Marine & Maritime Exhibiton

www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

 

Summer Auction - Passed Lots Sale

Open through 6pm Wednesday, July 31st

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No buyer's premium added to Instant Purchases

Simply click the "BUY" button to purchase an item.

 www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

Steve McCurry Joins SanDisk Extreme Team Legends

Steve McCurry has been inducted into the SanDisk Extreme Team Legends programme. This programme honours photographers who have made major contributions to the art of photography during their careers. McCurry was inducted into the programme during National Geographic’s 125th anniversary event in Øksnehallen, Copenhagen. At the event, more than 110 photographs taken by some of National Geographic’s most prestigious photographers were featured. Most notably, McCurry’s “Afghan Girl” image, which appeared on the magazine’s cover in 1985, and has since become one of the most recognised magazine covers of all time.

Sandisk Press Release

SANDISK INDUCTS STEVE MCCURRY INTO THE SANDISK EXTREME TEAM LEGENDS PROGRAM

 

London, UK – SanDisk Corporation (NASDAQ: SNDK), a global leader in flash memory storage solutions, has announced Steve McCurry, the renowned photographer of the iconic “Afghan Girl” image, has been inducted into the SanDisk Extreme Team Legends program.

McCurry has been one of the most iconic voices in contemporary photography for more than 30 years, with scores of magazine and book covers, over a dozen books, and countless exhibitions around the world to his name.

SanDisk created the SanDisk Extreme Team Legends program to honor photographers who have made major contributions to the art of photography during their careers. McCurry was inducted into the program during National Geographic’s 125th anniversary event in Øksnehallen, Copenhagen. At the event, more than 110 photographs taken by some of National Geographic’s most prestigious photographers were featured. Most notably, McCurry’s “Afghan Girl” image, which appeared on the magazine’s cover in 1985, and has since become one of the most recognised magazine covers of all time.

“Members of the SanDisk Extreme Team Legends are photographers chosen to be a part of the program based on their years of dedication to photography,” said Brian Pridgeon, director, retail product marketing, SanDisk. “We are proud to include Steve McCurry among the other SanDisk Extreme Team Legends, who are all premier photographers in their respective genres.”

McCurry is the third inductee into the program since its inception, along with fellow distinguished photographers Walter Iooss and Akito Mizutani. The selection of a SanDisk Extreme Team Legends member is based on a lifetime of significant contributions to the photography industry, and SanDisk acknowledges these members for their devotion to the art.

SanDisk also kicked off a social media contest to select a new SanDisk Extreme Team member, and McCurry will be part of an exclusive panel of judges who will determine the winner. The contest started yesterday (22nd July, 2013) on SanDisk’s Facebook page. The winner will be announced at the PhotoPlus International Conference and Expo in New York, NY on Oct. 24, 2013. Visit http://www.facebook.com/sandisk to learn more about this contest.
To see original article click HERE

Please click on Steve McCurry to see more of his work.

 www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

Auction Preview - 2 Days Remaining

Summer Fine Art Auction

July 25 - 28, 2013 Fine Painting, Sculpture & Photography
Special Feature on Nantucket Art

To see all available lots visit

www.cavalierauctions.com

Please direct inquiries to: info@cavalierauctions.com
Or Cavalier Galleries, Inc. 203.869.3664
405 Greenwich Avenue, Greenwich, CT 06830

Spotlight on Jim Rennert

Jim Rennert is one of Cavalier Galleries beloved artists. He works with the modern businessman in mind, showing ideas and values that anyone who has worked in business can understand and relate to. Throughout his career he has done commissions and corporate projects, no project is too big or too small. The works below are the newest to be added to his repertoire and are studies for possible larger monumental works.



Apples and Oranges, 2013

bronze and steel

Bull, 2012

bronze and steel

Big Picture, 2013

bronze and steel

Bear, 2012

bronze and steel

Midtown, 2013

bronze

On Time, 2012

bronze and steel

Ups and Downs, 2012

bronze and steel

Uptown, 2013

bronze

Head First, 2013

bronze and steel




Please click Jim Rennert to see more of his work.

 www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue • Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a • New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

Harry Benson - On the Road 1964-1966

They say "you can't judge a book by its cover," but the image of a pillow fighting Paul McCartney on the cover of famed photographer Harry Benson's new book, The Beatles: On the Road 1964-1966, pretty much captures and releases an indelible clue to the remarkable photographs presented within its impressive 272 pages.

 

Try to imagine the incredible good luck of this Scottish photojournalist, about to board a plane to Africa for a foreign assignment, when he got a call from the photo editor of London newspaper The Daily Express, who requested that he change his plans immediately and instead fly to Paris with a relatively unknown rock group called The Beatles. From there he was off with the Fab Four to New York City, unaware that he was about to become the greatest documenter of Beatlemania in history.

Recently, I had the pleasure to be the moderator for a panel whose distinguished participants included Mr. Benson and were part of "Artist as Author," an unusual exhibition at the Cultural Council of Palm Beach County museum in Lake Worth, Florida. I sat next to Harry during the panel, and for an hour or so pitched questions everybody in the audience wanted to hear the answers to, especially the private stories shared "off the cuff" about traveling with the Beatles. I had the opportunity to observe the master at close range, and I discovered at the center of the distinguished silhouette of this towering figure, topped off with a coiffure of gently waving white hair like a vanilla ice cream swirl, a pair of distinctive brown eyes that seemed to focus carefully like a camera's lens as he examined his surroundings. It's a look I've seen before, during memorable conversations years ago with other legendary photographers--Aaron Siskind and Harry Callahan at the Rhode Island School of Design, Amy Arbus in Manhattan or on Ralph Gibson's scenic porch in Sag Harbor--it's their absorbed, expert gaze that gives them away as important narrators of contemporary society. Benson is at his perceptive best with this new and fascinating book--a modern day Rosetta stone--a private discovery that answers many significant questions and offers a convincing argument that this is one of the most substantial and most influential records of early rock history, and perhaps has no equal. To be sure, there have been others, such as photographer Jim Marshall who captured magical moments on stage with Jimi Hendrix, Janis Joplin and the Rolling Stones, but no one anywhere, past or present, ever has snapped such intimate shots of the world's most famous band. I also am reminded of Weegee (the pseudonym of Arthur Fellig) and his stark black and white photos of nighttime action and graphic crime scenes on the streets of New York's Lower East Side during the 1930s; both he and Benson developed a distinctive signature style and an uncanny ability to get the shot.

So, like the advantageous circumstances of an official White House photographer in the press corps, Benson, with his quiet personality and no nonsense approach to picture taking, was welcomed quickly and warmly into the trusted inner sanctum of The Beatles, whose simple, innovative lyrics and music, innocence, youthful exuberance and mop-headed good looks would soon capture the imagination of the world and change popular music forever. He covered their groundbreaking visit to the United States in 1964--his first and theirs--starting with an astonishing shot of The Beatles' arrival in New York as the boys were walking down the steps of the jetway to meet the screaming crowds and their destiny, excitedly and a bit nervously looking back and up at Benson as if to say, "Did you get that shot!?" "Can you believe this!?" Benson was backstage as hysteria evolved into fainting during their premiere performance on the Sunday night Ed Sullivan Show, which was the most anticipated hour program in television history, although now in second place after the moon landing. He followed them on every tour stop, as well as on the set of A Hard Day Night for over two years.

But enough on historic significance and pomp and circumstance--let's take a look at the remarkable overall quality of these photographs. There's a great composition depicting George Harrison below the soaring Eiffel Tower; John Lennon with his hand in his jacket, just like the bust of Napoleon behind him; Paul McCartney sticking his head out of an airplane bathroom, face covered with shaving cream, and in another, classic, odd composition, his head completely hidden by a handkerchief that brings to mind the playful compositions of Elliot Erwitt; the mass welcome at JFK Airport that is simply spellbinding; a purposely blurry portrait of a scowling Paul McCartney that looks like a classic Thomas Ruff portrayal (forty years earlier); Ringo Starr on the beach in Florida, looking curiously like a Bruce Weber photo (again, forty years earlier); and finally, a hysterical female fan who is reminiscent of Edvard Munch's The Scream. Get the picture? It's all in the book, which will fly you around the world, bringing back to life an extraordinary time chronicled by an extraordinary photographer.

To order a limited edition copy of The Beatles: On the Road 1964-1966 contact Cavalier Galleries.

 

www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

 

Article written by Bruce Helander, originally published in The Huffington Post Arts & Culture Section

To see original article click HERE

Important Marine and Maritime Paintings Exhibition and Sale Unveiled

The man behind the historic Marine and Maritime paintings currently on exhibit at Cavalier Galleries in Nantucket is Joseph Vallejo of the Vallejo Gallery in Newport Beach, CA. We invite you to join us as we take a look into the history and inspiration behind this impressive collection of pivotal maritime artwork.  Mr. Vallejo's passion for the sea and the works he collects shines through in his vast knowledge of the subject and the unrivaled quality of the artwork and artifacts that he presents.  Cavalier Galleries is thrilled to once again welcome the exemplary pieces he has selected for our annual exhibition of maritime paintings. 

Q&A with Vallejo

How did you first become involved with collecting Maritime art?
Vallejo: Well I began in 1972, I started buying in Scotland, buying marine items from salvaged ships that were being broken up. Gradually I worked towards better quality pieces as I progressed and started branching out to Europe and throughout the United States. First I did a lot of research, I’m basically self-taught. It takes years to learn who the great artists are and of course this was before computers. You had books to rely on and museums. Gradually I worked my way up to get to the best artists.

Where did your passion for the sea and collecting maritime art & artifacts originate from?
Vallejo: I’ve been around water most of my life and I had a business to do with yachts, mainly maintenance and beautification. I had collected a few nautical pieces, there was an opportunity to travel to see some great maritime artifacts and possibly start another business and I took it. By going aboard the salvaged ships and getting in the door, that was the beginning. Also, my father and I used to go fishing often. When I was a kid the first thing I ever drew was a sailing ship. I used to love to go down to the docks as a kid and watch the ships come in. I just have this love of the sea.

What do you consider to be your greatest find?
Vallejo: I’ve had a lot of great finds. I recently had a great pirate painting by N.C. Wyeth. It’s called Absconding with the Treasure. He became most famous for his pirate scenes. On all scales, I’ve had hundreds of spectacular finds. Great artists coming out of the woodwork. I recently discovered a great work by Arthur Waud, who in his time was the premier Civil War field artist who worked alongside Winslow Homer. Not many people know of him today, but the quality of this exceptional painting “Our Flag is There” led me to believe there had to be more to the artist.  It was great doing the research. It doesn’t have to be expensive to be a wonderful thing, a great treasure.

What advice would you offer to someone looking to start their own maritime collection?
Vallejo: I’d recommend to anyone, including myself, to buy the best. You can never go wrong buying the best of an artist. The names of importance. You want to make sure you’re buying a good quality work by the artist and that there is some sort of demand for their work. 

Who are the top 5 collected maritime artists in the United States right now?
Vallejo: Montague Dawson. James E. Buttersworth. Antonio Jacobsen. Robert Salmon. The Liverpool School. 

Antonio Jacobsen (1850-1921)

Racing Yacht Mayflower, 1886

oil on canvas, 22 1/8 X 36 1/4 inches

What would you consider to be the best paintings in our current exhibition, and what makes these works exceptional?

Mary Blood Mellen (1819-1886)

Sunset Calm off Ten Pound Island Light, Gloucester, c. 1850s

oil on canvas, 8 1/8 x 12 1/8

Vallejo: This piece is important because Mellon was tutored by Fitz Henry Lane. It’s a luminous painting. It’s a known area. It has a wonderful provenance as well, coming from the family of the Boston Globe newspaper, directly.

Montague Dawson (1895-1973)

The Battle of Jutland, 1949

 oil on canvas, 24 x 36 inches

Vallejo: This is the second most famous naval battle that Britain ever fought, after Trafalgar, and they were the major sea power throughout the 18^th and 19^th century. Not only is the artist notable but the scene is important. The provenance is significant as well coming from the National Geographic Collection. 

James E. Buttersworth (1817-1894)

Schooner Yacht Columbia Racing off Portsmouth, c. 1875

oil on panel, 10 x 14 1/4 inches

Vallejo: It has great light, a main factor people want to see in a James E. Buttersworth painting. The painting is very crisp and the coloration is brilliant. Also, it is a well known yacht racing event, occurring off the coast of England.

William Edward Norton (1843-1916)

On the Coast of Holland, Fishing Boat Ready for Sea, c. 1890

oil on canvas, 42 x 34 inches 

Vallejo: This painting is reminiscent of Edward William Cook who painted 20 years earlier than Norton such scenes, which made him famous. Norton has captured this moment beautifully of the Dutch coast. It has great light and drama.

 To see all of the works in the

Important Marine and Maritime Exhibition click HERE

or visit Cavalier Galleries at 34 Main Street, Nantucket, MA 02554

www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

New Free App Featuring Steve McCurry

"Most of my pictures are grounded in people. I look for the unguarded moment, the essential soul peeking out, experience etched on a person's face. I try to convey what it is like to be that person, a person caught in a broader landscape that I guess you'd call the human condition."

Steve McCurry

Timeline

From 1980 to the present day, Steve McCurry’s portraits have evolved along with our understanding of the world he documents. Follow this timeline to see this evolution come to life.

Map

McCurry’s photographs spread internationally, from the bustling streets of New York City to the serene islands of the Phillippines.

Ephemera

McCurry’s travels have taken him through some of the most beautiful, but dangerous and inhospitable regions in the world. Explore uncovered letters, articles and documents that give you a peek into his travels.

To download the FREE app click HERE

Please click on Steve McCurry to see more of his work.

 www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405 

Interview with Donald Martiny

Burnt Hills, 2012, 81 x 42.5",

polymers and dispersed pigment

What are you working on in your studio right now?

  

I recently received a commission to make paintings for the lobby of a new building in mid-town Manhattan by the Durst Organization. I am also preparing for a solo show of my work that will be in the lobby of the Conde Nast building at 4 West Times Square in New York from November 2013 to January 2014.

Can you describe your working routine?
 
I am usually in the studio between 8:30 and 9AM and work until around 7:30 PM.  I work seven days a week.  There is no set routine other than that. One day may be spent working on paintings, while the next day may be spent building shipping creates and ordering materials.

Can you describe your studio space and how, if at all, that affects your work?

I have had many different kinds of spaces. The large works that were exhibited last January at George Lawson Gallery, LA were all made on the cement floor of a converted tobacco factory in Durham. That space was extremely tight and challenging to move around in.  I had a wonderful large space in Philadelphia when I lived there.  I could leave things up on the wall to consider over a period of time. My current studio space is the main part of the house.  It consists of two large rooms, an office and a workshop. The painting studio has an abundance of natural light and big double doors to move large works in and out. In the morning and evening hours I often see deer, eagles and owls. These natural surroundings provide a stimulus for my work. I am certainly affected and inspired by the movement, rhythm, time, changing light, color, and mood.

 Installation at George Lawson Gallery, 2012

Tell me about your process, where things begin, how they evolve etc.

My process has evolved quite a bit.  When I first considered the idea of working freely with forms in my paintings, I tried to use epoxy resins. I had experience working with fiberglass and resins from when I built boats as a summer job while I was in school near Lake Michigan.   But the resins didn’t work. The paintings were prohibitively heavy and brittle and I couldn’t control the color.  Additionally, the materials were hazardous.  I nearly set my studio on fire once when I put too much catalyst (MEK) into the mixture. In terms of process, I draw and sketch all the time.  I am constantly experimenting with gestures and forms, relationships and color. I usually make small paintings first.  I think of them as finished paintings but they also inform the larger works. My large paintings are a huge investment in time, effort and materials.  Some of them consist of 10 to15 gallons of paint. One part of my studio is set up much like an arena. I paint on the floor walking around the work. I often make brushes out of large floor mops or brooms. The act of painting is much like a dance. While creating a large painting, I am stretched to the limits of my physicality. The act of painting records my reach at a specific time and place. I suppose one could say in this way that my paintings are self-portraits.

Installation at Marlboro Gallery at  Prince George Community College 

What are you having the most trouble resolving?

I would like to spend more time making paintings and less time dealing with the business aspects of running a busy studio e.g.,  making schedules, shipping, building boxes, ordering materials, etc. 

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

  

I truly enjoy working with traditional oil painting methods but once my concept or idea of what a painting could be changed, my materials had to change too.  I’ve spent several years talking with chemists all over the world and am on a first name basis with virtually every art materials manufacturer in trying to perfect my paint and process. I can finally say that I am happy with the materials I am using now.  They are safe, odorless, water based, light-weight, and I can do just about anything I want in terms of painting. Because I mix micro bubbles into my paint I suppose one could say I am using nanotechnology in my painting process.

What does the future hold for this work?

The conceptual area I am working in opens up so many possibilities in painting. I haven’t even scratched the surface.  I have numerous sketches and prototypes of new directions I am interested to explore. Each direction could keep me busy for years. 

Pigeon Lake, 2012, 83 x 45",

polymers and dispersed pigment

Interview by Valerie Brennan

For full article click HERE

Please click on Donald Martiny to see more of his work.

 www.cavaliergalleries.com

 GREENWICH 405 Greenwich Avenue•Greenwich, CT•06830• 203.869.3664 

NEW YORK 15 East 71st Street, Suite 2a•New York, NY• 10021 • 212.570.4696

NANTUCKET 34 Main Street • Nantucket, MA•02554 • 508.325.4405