John Grande is an American artist born in 1969 in Huntington, Long Island, NY. He attended the School Of Visual Arts earning his BFA. John moved to New York City and worked as a professional c-printer at several high end photo labs. Having the opportunity to print for high end fashion, music and fine art photographers. This highly influenced his personal vision. It allowed him to become part of the process.
Grande started his career as an artist photographing mannequins in window displays throughout Manhattan, stores such as Macy’s, Saks Fifth Avenue would become source material for one of his first series of paintings. Grande used the mannequins placing them in front of world disasters. Grande’s works developed using his visual and inspirational view of whats around him on the streets of New York City. He would visually asses the work by studying their compositions, and in turn created a visual technique of his own. Grande has centered his work around his studio practice . Creating his signature paintings blending techniques of photo realism and pop art. Grande explores and exposes culture – both popular and contemporary – transforming and uniquely weaving high-end symbols and icons immersed in today’s luxury lifestyle.
Grande’s newest series of paintings inspired by the organic compositions created from decaying advertisements lining the New York City streets. Grande became fascinated with what he refers to as “the city’s modern day cave paintings” and has dedicated his creative practice to bringing these compositions to life. The dialogue created by both residual deterioration and blanketed layers, left behind by years of placing and tearing down wheatpaste posters and stapled flyers against construction dividers, results in its own language, unique to the constant turnaround in New York City.
Grande has exhibited in Solo and Group Shows throughout the world (New York, Miami, Los Angeles, Washington DC, Korea, Italy, India, and Canada)
Harold Town Titled: Vale Variation, 1976 Medium: Woven Tapestry Size: 77” x 99” (195.6 x 251.5cm) Signed, dated and numbered 23/25
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Harold Town Titled: Oh How We Danced, 1970 Medium: Oil on canvas Size: 20” x 20” (50.8 x 50.8cm) Verso signed, titled and hand printed
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Harold Town Titled: John Lennon; Yoko Ono, 1969 Medium: Lithograph Size: 20” x 14” (50.8 x 35.6 cm) each Signed, dated and numbered (Lennon 45/180) (Ono 158/180)
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Harold Town Titled: Pond Rise, 1957 Medium: Single autographic print Size: 19.75″ x 16” (50.2 x 40.6cm) Signed and dated 57 (lower right), numbered 1 – 1, on verso signed, dated, titled, inscribed “G1260P”
Canadian Artist; CGP CPE CSGA OC OSA P11 RCA (1924-1990)
Born in Toronto in 1924, Harold Town studied at the Western Technical School and the Ontario College of Art until 1945. Following his studies, he worked as an illustrator for Maclean’s and Mayfair before becoming immersed in the art scene. He also became a lively writer, contributing essays for catalogues, and was the coauthor of the Tom Thomson biography The Silence and the Storm. Among others, he illustrated Leonard Cohen’s book Beautiful Losers and Irving Layton’s Love Where the Nights are Long: An Anthology of Canadian Love Poems.
Town traveled to New York City and Chicago in 1948, where he saw the works of American Abstract Expressionist artists. Outspoken and charismatic, he became a seminal figure in the development of abstract art in Canada. In 1953 he joined Painters Eleven, an innovative group of abstract painters that included Jack Bush and William Ronald. Active from 1953 to 1960, they exposed the public to modernist movements such as Abstract Expressionism.
Town worked in a variety of media – painting, printmaking, assemblage and collage. Collage was said to be at the heart of his work, and David Burnett wrote that they were “a complex, multi-directional interweaving of technique, materials, experience and expression.” He rocketed to prominence in the 1950s, creating an explosion of innovative work in many different series. He achieved considerable recognition for his autographic prints, a series of monoprint works produced between 1953 and 1959. Widely appreciated nationally, their reputation spread internationally as they received awards in Yugoslavia, Chile and New York. In 1958 he was awarded what was the largest public art commission to that date in Canada – a 10 by 37 foot mural for a hydroelectric dam at Cornwall, which inaugurated the St. Lawrence Seaway. Between 1957 and 1964, he had 15 solo exhibitions – in Toronto, Montreal, Regina, Vancouver, New York and New Jersey, and his work was included in about 70 group exhibitions in Canada and internationally. He was known for his inventive imagery, expressionist brushwork and his control over his painterly images, which engaged in a push-pull of dynamic tension across his surfaces.
Town exhibited internationally extensively – he represented Canada in the 1956 and 1965 Venice Biennale, and participated in the Milan Triennial, the Bienal de São Paulo, Documenta in Kassel and the World’s Fair in Brussels. He was the recipient of a Guggenheim award in 1960, and in 1966 received an honorary doctorate from York University in Toronto as well as the Order Of Canada. From the early to mid-1970s and throughout the 1980s, Town continued to work on a number of series in painting, drawing and collage. In drawing these include, the Vale Variations, (1972-1977), inspired by an erotic fantasy by his old friend Florence Vale, the Toy Horse series (1976-1982), 800 individual drawings inspired by a toy horse acquired from a local antique store, the Bug Walk series (1983) which combines collages of man-made structures and finely drawn invading insects, The Famous, (1984-1985), delicately rendered portraits of historical personages and Stages (1986-1987), where drawing combines with colourful collage. Town’s strongly figurative works of the early 1980s is echoed in the playful Muscleman series of paintings, painted like landscapes where men with thickly painted exaggerated muscles and very small heads, posed to display their mindless physiques. In 1984, Town illustrated Pas de Vingt: A Celebration of Ballet Dancers by James Strecker, and in 1990, he contributed illustrations to Strecker’s Black: A Tribute to Black Musicians. Retrospectives of his work were held at the Windsor Art Gallery in 1975 and the Art Gallery of Ontario in 1986. Town passed away in 1990, remembered for his quintessential part in shaping the Toronto modern art scene of the 1950s and 1960s. Dubbed the “the Picasso of Canada.”
SELECTED COLLECTIONS: Town is represented in the permanent collections of the National Gallery of Canada, Ottawa; the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam, Netherlands; Tate Gallery, London, England; the Art Gallery of Ontario, Toronto, ON; the Art Gallery of Hamilton, Hamilton, ON; the Glenbow Museum, Calgary, Alberta; the London Regional Art Gallery, London, ON; Art Gallery of Windsor, Windsor, ON; Edmonton Art Gallery, Edmonton, AB; Beaverbrook Art Gallery, Fredericton, NB; Mackenzie Art Gallery, Regina, SK; Winnipeg Art Gallery, Winnipeg, MB; Vancouver Art Gallery, Vancouver, BC; Art Gallery of Greater Victoria, Victoria, BC; Museum of Modern Art,Sao Paulo, Brazil.
The record price for this artist at auction is $96,000.00 for DOWN AND UP, sold at BYDealers Auction House in 2021.
Michael Snow Titled: Solar Breath (Northern Caryatids) Video Still, 2002 Medium: Archival inkjet print (archival pigment inks on photographic paper) Size: 17” x 22” (43.2 x 55.9cm) image 9.45” x 14” (24.0 x 35.6cm) Verso on tag signed, dated 2011 and numbered 8/23 Gallery TPW, Toronto, Ontario, Silver Editions 2011
Inquire about this work.Michael Snow Titled: Wood Calling Bronze, 1989 Medium: Bronze mounted on wooden base Size: 4.7” x 9” x 12” (11.9 x 22.9 x 30.5cm) Signed, dated and numbered 87/500
Gustave Maincent Titled: Bretonne Dans Un Paysage, circa 1885 (“Breton Woman in a Landscape”) Medium: Oil on canvas Size: 29” x 36.25” (73.7 x 92.1cm) Signed (lower right)
Gustave Émile Maincent was born on March 18, 1848 in Batignolles-Monceau 25, rue Saint-Louis (now rue Nollet in the 17th district of Paris). He is the son of Charles Eugène Maincent, private director of the school and family fund, and of Catherine Élisa Césarine Obry, without profession. He has an older brother, Eugène Maincent (1840-1805). Gustave Maincent trained at the Beaux-Arts in Paris, where he was a student in the studio of Isidore Pils, and at the Imperial School of Drawing. In 1865, during the distribution of the prizes of the Imperial School of Drawing in the large hall of the Lycée Louis-le-Grand, he received the first prize “Drawing – Living plant”.
Specialized in landscape painting, he is described as “little master of the banks of the Seine” In 1883, he was contacted by Anna Judic, a fashionable actress, who asked him to decorate the walls of the greenhouse in her Parisian Mansion, which she had built by the architect Jacques Drevet. Maincent cast a charming fantasy on the walls where he produced great panoramas of Saint-Germain, Bougival and Chatou that form a succession of fresh landscapes, and give the illusion of the countryside in the heart of Paris”. Problems of inheritance required the resale and liquidation of the hotel, in 1884, which allowed the chroniclers to discover the works of Gustave Maincent and to establish his notoriety. In particular, the journalist Émile Blavet, recounts his visit to the hotel in his article “Intérieur d’Artiste” dated 12th December,1884, as well it appeared in a collection of his chronicles entitled La Vie Parisienne. Having acquired notoriety, the Bernheim-Jeune Gallery, Rue Laffitte , organized an exhibition of thirty-eight of his paintings to be auctioned off, by Maitre Tual Auctioneer, at the Drouot hotel. The objective was to establish a rating for it, as explained by Charles Pillet in his chronicle of the Hôtel Drouot on 2nd January, 1885.
He moved in 1894 to settle on the island of Chatou at the Fournaise house, where he painted more and more especially in all weathers on the banks of the Seine. His work became highly appreciated by collectors for its finesse and softness, reminiscent of the chromatic palette of Jean-Baptiste Corot. The sudden end of the painter, of a heart attack at 49, in full artistic maturity, suddenly put an end to a promising career. Long-ill hearted, Gustave Maincent died of a heart attack on 2nd October, 1897 on the train route from Paris-Saint-Lazare line to Saint-Germain-en-Laye, near Rueil-Malmaison Station. The funeral service was celebrated in the Père-Lachaise Chapel, in the presence of personalities. A speech was delivered by Antoine Guillemet. He is buried in the 52nd division of the Père-Lachaise Cemetery.
The architect and civil engineer Émile Blaise owned more than sixty paintings purchased for a total sum of 18,480 fr. This collection went on sale as part of a major solo exhibition of the painter, with sixty-six works hanging in the room of La Bodinière. The exhibition takes place from 2nd June to 25th June 1896 with a vernissage on 1st June. Jules Chéret graciously produced the invitation card. Musee Fournaise pays homage to this artist who died prematurely. For the first time, 40 paintings were brought together thanks to loans from private collectors and the Musée d’Orsay. Ile Des Impressionnistes Exposition 1st May – 1st November 2015. Gustave Maincent “Le Petit Corot Des Bords De Seine”.
August Schaeffer Titled:The Schaffhausen Waterfalls, Germany (Near the Swiss Border) circa 1862 Medium: Oil on canvas Size: 25” x 30” (63.5 x 76.2cm) Signed (lower left)
John Scott Titled: No Freedom, circa 1995 Medium: mixed media on paper mounted to foam-core Size: 73 ½” x 58 ½” (73.7 x 55.9cm) Signed (lower left) also signed and titled verso
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John Scott Titled: 100 workers, 1988 Medium: Photo-serigraph, cadmium red oil paint on board, double sided Size: 34-1/8″ x 32-1/8″ (86.5 x 81.5cm) Signed and dated 1997 (IV-VIII)
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John Scott Titled: 100 workers, 1988 Medium: Photo-serigraph, cadmium red oil paint on board, double sided Size: 34-1/8″ x 32-1/8″ (86.5 x 81.5cm) Signed and dated 1997 (I-VIII)
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John Scott Titled: Deep Space, Negative Star, 2001 Medium: Mixed media on paper Size: 24” x 18” (61.0 x 45.7cm) Signed and dated verso
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John Scott Titled: Regina (Queen), 2007/2021 Medium: Mixed media on paper mounted on canvas Size: 50” x 38” (127.0 x 96.5cm) Signed and dated (lower right), signed and dated verso
Note: This work along with “One Shot World” (below) was mounted to canvas by John Scott in 2021.
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John Scott SOLD Titled: One Shot World, 2007/2021 Medium: Mixed media on paper mounted on canvas Size: 50” x 38” (127.0 x 96.5cm) Signed and dated (lower right), signed and dated verso
Julius Rolshoven Titled: La Fiorentina “The Red Hat”, 1905 Medium: Oil on canvas Size: 45” x 31-1/2” (114.3 x 80.0cm) Signed (lower right) Painted at Castello del Diabalo, Florence, Italy. There are pastel on paper numbered studies of La Fiorentina “The Red Hat” Italian model.
Inquire about this workJulius Rolshoven Titled: Portrait of Artist’s Father (Portrait of Frederick Rolshoven), 1893 Medium: Pastel on paper mounted to canvas Size: 28” x 22” (71.1 x 55.9cm) Signed and dated (upper right), verso signed and inscribed “Portrait of my father in his 66th year done from life in Detroit, 1893”
Julius Rolshoven (28 October 1858 – 7 December 1930) was born and raised in Detroit. At 18 he went to New York City to study at the Cooper Union Art School, then in 1878 he left for Germany to the Düsseldorf Academy, then studying under the Kentucky-born artist Frank Duveneck in his Venice and Florence schools, becoming one of the “Duveneck Boys”. After some years in Paris and London, he married Anna Chickering (1859-1896) of the piano manufacturing family. Sadly Anna died of pneumonia on December 5, 1896 in London, so he returned to Italy and practiced portrait and genre painting, and continued teaching.
Rolshoven decided to settle in Florence in 1902. In 1905, while he was drawing outdoors, he discovered a building that had maintained the old charm of a castle, called Castello del Diavolo (Devil’s Castle) that belonged to the family Talani. The artist was so enthusiastic of the environment that in 1907 he bought the property in a state of disrepair. He lived for years in Florence, Italy, his adopted home, re-converting the 900-year-old home, “Castello del Diavolo” into an estate so splendid that an impressed Italian Government designated it as a national monument. The newly renovated home was the former residence of Lisa Gherardini, the model for Leonardo Da Vinci’s most famous work of art, the Mona Lisa.
In late 1920, Rolshoven returned to the USA at the beginning of World War I. In December 1915 he married his second wife Harriette Haynes Blazo (1876-1964) in Los Angeles. By 1916 Rolshoven had settled in the American Southwest, setting up a studio in Santa Fe’s Governor’s Palace. He was also a member of the Taos Society of Artists. But for his accidental absence from a famous historic photograph of the Taos Society of Artists (TSA), of which he was a very early member (Associate Member in 1917 and Full Member in 1918), Rolshoven would be considerably better known today.
American artist Julius Rolshoven in his Paris studio circa 1885-1890
Rolshoven’s artistic ability was acknowledged to be equal to or better than the other members of the Taos Society and he was, in fact, invited to join the TSA before such luminaries as Ernest Hennings, Walter Ufer, Victor Higgins and Kenneth Adams. Rolshoven lived inTaos and painted in New Mexico for a short time only, from 1916 to 1920. During these years he was the senior and most experienced member of the TSA, followed by J. H. Sharp who was one year younger. Rolshoven divided his time between Santa Fe and Florence, Italy, where his home was the former residence of Lisa Gherardini, the model for Leonardo Da Vinci’s most famous work of art, the Mona Lisa. In late 1920, Rolshoven left Taos to return to his former home in Italy, where he spent the rest of his life. His work is known for its bold, fluid brushwork, graphic composition and saturated, light-filled colour palette.
Rolshoven was considered particularly accomplished in the medium of pastels, and his striking Taos and Santa Fe pastel pieces are some of his freshest and most beautiful works. Compared with the other members of the Taos Society, almost all of whom painted in New Mexico for decades, Rolshoven’s works are quite scarce, difficult to find and rarely available for sale.
Rokshoven took ill shipboard in the Atlantic on route to New York City and died at St. Lukes Hospital in Manhattan on December 7th, 1930. He was on voyage to see his 92 year old mother for Christmas in Detroit, Michigan. She died the same day.
In September 1957, Harriette B. Rolshoven, widow of the artist, donated to the University of New Mexico, $100,000. She also donated twenty works made by her husband, estimated at the time to be worth between $50,000 and $75,000. Harriette died in Santa Fe, in 1964.
Select Collections: Rolshoven works can be found in the collections of The Metropolitan Museum of Art, New York City, NY; The Detroit Institute of Arts, Detroit, Michigan; Detroit Historical Museum, Detroit, Michigan; The Brooklyn Art Museum, Brooklyn, New York; The National Portrait Gallery, Washington, DC, (The Smithsonian Institution, Washington, DC); The Santa Fe Art Museum, Santa Fe, New Mexico; The El Paso Museum of Art, El Paso, Texas; The Newark Museum, Newark, New Jersey.
Most recent auction sales of Rolshoven art/paintings; “Field of Poppies” 1887 oil on canvas – 33”x 54” sold at Sotheby’s New York, December 3, 1998 – Lot 2 for $277,500 USD; “Sun Arrow” oil on canvas – 36”x 28” sold at Heritage Auctions Dallas Texas, May 24, 2007 – Lot 24022 for $77,680.00 USD; “Assisi Market Girl” oil on canvas – 56”x 45” sold at Christie’s New York, November 29, 2007 – Lot 53 for $181,000.00 USD; “Indian Dancer” oil on panel – 27”x 15” sold at Santa Fe Art Auction New Mexico December 4, 2016 – Lot 229 for $70,000 USD; and “Taos Warriors” oil on canvas – 34”x 43” sold at Santa Fe Art Auction New Mexico, December 4, 2016 – Lot 231 for $150,000 USD.
