1969), Boston Marathon Bombing Memorial - Design #1, 2017, Bronze, 12 x 10 ½ x 5 ¾ inches, $16,000 4. Erik Desmazières (French, b.1948), Le Songe de Malatesta, 1979, Etching, 7 ¾ x 6 ¾ inches, $750 5. Andrew Fish, Skier, 2019, Oil on carton panel, 9 x 12 inches, $1,100 6. Roy Lichtenstein (American, 1923-1997), Mirror #1, from the Mirror Series, Line-cut, screenprint with embossing, and collage on Arjomari paper, 1972, 21 x 21 inches, $20,000 7. Beatrice Whitney Van Ness (American, 1888-1981), Houses in Maine [North Haven], c.1930, Watercolor, 14 7/8 x 21 inches, $1,200 8. George Platt Lynes (American, 1907-1955), [Reclining Male Nude on a Bed], c.1950, Vintage gelatin silver print, 7 ½ x 9 inches, $4,750 9. Marcantonio Raimondi (Italian, c.1480-c.1534), Two Satyrs Placing Silenus on a Braying Ass, c.1515-27, Woodcut, 4 ¼ x 6 ½ inches, $1,200 10. Resa Blatman, Hand-altered Etching 4, 2018, Etching, 10 x 19 ¾ inches, $800 11. Sally Michel (American, 1902-2003), Conversation, 1981, Oil on board, 11 x 14 inches, $10,500 12. Jeanne Duval (American, b.1956), Green Apples, 1997, Oil on linen, 9 x 13 inches, $19,500

GALLERY HIGHLIGHTS

1

2 34

8

11

7

10

6

12

5

9


169 NEWBURY STREET BOSTON, MASSACHUSETTS 02116-2895CHILDSGALLERY.COM 617-266-1108 [email protected]

The Bulletin Volume 70 ` Editor: Richard J. BaianoAssistant Editors: Kathryn Fields, Julie Edwards and Stephanie V. Bond Staff: Samantha Barnett, Katherine Bartlett, Gina Canning

and Sally NortonPhotography: Darren Stahlman|darrenstahlmanphotography.com,

Greg Perko; perkophoto.comDesign: Carlos Ridruejo|caridossa.com

©2019 Bond Baiano LLC / Childs Gallery All Rights Reserved.

OUR PUBLICATIONS

FALL/WINTER 2019

EXHIBITION

Herbert Barnett was an American artist whose life and work was closely tied to New England, and yet, his distinctive style of painting drew heavily upon the artistic innovations of Cubism.

Barnett’s working method is best exemplified by his still life paintings which frequently feature fruit, bottles, and other everyday objects balanced on tilted, topsy-turvy tabletops. He began each work by quickly drawing with the brush to capture the basic contours of his subject. Next, he made a tonal underpainting in oil wash to indicate the most prominent volumes as areas of light and shadow. The painted surface consists of a pattern of discreet, rectangular brushstrokes. Barnett’s emphasis on structure clearly reflects his admiration for Cezanne and the Cubists.

This exhibition is a survey of the artist’s continual exploration of the still life over a 30 year period.

1 Still Life with Daffodils and Poppies, 1937-38 Oil on canvas 30 X 24 INCHES

2 Still Life with Fruit and Flowers, early 1950s Oil on canvas 30 X 36 INCHES

3Compote and Yellow Pitcher, c.1965 Oil on Masonite 24 X 36 INCHES

1

2

3

Herbert Barnett and the Cubist Still Life


EXHIBITIONHannah Barrett: Transitions

JANUARY 16 – MARCH 15, 2020

Hannah Barrett: Transitions is a retrospective mélange of works from the artist’s various series—from the Secret Society to Monsters—that traces Barrett’s development as she progresses from collage to imagination as the source of her portraiture.

Barrett has previously described her paintings as “invented portraits based on collage: copies of photos or in some cases, copies of paintings are cut apart and reassembled into figures of ambiguous gender. Fusing the features of both sexes creates a range of androgynous characters that may be straight, queer, hermaphroditic or just cross-dressing.” Her aim is to create portraiture that deviates from the conventional male or female, and to explore the resulting pictorial and conceptual possibilities in a fun and unexpected way.

In her latest series Monsters, Barrett has created creatures that are fully of her own imagination, with no singular references to reality. In this way her Monsters are entirely fictional, and the viewer can project their own character onto the portraits.

Transitions observes this artistic shift in Barrett’s work from reality-adjacent to entirely-imaginary through a rousing journey within her amusingly eclectic world.

childsgallery.com 617-266-1108childsgallery.com 617-266-1108

2

3

1

1 Hunters’ Picnic: Dememls KuK Trachtenkur, 2012 Oil on linen 50 X 30 INCHES

2 Monsters: Cocktail Hour, 2018 Oil on canvas 42 X 34 INCHES

3 Secret Society: Grantchester Hattersly, 2006 Oil on canvas 16 X 12 INCHES

print exhibitions - childs gallery · print exhibitions volume 70 the bulletin childs gallery...

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