One of the great joys of collecting art is to acquire a fine work that reflects one’s taste while providing long-term investment value. There are many challenges within the current economic climate but there are inherent opportunities as well. Within the art world, this is relevant to seasoned collectors as well as to first time buyers. We encourage you to inquire about available inventory, and we always welcome the opportunity to discuss your art collecting objectives.
For Len Chmiel, each painting he creates is an expression of himself. He has said, “I really believe that I came from the dirt…I feel this real physical and emotional and spiritual connection. I actually get into a dialogue with what I’m painting.” For the first time over the course of his career, Len now feels that he is willing to offer a selection of his “reference” paintings for sale. These small, important jewels are paintings that he has held back and personally valued over the years. Len notes, “These small paintings … are thoughtfully executed to stand alone as complete works. That I have used them for reference for larger work is a way to remind myself of my thought process on location and of the experiments I attempted.” Welcome to this rare opportunity to listen in on this acclaimed artist's "dialogue"
“Maynard Dixon could get more of the West on the back of a card than most painters could put on a five foot canvas. And when sketching he used anything that could be drawn upon, cardboard, scraps of paper of any size or color, wrapping paper, the backs of bills, announcements of cards, in fact anything that was handy. Ink, pencil or crayon, it made no difference. Get the information down for future use and get it down directly and truthfully.” (Don Perceval, Maynard Dixon Sketchbook)
MAYNARD DIXON (1875-1946)
Redwoods, Coronado, 1892
Watercolor on paper, 21.5 x 8.25 inches
As a rather frail child, Maynard Dixon was often left to his own devices and by the age of 6 had began to draw, letting his imagination take him through the western landscape. Much of his earliest work was destroyed in the 1906 San Francisco fire, making this an extremely rare painting, in untouched condition, from the private collection of the artist’s granddaughter.
Hartley exhibited his picture in a 1942 wartime show of contemporary work at the Metropolitan Museum of Art called On the Bright Side, an aptly titled venue for this canvas
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