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Now on View at MAG

Ad ReinhardtAd Reinhardt
American, 1913-1967
Untitled Abstraction, 1954
Oil on canvas
Gift of Mr. and Mrs. Arthur L. Stern, 65.5


Ad Reinhardt took a philosophical point of view when it came to making fine art and explaining its significance. An influential writer on the subject, he is remembered for having made the following statement: “Art is Art, and Life is Life.” The spirit of this statement is well represented by this painting, which has a very subtle composition that only emerges after close inspection. For Reinhardt, to appreciate the true significance of art one shouldn’t compare it to anything else. Art is an idea that is revealed only through pure form and content. For Reinhardt, art cannot teach you about the world. It can only teach you about art.

Paintings like this one influenced the glass artist Josiah McElheny, who made his Blue Prism Painting series partly in homage to Reinhardt. One example from McElheny’s series hangs across the gallery, almost opposite to the Reinhardt. Notice this similarities and differences in the underlying grid-like compositions of these two works.

Newly updated for the New Year

In September, we received some financial support from the framers Eli Wilner in New York City to create a beautiful, handmade replica frame for one of our most important 19th-century French paintings, Interior of a Mosque by Jean-Léon Gérôme. We just installed it today, and it makes so much difference!

Interior of a Mosque

Gérôme was the most popular and influential French academic painter of the second half of the 19th century and a leader among artists specializing in Oriental subjects.  During trips to North Africa and the Near East he made countless drawings, which he transformed into paintings like this in his Paris studio. The documentary quality of this masterful work is achieved by Gérôme’s meticulous technique, by his ability to suggest subtle nuances of light and atmosphere, and by his precise evocation of the worshippers in all stages of their devotion, from the initial upright recitation of vows to the final prostration before God.

MAG opens tomorrow at 11:00 am.  When you have a chance, take a break and go up  to the second floor to the Impressionist Gallery—you’ll see what we mean.

Rick Hock’s 1980s Duchamp Codex

Currently on view in the Hurlbut Gallery, Rick Hock’s 1980s Duchamp Codex is a 7-by-4 grid of photographic portraits. Most of the subjects are unknown, and even recognizable portraits, such as the Mona Lisa, appear manifestly mediated. To make these images, Hock filtered and transferred pictures from the negatives of peel-apart Polaroid film. White negative space indicates where the dye failed to take, giving the burnt red and brown display of images the appearance of Martian rock.

Rick McKee Hock

Rick McKee Hock, a Rochester artist, curator, and educator who passed away earlier this year, was fascinated by the “curious reality of images.” This phrase, coined by Keith in a 1987 text, provides the title for the current exhibition of his work at the Visual Studies Workshop. In conjunction with the show, MAG, the George Eastman Museum, and the Rochester Contemporary Arts Center have all joined to celebrate Hock’s life and achievements.

The three works at MAG are part of Hock’s series of Codices, in which the artist combined Polaroid transfers of images from books, magazines, posters, advertisements, how-to manuals, and other printed matter. The series’s title refers both to the format of such sources as collections of paper, as well as to the artist’s gridded compositions, with photographs laid out side by side like a book unbound. Though absent of written text, the images still betray the artist’s hand, or rather, his spoon: to make the transfers, Hock would interrupt the developing process of his peel-apart Polaroids and place each negative down on paper, rubbing it with a utensil to transfer the positive onto the surface.

The practice of using pre-existing images, and particularly those of works of art, has a long art historical lineage that the artist’s Duchamp Codex clearly evidences. An image of a urinal–one of the few pictures not of a human body–depicts Marcel Duchamp’s 1917 Fountain, a so-called “readymade” sculpture the artist submitted to an open salon. In this context, the rough translation of the Mona Lisa could either be a reproduction of the painting or a reproduction of Duchamp’s “LHOOQ,” wherein the artist drew a mustache and a suggestive acronym on an already-reproduced postcard. In the lower left, a photo by Robert Mapplethorpe of Andy Warhol’s post-shooting scars references two other artists interested in the power of images.

Within this lineage, Hock’s Codices offer us a look at the “inside” of photographs: the processes that make them, as well as the processes that make them work. The chemical magic of the Polaroid figures the way we make sense of images, combining what we know and what we see to create legible narratives of our own subjectivity. These works testify not only to Hock’s own fascination with images, but also his committed service to helping others construct their own senses of meaning.

Submitted by Tracy Stuber

Panoramania in Rochester

Panoramania in Rochester

In the mid-19th century, Rochester, like much of America, found its entertainment in moving pictures. Not the film-based attractions that would be developed in the early 20th century, but variants of panoramas and dioramas.

The first panoramas were developed in England in the late 18th-century, and were housed in multi-story rotunda adorned with canvases on the walls and 3-dimensional “false terrain” at the bottom, creating the illusion of an all-encompassing landscape for visitors who viewed these scenes from the center of the building. These monumental early panoramas often featured views of exotic scenes and military battles.

In 1822, Louis-Jacques Daguerre (later known for his invention of the daguerreotype, forerunner of photography) invented a variation, the diorama. Visitors seated on a rotating platform viewed a pair of monumental transparent watercolors with ingenious lighting effects. Both the original panoramas and dioramas were housed in fixed buildings, which limited their geographic reach. Although both were known to tour, the tours were necessarily limited, with long runs in any location.

Image of a moving panorama from Scientific American, Vol. 4, Issue 13 (December 16, 1848), page 100By the 1830’s “moving panoramas” made their way to the United States. These more compact panoramas married large scale paintings with the craft of stage spectacles, with a mechanism which was designed to roll the canvases from one side of the stage to another. Moving panoramas were designed to be viewed in auditoriums or venues with a proscenium to hide the mechanism. Promoters would routinely boast of the length of their canvases and the extravagance of the stage effects.

The Conflagration of Moscow

On August 12, 1834, the Rochester Daily Democrat advertised that Messrs. Waugh were to present an “Exhibition of Paintings & Mechanism” which displayed several landscapes, including a view of “Mount Etna, in Eruption” which featured a “high pressure Steamboat in full operation.” A “Chinese Kaleidescope,” unrivalled “for brilliancy and beautiful changes,” played in the Interlude, followed by the “Conflagration of Moscow.”

The Moscow Conflagration was created in 1813 by the Austrian showman John Maelzel, who had been in Moscow in October 1812 when it fell to Napoleon’s troups. This complicated panorama included facades of churches, castles and the Kremlin, all of which appeared to blow up and fall down; causeways & bridges over which Russian and French armies could be seen to move; and extensive sound and lighting effects. While much of the panorama was automated, it reportedly still took over a dozen people to perform it. Maelzel brought the panorama to American in 1827, and it was widely copied. It returned to Rochester in April 1855.

Mississippi River Panoramas

On August 15, 1839, Miss Hayden, an itinerant magician, showed the Conflagration of Moscow at Rochester’s National Hotel in combination with an early panorama of the Mississippi River, probably that created by John Rowson Smith and Richard Risley, which was seen in Boston in 1839 or 1840. Many of the moving panoramas included lecturers, “professors,” or other showmen to describe the scenes as they progressed before the audience. An editorial stated that Miss Hayden “is an American lady, and the only one who has attempted these wonderful and mysterious illusions in such a pleasant and agreeable style as to elicit general admiration and applause.”

An 1846 Mississippi panorama by John Banvard was credited with reviving interest in panoramas abroad and creating a decade of “panorama fever” in America during the 1850s.

Sacred Panoramas

Panoramas and dioramas on biblical themes were also popular. “Parker’s Sacred Diorama,” about which little is known, visited Rochester on 12/30/1842. Local artist Eugene Sintzenich created a “Holy Land Panorama,” which was exhibited on August 5, 1851. Unfortunately, as with much of the artist’s work, it remains unlocated. Later that year a “Creation and Deluge” diorama by the Hanington Brothers was shown in the Concert Hall. Another sacred spectacle to visit Rochester was based on John Bunyan’s Pilgrim’s Progress, which was on view in the Concert Hall in October 1853.

The Pilgrim’s Progress diorama that visited Rochester was the work of noted easel painters, and included at least one scene designed by Emmanuel Leutze, which identifies this version as a rival to the earlier “Moving Panorama of Pilgrim’s Progress,” which happens to be one of the few panoramas still extant today. They Behold the Fate of the Apostate, design by Joseph Kyle and Henry Courtney SelousThis earlier Pilgrim’s Progress panorama was based upon designs by important artists including Frederic Edwin Church, Jasper Cropsey, Felix Octavius Carr Darley and Daniel Huntington. It opened in New York in 1850, and travelled to rave reviews for 15 years before being donated to the York Institute Museum (now the Saco Museum) in Saco Maine, where it was lost to view for 100 years. Re-found in 1996 and conserved in 2012, the panorama can now be watched online in a digital reconstruction on the Museum’s website.

Arctic Panoramas

Like the Pilgrim’s Progress, there were many variants of “Kane’s Arctic Panorama,” which came to Rochester in September 1859. America’s interest in this subject dated to Britain’s tragic Franklin expedition which unsuccessfully searched for a Northwest Passage from eastern Canada to Alaska. The expedition (1849-1851) became icebound, with no survivors; it is now clear that some men and officers reverted to cannibalism in their last days. The fate of the expedition was a matter of much media speculation, both in the press and via panoramas, and British and American vessels were directed to search for the ship.

Beechy Island-Franklin's First Winter Quarters, illustration by J. Hamilton after a sketch by Elisha Kent KaneElisha Kent Kane was a physician who was on the American Grinnell Expedition, which was the first to find a trace of Franklin’s men: three graves. Kane’s dispatches drew considerable media attention, and in an effort to fund a later expedition, he published an illustrated account of his experiences which became a bestseller. He commanded the 2nd Grinnell Expedition, which set out in May 1853, and was feared lost until contact was restored in October 1855. America’s first arctic panorama opened in Washington D.C. in September 1855, with scenes based upon the illustrations in Kane’s book. Kane’s reappearance brought him a hero’s welcome, and the panorama reaped the benefit in attendance. With Kane’s unexpected death in February 1857, rival arctic panoramas soon sprung up, touring the country with souvenirs brought back from the arctic.

Travel via Panorama

Panoramic trips to Europe, virtual “Grand Tours,” were also popular. In 1859 Rochesterians were able to vicariously travel to Italy through Samuel Bell Waugh’s panorama, the “Mirror of Italy” (the first scene of this portfolio has been preserved by the Museum of the City of New York).

In December 1862 a panorama of the Holy Land by Louis Duflocq came through Rochester, having been shown in Buffalo the previous month. Panorama 918.27.1_UN.189.2d_scAn even more exotic trip was Russell & Purrington’s “Whaling Voyage Around the World,” which probably came to Rochester in 1862. Created based on Russell’s experiences aboard a whaler, and roughly contemporaneous to Melville’s Moby Dick, this panoramic journey started in New Bedford, travelled to the Azores, to Brazil, around Cape Horn to the South Pacific, then north to Hawaii and the Pacific Northwest, then southwest toward Australia and eventually back around the Cape of Good Hope, ending rather oddly at the island of St. Helena, where Napoleon had been exiled. This panorama is being conserved by the New Bedford Whaling Museum.

Panoramas and American landscape painting

In August 1850, the Rochester Democrat and Advertiser announced that artist A. Oakley had been commissioned by a group of Penfield citizens to paint a Hudson River panorama. The paper reported that “a building was erected to put up the canvas, which is several miles in length.” It noted that the canvas, designed for travelling exhibition, had been completed up to Hyde Park, and was expected to be completed up to Troy by the Fall.

Both panoramas and mid-century American landscape painting were large scale and dramatic. We know that many Hudson River School painters, starting with Thomas Cole, worked with themes that directly or indirectly were also seen in panoramas of the time. Like the panoramas, many of these large scale paintings toured the country and were exhibited with an admission fee charged. Panoramas such as Pilgrim’s Progress utilized designs by artists affiliated with the National Academy. As the century progressed, fewer panoramas were seen in Rochester, replaced in part with Stereopticon or Magic Lantern lectures.

New and on View


Winslow Homer
American, 1836 – 1910
The Artist’s Studio in an Afternoon Fog, 1894
Oil on canvas
R. T. Miller Fund, 41.32

Some of you may have noticed that our beloved Homer has come off the wall.

The Artist’s Studio in an Afternoon Fog is one of Rochester’s favorites but is now in San Francisco where it will be featured in Jewel City at the de Young Museum. This exhibition will celebrate the centennial of the 1915 Panama-Pacific International Exposition in which our Homer was first exhibited alongside other important paintings of the period.

Waning Light

Meanwhile, back at MAG – in the Homer’s place is Waning Light by Alfred Thompson Bricher. This lovely addition to our collection of American landscapes was recently given by MAG friend and patron Jacquie Adams. Stop in and have look.

Alfred Thompson Bricher
American, 1837 – 1908
Waning Light, 1880-1889
Oil on canvas
Gift of Jacqueline Stemmler Adams in Memory of Dr. James Thomas Adams, 2015.11

Rochester’s Ladies’ Art Exchange

ArtXchangeLoanEx_0-coverIn 1879, the same year that the Rochester Art Club was established, another art organization was born: the Ladies’ Art Exchange. Formed to elevate the artistic taste of Rochester and to provide scholarships for art classes for women who looked to artistic endeavors for their livelihood, the Art Exchange served as a marketplace for decorative arts as well as a philanthropic organization. An article in the Rochester Union and Advertiser, 2/16/1880 described the goals of the association as “to provide for the exhibition and sale of decorative art work of any description which shall be of sufficient excellence to be accepted and for training in artistic industries.”

The Art Exchange’s decorative art emphasis was influenced by Britain’s South Kensington Museum (later the Victoria & Albert Museum) as well as by the success of the 1876 Philadelphia Centennial International Exposition, the first official world’s fair in the United States, which included a Women’s Pavilion featuring decorative art. Similar initiatives had been instituted in New York as early as 1875, and later in Philadelphia and Dayton, Ohio. Rochester’s organization was long-lived and successful, in part because it supplemented its Rochester wares with high-quality items from around the country and sold materials internationally.

Early teachers included members of the Rochester Art Club: W.J. Lockhart gave instruction in watercolor and landscape painting; Frederick T. Vance in china painting; Johnson M. Mundy in sculpture; and Harvey Ellis in oil painting. Later John Z. Wood and James Hogarth Dennis also taught for the Exchange. In addition a Miss Kirby gave instruction in charcoal drawing and Miss Sage in crewel and Kensington embroidery. The Exchange’s classes were well-attended and early reports made a point of noting women who had been successful in finding remunerative work based upon their artistic efforts. These free classes continued until the Mechanics Institute opened, when the Art Exchange maintained only its classes in embroidery.

Many Rochester women artists were associated with the Art Exchange as well as the Art Club, including Libbie Dutcher, Annie Williams Howell, Agnes Jeffrey, Ada Howe Kent, Emma Lampert (later Emma Lampert Cooper, wife of Colin Campbell Cooper); and M. Louise Stowell. Stowell was also associated with the Mechanics Institute, which opened in 1885.

The Art Exchange took pride in fostering good taste. An article in the 5/3/1884 Union and Advertiser expressed gratitude “to the ladies of the Exchange for their efforts toward the abolition of the execrable Berlin worsted, tabby cats, feather flowers, cabbage roses in wax, weeping females, and equally lachrymose willows, which in the years gone by have made the homes of the people veritable chambers of horrors and a disgrace to the artistic reputation of the community.”

Emily Sibley. date unknown, photograph by J.H. Kent, Rochester, NY

Emily Sibley. date unknown, photograph by J.H. Kent, Rochester, NY

The large Board of Managers was largely composed of women from Rochester’s upper classes. Founded by Mrs. Samuel Hildreth, the early managers included: Mrs. Anderson, wife of the University of Rochester president Martin Brewer Anderson; Marie Atkinson, Emily Sibley Averell’s niece; Emily Sibley Averell (later Emily Sibley Watson, future founder of the Memorial Art Gallery); Mrs. James Cunningham, wife of the Cunningham Carriage manufacturer; Mrs. James Goold Cutler, wife of the Cutler Mail Chute manufacturer; Mrs. Granger A. Hollister, daughter of Western Union co-founder Don Alonzo Watson, and Emily Sibley Watson’s future sister-in-law; the artist Ada Howe Kent in later years of the Art Exchange’s activities; Mrs. William S. Kimball, wife of the tobacco manufacturer; Mrs. Gilman H. Perkins, Emily Sibley Averell’s niece; and Mrs. Daniel W. Powers, wife of the Rochester businessman who built the Powers Building, home of the Powers Art Gallery, and an important supporter of the Art Exchange.

Early charitable events included a promenade concert on October 15, 1880; a loan exhibition in October 1881 (view the catalogue); a holiday ball in November 1882; and a Dickens tea-party and a Mother Goose children’s’ party in November 1883. In 1886 and 1887, the Art Exchange held joint exhibitions with the Rochester Art Club.

Daniel Powers provided rooms for the Art Exchange in the upper floors of the Powers Building. He also supported the Art Exchange when its activities led to financial losses. In an 8/6/1887 article entitled “The Art Exchange to Live,” the Union and Advertiser reported that Powers purchased the Exchange’s entire backlog of unpurchased items to make up its debt, and then donated the items back to the Exchange. From this date the Exchange renamed itself the Rochester Art Exchange.

Never self-supporting, the Exchange benefitted from the work of its “Lady Managers” and the generosity of its patrons. Its 1896 report reminded its readers that “It is due to this exchange that many poor women are enabled to provide for themselves and others comforts which are foreign to the purposes of other charitable societies. Food, clothing and care are not the only comforts which call for the exercise of charity, but even in respect of these it would be better for the giver and the recipient if the opportunity of earning them should be afforded; in other words, if the subjects of such charities should be helped to help themselves.” The Art Exchange held sales through at least 1896, helping a generation of Rochester women.

What We Did On Our Summer Vacations

Summer 2015 Lucy Burne Gallery Intern Lindsay Jones interviews Summer Youth Employment Program teen interns.

Lindsay:  As I reflected on my summer vacation, I recognized an incredible growth in myself and my peers. The Summer Youth Employment Program offers an opportunity for teens to work in a professional setting and expand their knowledge in their career path. Creative Workshop had the pleasure of working with this summer with two truly wonderful teen interns Deja Baxter and Jarron Hobbs. They offered a refreshing boost of energy and a glowing smile every time I saw them.

Though they would often remind me that they were not artists, I could see that they were just as excited to make the projects and work with the materials as the kids. Towards the end of their internship I had the opportunity to ask them a few questions about their experience. I found their answers really inspiring. Hope you do, too.

Deja Baxter in the Creative Workshop

Deja Baxter

Jarron Hobbs at the Creative Workshop

Jarron Hobbs

1. How did you get this job?
Deja: I got this job through the Rochester Works Summer Employment Program. This is the 4th year I’ve been working in this program.
Jarron: I got this job through the Rochester Works program. I also worked for the City of Rochester as well.

2. What have you found most challenging about this job?

Deja: What I have found most challenging working here is getting new kids every week for Art Day School.
Jarron: The thing I found the most challenging was trying to understand some of the art the teachers would discuss, as well as some of the gallery paintings.

3. What are your goals as far as college/occupation?
Deja: I will go to college in the fall of 2016 and major in Business Administration, and minor in music.
Jarron: I plan on going to college, majoring in business and sports management. I plan on eventually graduating from college and starting my own major corporation.

5. How have you felt this job has influenced those goals?
Deja: Yes, this job has well prepared me for the amount of working time that is required in the real world to get by as an adult.
Jarron: This job has influenced my goals by allowing me to have a better work ethic as well as allowing me to be a part of a popular establishment in the City of Rochester.

6. What have been the most exciting and inspiring moment of this experience?
Deja: Getting to know the amazing employees, and children.
Jarron: The most exciting moment of this experience has been going outside and getting to know the kids.

7. Have you found that your outlook has changed in certain situations or moments due to this experience?
Deja: Yes, my outlook on the future has changed, I realized there are some things that I really enjoy, and some things not so much.
Jarron: My outlook on art hasn’t really changed but I did notice that I have the potential to become an artist.

8. What’s your favorite story about a kid you worked with?
Deja: One time I sang to a girl a song by Sam Smith, and she said that I sounded like the girl version of him.
Jarron: One time I was playing Uno with a kid and I beat him but then I told him he could beat if he tried and he did.

Thank you so much for all your hard work at The Creative Workshop this summer, Deja and Jarron. The Creative Workshop team wishes you both all the best and can’t wait to hear about your success.


The Creative Workshop is always on the lookout for teen volunteers and college interns. Here is more information on how to apply to be a college intern at CW.

We are currently accepting applications from current college students in art, art education, or art history with significant interest in children’s interaction with museums to earn internship credit and valuable experience. See the factsheet here and click here for the application.

Email ( or call Rachael Baldanza at 585.276.8956 if you’d like to be a teen volunteer.

And click here to find out more about the Rochester Works Summer Youth Employment Program.

Summer in Centennial Sculpture Park

Summer in CSPLooking for a summer celebration for the whole family? Come to the Memorial Art Gallery on Thursday, August 6, 5-8 pm for Summer in Centennial Sculpture Park. You and your family & friends are invited to explore the public art in our Sculpture Park independently or with a tour guide. Kids can get creative and make their own take-home miniature sculptures. Teens and adults can record the evening during an outdoor sketching activity (all the drawing tools will be supplied). Rick Simpson entertains all ages with juggling, games and more. Don’t forget to bring your dancing shoes! Black Rock Zydeco offers lively Cajun and Creole music that keeps your toes tapping. A variety food, snacks and beverages will be available for purchase. Admission to outdoor activities and the museum are free. For more information, see the schedule of events.

Made with Love and Care

Written by Lindsay Jones, Summer 2015 Lucy Burne Gallery Intern

June 2015

Made with Love and Care: Adult Student Show Summer 2015

Gallery Shot

Long view of the Gallery entrance

The Adult Student Show in the Lucy Burne Gallery is filled with excitement. The range of mediums is truly fascinating. The students have worked at their trade and the pieces together create a fluid show. The key element connecting these works, I found to be nostalgia. Artworks throughout the gallery, may remind you of your favorite summer memory or the time you watched the sun set on the lake. The carefully made artworks in this show certainly tugged at my emotions.

One of my favorite pieces is that of Harry Rosen’s Many Years Together. The love of the people is clearly understood. The loving glance the two people are exchanging and their eyes sharing the same story remind us of the years they have spent together. Their eyes never quite meet my own, but it’s noticeable that they are thinking about the time they have loved one another.

Harry Rosen, Many Years Together

Harry Rosen “Many Years Together”

Another piece in the show that exuberates warm memories is David ShuttleWorth’s Red Door Taos Pueblo. It tends to hint at vacation memories because of the bright blue sky and the deep red door. As the viewer of this painting, I think of the artist as standing outside this building with his family admiring the beauty of other countries. The emotional content is really magnificent.

David ShuttleWorth, Red Door Taos Pueblo

David ShuttleWorth “Red Door Taos Pueblo”

Jason Ferguson’s Hanging Mask is no exception to the emotional content of the show. His mask is beaming with excitement. It is reminiscent of African Artwork and it provokes a celebratory feeling. There are spirals and curls framing the face and with this I am reminded of a campfire during the summer. Though, perhaps I am slighted as we enter the month of July. The mask is definitely a celebration.



Jason Ferguson, Hanging Mask

Jason Ferguson “Hanging Mask”

I found Kim Gearing’s ’59 Bonneville to be especially significant to my own life. The memory evoked in this piece is that of a teenager getting their first car. I was so drawn to this, because that is something that I am experiencing. She drew the car almost as though we, as viewers, are looking down at the car; but still we are standing directly in front of it. I see it as the beginning of a new chapter in this person’s life. I really love the story this artist brings to gallery with her drawing.

Kim Gearing’s ’59 Bonneville

Kim Gearing “’59 Bonneville”

I am so moved by this mountain painting by Bernice Shank entitled The Mountains. When you first enter the gallery, you’ll notice these brilliant colors put to great use. They create the most dream-like landscape. The light is used in such a way that will remind you of a sunset though there is no obvious evidence. I love this piece because it has the coolness of winter and the warmth of summer.

Bernice Shank, The Mountains

Bernice Shank “The Mountains”

Liz Billing’s painting titled Carousel successfully took me back to my childhood. The perspective on the piece is perfectly placed so that it will make you feel as though you are sitting on the carousel yourself. I felt like I was a child again sitting on the horse going around and around. The colors are incredibly bright and playful and remind me just what a carousel is for; fun. This very detailed painting is a wonderful reminder of childhood.

Liz Billing, Carousel

Liz Billing “Carousel”

It is this emotion and loving care that has been strung through each piece. I find it so lovely that I can look at every one of these works and have a memory or connect with the artist’s memory. Come see exactly what Adult Student Show has to offer this summer. It will be on display through August 7th. There are so many pieces and so many materials to experience here at the Lucy Burne Gallery!

The Molar Series

Submitted by Lois Sumberg, Gallery Council member

Molar Series by Wendell Castle

Molar Series by Wendell Castle

I’m always astounded by the variety of really, really nice stuff people give us every year for the Art & Treasures Sale. And this year is no exception. Names like Limoges, Lalique, Lenox and even, yes even, Wendell Castle. Some generous donor gave us a white Molar Chair and Cloud Table designed by this famous Rochester icon. Click here to watch “Antiques Road Show” episode with Castle pieces (and also note the updated appraisal value)!

I often wonder why people give us what they give us, but I’ve come to the conclusion they no longer view the items they donate as treasures and are willing to part with them.* So much the better for the people who come to the Art & Treasures Sale! Here’s a small sampling of what will be for sale.

Jade carvings: Asian jade and stone carvings

Jade carvings: Asian jade and stone carvings

Lenox Blue Jay: 1998 Christmas Blue Jay

Lenox Blue Jay: 1998 Christmas Blue Jay

Limoges dinnerware: Greek Key

Limoges dinnerware: Greek Key

Siamese kitten box: Halcyon Days enamel

Siamese kitten box: Halcyon Days enamel

Ceramic vase, signed

Ceramic vase, signed

If you like what you see, visit the sale and it can be your treasure.

Art & Treasures
$10 at the door on Thursday, June 25, gets you into our early bird sale. Shop to your heart’s content from 6-8 PM and scoop up the best bargains the sale has to offer.
Friday, June 26 and Saturday, June 27, 10 am-4 pm
Sunday, June 28 (Bargain Day), noon-3 pm

Sponsored by the Gallery Council of the Memorial Art Gallery, all sales benefit the Memorial Art Gallery.
You can also donate to the sale. Donation drop off days are Tuesday-Wednesday, 10 am-4 pm; Thursday, 9 am-Noon. Cutler Union. All donations are tax deductible.

* Sometimes it is a case a wanting to share the enjoyment that they have received from the pieces for so many years. A form of paying it forward. Come and grab yourself some of the enjoyment that art can bring.