Exhibitions, February 2018

Maine Antique Digest includes, as space permits, brief announcements of exhibitions planned by galleries, museums, or other venues. We need all press materials at least six weeks in advance of opening. We need to know the hours and dates of the exhibit, admission charges, and phone number and website for further information. All listings must include an image. Electronic images are preferred, but we can accept photographs or slides. The information may be e-mailed to [email protected]maineantiquedigest.com or mailed to Exhibitions, Maine Antique Digest, PO Box 1429, Waldoboro, ME 04572.


Bartolomé Esteban Murillo (Spanish, 1617-1682), Self-Portrait, 1650-55, oil on canvas, 42" x 30 1/8". The Frick Collection, gift of Dr. and Mrs. Henry Clay Frick II, 2014. Photo by Michael Bodycomb.

—Through February 4
New York City

Inspired by the self-portraits in their holdings, New York City’s The Frick Collection and London’s National Gallery have co-organized an exhibition that marks the 400th anniversary of the birth of Bartolomé Esteban Murillo in Murillo: The Self-Portraits. The Frick’s website notes that Murillo, “one of the most celebrated painters of the Spanish Golden Age, ...worked primarily in Seville, where he was born in 1617, until his death in 1682. Well known for his religious paintings and his extraordinary depictions of street urchins, he was also an ingenious painter of portraits. This genre remains, however, the least studied aspect of his work.” The self-portraits are shown with 15 other works on loan. A catalog is available. The exhibition will be at the National Gallery in London from February 28 to May 21.

The Frick Collection is located at 1 East 70th Street in New York City. Hours are Tuesday through Saturday, 10 a.m. to 6 p.m.; and Sunday, 11 a.m. to 5 p.m. Admission is $22 for adults, $17 for seniors, and $12 for students. Children under ten are not admitted. Wednesdays from 2 to 6 p.m. admission is pay what you wish. For more information, call (212) 288-0700 or visit (www.frick.org).


William Bradford (1823-1892), After the Storm, 1861, oil on canvas, 24" x 36".

—Through February 23
New York City

Debra Force Fine Art presents Inside and Out: 19th Century American Genre, Marine, and Still Life Paintings. Works by James Bard, James Henry Beard, Albert Bierstadt, John S. Blunt, William Bradford, Benjamin Champney, William Harnett, William Haseltine, Martin Johnson Heade, Winslow Homer, David Johnson, Eastman Johnson, Albert King, Edward Moran, Thomas Sully, Thomas Waterman Wood, and others are on view.

Debra Force Fine Art is located in Suite 4F at 13 East 69th Street in New York City. Hours are Monday through Friday, 10 a.m. to 6 p.m., and Saturday by appointment. For more information, call (212) 734-3636 or visit (www.debraforce.com).


Eliot Porter (1901-1990), Apples, Great Spruce Head Island, Maine, 1942, dye transfer print, 155/16" x 12 1/8". Gift of Maine Coast Heritage Trust.

—Through March 18
Portland, Maine

The Portland Museum of Art (PMA) presents Eliot Porter’s Nature. Porter worked with color film at a time when the art photography field was still concentrating on black-and-white images. His photography shows his commitment to the conservation of wildlife and wilderness areas. Paintings by his brother Fairfield Porter are on view on the same floor.

The PMA is located at 7 Congress Square in Portland. Winter hours are Saturday and Sunday, 10 a.m. to 6 p.m.; Thursday and Friday, 10 a.m. to 8 p.m.; and Wednesday, 10 a.m. to 6 p.m. Admission is $15 for adults, $13 for seniors, $10 for students with valid ID, and free for youths 14 and under and for members. Admission is free for all Fridays from 4 to 8 p.m. For more information, call (207) 775-6148 or visit (www.portlandmuseum.org).


America Martin (b. 1980), Butterfly Woman, oil and acrylic on canvas, 44" x 75".

—Through March 31
New York City

JoAnne Artman Gallery presents The New Figurative: Featuring America Martin. The gallery notes that Martin’s recent work “explores nuances of gender perception by addressing the formal aspects of gender constructs.... Both male and female figures are solid in width and girth, commanding the space that they occupy within her work, lacking most of the gendered signs of normative beauty standards.... Martin explores new modes of representation throughout her practice approaching the human form through a diversity of mediums. Expressive of her Colombian-American heritage and rooted in modernism, Martin’s visual language feels iconic and familiar as the artist utilizes the essential elements of line, form and color in vibrant, humanist compositions.”

JoAnne Artman Gallery is located at 511A West 22nd Street in New York City. Hours are Tuesday through Saturday, 10 a.m. to 6 p.m., and by appointment. For more information, call (949) 510-5481 or visit (www.joanneartmangallery.com).


Watervliet, New York, Shaker community, sewing carrier, circa 1850, pine and ash with silk, wax, and poplar, 9" x 12½" x 7". Stephen and Miriam R. Miller collection.

—Through May 30
New Britain, Connecticut

The New Britain Museum of American Art presents Focus On: Shaker Woodenware (Part II), drawn from the collection of Stephen and Miriam Miller. This is the third installment of Shaker furniture and crafts since the opening of the Shaker Gallery in 2015. While the Shakers desired isolation from the ways of the world, they also found it necessary to make and sell items in order to buy things that they were unable to produce for themselves. The Shakers always adhered to the same high standards of construction that they used on their own items. This exhibition offers viewers the opportunity to compare and contrast objects made for use by the Shakers, such as a large sewing chest from Enfield, Connecticut, and objects made for sale, including a number of oval sewing boxes, from Sabbathday Lake, Maine.

The New Britain Museum of American Art is located at 56 Lexington Street in New Britain. Hours are Sunday, Monday, Tuesday, Wednesday, and Friday, 11 a.m. to 5 p.m.; Thursday, 11 a.m. to 8 p.m.; and Saturday, 10 a.m. to 5 p.m. Admission is $15 for adults, $12 for seniors, $10 for students and youths 13 to 17, and free for children under 12 and for members. For more information, call (860) 229-0257 or visit (www.nbmaa.org).


Some of the banks from the collection of brothers Stephen and Tom Broker.

—Through May
Roanoke, Virginia

The Historical Society of Western Virginia is hosting You Can Bank on Us: Mechanical and Still Banks from the Collections of Stephen and Tom Broker. The bank collection was inspired by the men’s parents. When the boys went with their mother on antiquing trips, she would direct them to the metals sections where they would be less likely to break things. The greater part of Steve’s bank collection was assembled during those trips. The exhibit showcases banks manufactured from the earliest 1900s through the 1930s by such toy companies as A.C. Williams, Arcade, Hubley, Kenton, Grey Iron Casting Co., and J. & E. Stevens. The display is in four groupings—animals, whimsicals, buildings and architectural, and mechanical banks—at the Society’s O. Winston Link Museum and History Museum of Western Virginia, housed in a historical Norfolk and Western Railway passenger station.

The O. Winston Link Museum is located at 101 Shenandoah Ave. Northeast in Roanoke. Hours are Tuesday through Saturday, 10 a.m. to 5 p.m. Admission is $6 for adults; $5.50 for seniors, military, and students; $5 for children three to 12; and free for children two and under and for members. For more information, call (540) 982-5465 or visit (www.roanokehistory.org).


Tsesah crest, Cameroon, Grassfields region, Bamileke people, 19th century, wood, 34 3/16" high x 21¼" wide x 12½" deep. Private collection, courtesy McClain Gallery.

—Through September 3
New York City

Tsesah crests are currently on view at the Metropolitan Museum of Art (Met) in The Face of Dynasty: Royal Crests from Western Cameroon. While only a small number of pre-colonial tsesah crests survive, four of them are shown in this exhibition. Press materials note that “the genre has a prominent place in the repertory of sculpture from sub-Saharan Africa. The grandeur and originality of the works instantly captured the attention of art critics in the West in the early 20th century, but until this exhibition at The Met, no American museum has displayed more than one tsesah at a time.”

The Met is located at 1000 Fifth Avenue in New York City. Hours are Sunday through Thursday, 10 a.m. to 5:30 p.m.; and Friday and Saturday, 10 a.m. to 9 p.m. Through March 1, suggested admission is $25 for adults, $17 for seniors, and $12 for students. Beginning March 1, those fees will be required of all out-of-state visitors. Admission is free to children under 12 and to members. Admission for residents of New York state and students from New Jersey and Connecticut will continue to be pay as you wish. For more information, call (212) 535-7710 or visit (www.metmuseum.org).


Julio César Morales (b. 1966), Day Dreaming #17, 2017, permanent pigment print on paper, 10" x 8".

—February 2-28
Guadalajara, Mexico

Gallery Wendi Norris will present This World is Not for You with photographs from Julio César Morales that reflect his research of activities along the southern border of the United States. This exhibit contains a new 19-piece series entitled “Day Dreaming” that mixes black-and-white photographs of the U.S./Mexico border with geometric abstractions in which the color fields derive from sampled items of abandoned trash, shoes, clothing, and drinking vessels from both sides of the border. According to the gallery, “The art works attempt to find beauty in the everyday struggles and reality of migration, self-determination and social equality.”

Gallery Wendi Norris will present this fourth exhibition for Morales at Galería Curro’s project space at Torre Cube, a 230-foot tower building designed by architect Carme Pinós in the heart of Puerta de Hierro, Guadalajara, Mexico. Exhibition hours are Monday through Friday, 10 a.m. to 6 p.m. For more information, visit (www.gallerywendinorris.com).


Originally published in the February 2018 issue of Maine Antique Digest. © 2018 Maine Antique Digest

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