Jim Gallagher, Author at Garden Court Antiques

Posted on February 21, 2019 February 21, 2019

Demystifying Antiques: an ASID Evening Event

It’s our first event in tandem with epoca in our new location: 1700 16th Street in San Francisco. We set out to demystify the sometimes esoteric world of buying and decorating with antiques.

This is an ASID Members Event for those who intend to buy, design, decorate and collect antiques & mid century modern furniture for clients and their own enjoyment.

Furniture is best experienced ‘Hands-On’. In order to do design, you must look, touch and feel pieces. As of late, the trends, when shopping for antiques & midcentury, presupposes one may rely solely on the internet and furniture web portals to make critical decorating decisions & choices. “Jpegs” are fine for previewing a lovely cabinet or chair but it’s likely you’ll be disappointed once the piece arrives. It is counterproductive to think that one doesn’t need to feel, see, experience a piece of furniture in-person.

Design & Decoration is a Hands-On Affair and So Is Shopping for Antiques & Vintage Pieces!

Experts learn by traveling locally and to various far-flung places. It is edifying to experience in-person, a lovely gilt wood mirror or sterling silver chandelier. You grow by looking, holding, touching these articles and by traveling places and meeting various dealers and resources––whether it’s that vintage store in the Mission or with your own car & driver visiting the fabulous Flea Markets of Paris & throughout the bucolic English Countryside.

So, don’t be shy. Visit the dealers’ shops & galleries available to you. See what catches your eye. Be persistent and ask questions. Dealers love to talk about their pieces, and the more questions you ask the more you will learn, and understand developing your own eye. You can learn a lot by expressing genuine interest and engaging with the different dealers and galleries. San Francisco has a full panoply of artisans, crafts persons, designers and design resources at your behest. Our Design & Decorative Arts Community is rich with history and bonhomie.

The good dealers know their stuff. When you the find ones you like and trust, establish a rapport with them. These professionals will teach you a lot.

Read books! ..consult internet guides, take-in lectures ( i.e. ASID, Institute of Classical Architecture and Art (ICAA), Art Deco Society of San Francisco, San Francisco Fall Art & Antiques Show ). Compare the information you read to the knowledge you gather through your conversations with the various dealers. And by all means, share your own growing expertise to “pay it forward”.

Instant gratification! Visiting antiques galleries in person means when that when you find that perfect armchair, side table, low table or precious box, you can take it with you which is so much better than the anxiety & added cost of having the piece shipped from–well, who knows where.. Have it now. Place it now!

Recycle, Reuse. The materials and workmanship found in antique furniture just cannot found in the furniture that is mass-produced today. These pieces were crafted with care. They have endured the test of time and they still look fabulous. (How many of us can say that for ourselves?!) These are prized possessions that have been handed down through generations and cared for lovingly. It is our heritage and they are now in our care. We curate these pieces so that they will exist for future generations to enjoy & ponder.

We do hope you’ll join us Thursday, February 28th to enjoy a cocktail, appetizer and some engaging conversation. Come and mingle with fellow ASID members, introduce yourself and circulate through beautiful furniture and accessories.

Since moving Garden Court Antiques at the beginning of 2019 we’ve been hard at work combining our 18th century European country aesthetic with the sophisticated midcentury stylings of epoca. We are more than pleased with the results–its just fabulous: the layering styles, periods, textures, colors is a somewhat maximalist approach that encourages your eye to wander and your imagination to soar.

We look forward to your visit, to get to know one another and..to ‘get educated’!

Jim Gallagher, Curator, Garden Court Antiques.
Eric Petsinger, Curator, epoca

Thursday, February 28 at 5:30 p.m. cocktails & appetizers,
6-ish p.m. brief presentation,
afterwards: mingle-mingle-mingle.

Where: Epoca
1700 16th Street
San Francisco, CA 94103
ph: 415 355-1690

Sign up at Eventbrite:

“…One should always have at least one piece with some age in a room. It does not have to be over-the-top expensive, but antiques resonate with history’s silent voices. The appeal resides in a patina only achievable with time: their very imperfections speak to me of soul and character and life lived.” ~ Suzanne Tucker, Tucker & Marks and The Annual San Francisco Fall Art & Antiques Show Chairperson [ 1. The Incollect Q+A With Suzanne Tucker, The Collector’s Interior Designer ]

“The intrinsic beauty, the ‘soul’ of an object captivates me. A rich past life is revealed through antiques, but historical context is secondary to their essential visual power. I use antiques in my interiors to elicit emotions from the individuals who inhabit the space.” ~ Timothy Whealon, Interior Designer, Author “In Pursuit Of Beauty” [ 2. Interior Design Master Class, edited by Carl Dellatore, Rizzoli. p232 ]

“It makes me sad when there are no antiques in a room.” ~ Bunny Williams, Interior Designer, Author

In this image:

A Painted Swedish Chest of Drawers, circa 1880. height: 31 in. width: 42 in. depth: 22 in.
A Boulle Light Blue Enamel Highly Decorative Box With Precious Materials And Brass Inlay; French, Circa 1860; Light blue enamel inlay to all sides; brass moulding around the top and bottom edges. All resting on a rosewood mouleded base; precious materials inlay with rosewood interior; drop down front; working lock & key; Light French polish; height: 4.5 in. width: 10.75 in. depth: 4.5 in.
A French Giltwood Fluted Mirror, circa 1840. An elegantly large rectangular gilded mirror frame with with concave channels.
height: 48.5 in. 123 cm., width: 29.5 in. 75 cm.
A Pair of 18th Century Italian Carved Limewood patterns used for the decoration in leather wall panels or ceiling panels, now a decorative curiosity. height: 13″ width: 13″
A Pair Of Round Decorative Painted Terra Cotta Victorian Heat Registers
A Late 19th Century Primitive, Worn, Painted English Milking Stool.
In this photo from epoca: An Ethereal Pair Of American 1960’s Frosted Ice-blue Glass Baluster-form Lamps With Raised Floral Decoration 1960’s. Each tall and striking lamp in a soft frosted blue glass adorned with raised floral decoration; excellent condition with no chips or cracks height: 20″ (top of glass) 32″ (top of shade) diameter: 8″

^jh

Posted on January 11, 2018

It’s 2018 and Back to Work! Welcoming, Wonderful and Inspiring!

Dear Friends,

Happy New Year!

I hope that you all had holidays filled with laughter and love!

Now it’s time to get back to work! There are walls that need color, rooms that need furniture and houses that need to be turned into homes. It is our job to make the places that our clients live and work to be welcoming, wonderful and inspiring. How lucky are we to do this work and how lucky are they to have us!

I am looking forward to working with you in this next year. Please come by and see us at the showroom or take a look at what we have to offer at GardenCourtAntiques.com.

Sincerely,

Garden Court Antiques

Items Featured:

Irish Pine Dresser with Open Plate Rack and Celtic Knot Carving; Circa 1870.

Tall and Narrow Charming Irish Pine Display Cabinet with a Single Mullioned Glass Door.

Massive and Primitive Carved Chestnut Mortar With Pestle, French Circa 1800

A Large Military Quilt, Made from Worsted Wool of Military Uniforms. English Circa 1900

Garden Court Antiques, San Francisco - Elegant Silver-plate Barley Twist multi-footed table lamp, English circa 1900

Elegant Silver-Plate Barley Twist Table Lamp, English Circa 1900.

Set of Four Bronze Plaques with Gilt Bronze Laurel Leaf Wreathes, French Circa 1880

Simple & Elegant, Round White Ceramic Bread Plate with The Lord’s Prayer, 19th Century

Quality Fully-Fitted Walnut Tea Caddy, English Circa 1840-1850.

Scottish Ram’s Horn And Silver Snuff Mull, Scotland Circa 1900.

12-Light Dutch Brass chandelier, Holland circa 1880

Small Scale Two-Tier, Twelve Light Dutch Brass Chandelier, Holland circa 1880

French Giltwood Fluted Mirror, Circa 1840

French Giltwood Fluted Mirror, Mid 19th Century.

Handsome Mahogany and Original Tufted Green Leather Wing Chair, English Circa 1880

^jg ^jh

Posted on September 22, 2017 September 22, 2017

How Jeremy Irons Rescued and Restored a 15th-Century Irish Castle – Vanity Fair, October 2017

Kilcoe’s main living area, known as the “solar,” showcases art and collectibles acquired by Irons in his travels. Photograph by Simon Upton.

We are absolutely taken by this article by David Kamp for Vanity Fair Magazine and this ambitious restoration project undertaken by Actor Jeremy Irons. The fact that he’s a sailor is—well, just bonus!

Its a wonderful read. We encourage you to pick up the October 2017 issue of Vanity Fair Magazine and read it for yourself or view it online.

Below a few excerpts:

In the midst of a creative crisis, the British actor impulsively purchased Kilcoe Castle, a long-abandoned fortress near the water. VF Writer, David Kamp learns how a magical retreat came to be. Inlaid in the wall of the courtyard, was a pale stone slab. Etched into the slab were the following words

MANY HEARTS LIE IN THESE WALLS.
FOUR YEARS WE WORKED, AND WE
JUST DID THE BEST WITH WHAT WE KNEW.
AND WHAT WE DID YOU SEE.
A.D. 2002

The hard work of making Kilcoe habitable again began in 1998 and took six years, wrapping up in 2004

Kilcoe, while not remotely a faithful re-creation of what it was 600 years ago—it offers such modern features as hot and cold running water, electricity, and Wi-Fi—is a magnificent place: at once stately-home beautiful and slightly mad, a 360-degree immersion in its owner’s eccentric psyche.

As Irons took on the massive project, his wife, the actress Sinéad Cusack notes: it was no coincidence that Irons, who was born in 1948, was soon to turn 50. “I did see it very much as Jeremy’s midlife crisis, and that he should get on with it,” she said. “Also, I understood where the need came from. Jeremy can’t bear waste. He can’t throw things out. I think he saw that castle as a beautiful ruin that needed to be saved, that needed not to die.”

But generally his instincts proved sharp. Early on, Irons noticed twig-like striations in the mortar on the barrel-vaulted ceiling of the main tower’s second floor, which is now a game room occupied by a large snooker table. Doing some research, Irons learned that, in medieval times, builders formed arched ceilings by bending into place a series of large wicker panels made of pliant, weaving-friendly woods such as hazel and willow, and holding these panels aloft from below with strong timber posts. The builders would then lay stones and mortar above the panels. Once the mortar squeezed through the woven panels and dried, the arches would hold themselves, and the underlying timber posts were removed. This backstory warmed Irons to the idea of using wicker panels as a decorative element throughout Kilcoe. He found a German-born weaver based in Cork, Katrin Schwart, to make such panels for the game room’s ceiling, and the results proved so spectacular that Schwart’s ornate wickerwork is now a motif throughout the castle, appearing on guest-bedroom ceilings, in the headboard of Irons’s own bed, and even on the outer frame of his bathtub.

“There’s something about the castle that generates the most extraordinary energy,” Irons said to me. “Everybody stays up ‘til three, four in the morning—talking, listening to music, drinking. You just want to go on, go on. It takes a bit of getting used to, this place. Because it does somehow produce an energy. Have you felt it?”

Kilcoe.
Article by David Kamp.
Photographs by Simon Upton.

This slideshow requires JavaScript.

Read the article in it’s entirety in the October 2017 issue of Vanity Fair Magazine and online at https://www.vanityfair.com (yes, we are all subscribers :) ^jh

Posted on August 10, 2017

Reminiscences of Summer.

Jim Gallagher, age 5, Summer, Milford, CT.

Sitting at my desk on this mid-August weekday morning; my mind wanders and my eyes drift, landing on one of our handsome pond yachts here in the gallery and I allow myself a moment of repose and reflection.

Growing up in Connecticut, my family used to take a vacation every summer to the beach in Milford. We would rent a big old seasonal house on Silver Sands Beach.
It was there that I fell in love with sailing. My oldest brother loved to sail and had a number of different boats over the years.He taught me to sail on a Sunfish just one sail, a rudder and a centerboard. It fascinated me that with just those basic things along with the wind and the water, I could ride along the Long Island Sound for hours.

Jim Gallagher, 1993, Lake Champlain Sunfish Sailing

It was magical!

When I moved to San Francisco, I could not wait to get out on the Bay. It took a couple of years before I met some sailing folks and began my love affair with sailing on the Bay. The boats were a lot bigger and more complex than that first Sunfish back in the 1970’s but the feeling of freedom, of connection to the elements and the exhilaration of chasing the wind across the water was still the same.

When you are sailing, there are so many things to watch out for. How are the sails set? Where is the wind? What is the current doing? All of the stresses of life and work seem to fade so that you can focus on this one task. It is both energizing and calming and at the end you are physically drained and mentally calm. It is my happy place.

I always have a couple of pond yachts in the gallery. Part of the reason is that they are handsome and make great accent pieces in a room. The other part is because at different times throughout the day, I look up from my computer at them and think about being at the helm coming up into the wind with the Golden Gate in front of me the boat is heeling bit with some spray from the waves hitting my face and I smile.

Garden Court Antiques, San Francisco -Handsome English Pond Yacht Circa 1920 On Later Stand — Handsome English pond yacht circa 1920 on later stand
height: 51 in. 129.5 cm., width: 52 in. 132 cm., depth: 8 in. 20 cm.

Garden Court Antiques, San Francisco -Very Large Scale English Pond Yacht, circa 1920, on Later Stand — Very large scale English pond yacht, circa 1920 on later stand.
height: 96 in. 244 cm., width: 89 in. 226 cm., depth: 15 in. 38 cm.

^jg/jh

Posted on November 11, 2016

“Keep Calm and Carry On”

Keep Calm and Carry On is a catchphrase that originally appeared on a World War II-era British public safety poster. After one of the original posters was recovered and placed in a British bookshop in 2000, the inspirational message was shared online, sparking a series of image macros centered around the phrase template “Keep Calm and X.”¹

The Keep Calm and Carry On poster was commissioned in 1939 by the temporary Ministry of Information in England, following the printing of two other inspirational posters stating “Freedom Is In Peril. Defend It With All Your Might” and “Your Courage, Your Cheerfulness, Your Resolution Will Bring Us Victory.” It was intended to be used to strengthen morale in the event of a large-scale attack or occupation, which many considered inevitable at the time.

Her Majesty’s Stationery Office (HMSO) was charged with printing the posters, costing approximately £20,600 for printing and storage of 5,000,000 copies, with an additional fee of £225 for the artists who designed them; the designer of the poster remains unknown. These were kept in storage in case of a dire attack on the country, while the other two designs were circulated that September. Since there was not a large-scale attack or occupation, the design was never used. Most of the “Keep Calm and Carry On” posters were destroyed or lost in time, with the exception of 7: 6 found in 2009 that are in storage at the Imperial War Museum, and 1 that resides in a British book shop.” ² ³

⁴

Eleanor of Aquitaine Died On This Day in History, April 1st, 1204

On This Day in 1204, Eleanor of Aquitaine died ( 1122 or 1124 – 1 April 1204)
Eleanor (Aliénor) of Aquitaine (1122 – 1204 (82)), Queen of France then England and one of the most remarkable women of the high middle ages, lived her last years in and died at Fontervraud

Circa 1150, Eleanor of Aquitaine (c.1122 – 1204), the wife of King Louis VII of France and later of Henry II of England. One of her sons by Henry was Richard the Lionheart. Original Artwork: Taken from the carving on her tomb at Fontevrault. (Photo by Hulton Archive/Getty Images)

Eleanor of Aquitaine was one of the wealthiest and most powerful women in western Europe during the High Middle Ages inheriting the Duchy of Aquitaine from her father, William X, in 1137, and later became queen consort of France (1137–1152) and of England (1154–1189)

She was married first to the King of France (King Louis VII) — and divorced from him in part because she had no sons — she went on to have sons and daughters with her second husband, King of England (Henry II). One of her sons by Henry was Richard the Lionheart.

Eleanor of Aquitaine is said to be responsible for the introduction of built-in fireplaces, first used when she renovated the palace of her first husband Louis in Paris. Shocked by the frigid north after her upbringing in southern France, Eleanor’s innovation spread quickly, transforming the domestic arrangements of the time.

Katharine Hepburn plays Eleanor of Aquitaine in the acclaimed 1968 film, The Lion in Winter

Posted on February 18, 2016 February 18, 2016

Lisa Espenmiller: The Way, Where You Come From.

Contmporary Bay Area Artist, Lisa Espenmiller

California Bay Area Contemporary Artist, Lisa Espenmiller “The Way”, uses line, movement, and space to focus intent on material and repetition of pattern, in a meditative process. Hers is a controlled technique akin to writing on a scroll. Espenmiller draws horizontal ink lines, one after the other, until the entire surface of canvas or paper becomes a field of meditative resonance. The lines and washes of color in her paintings are visual descriptions of the chi or breath-energy that flows through all things.¹

“I have this notion that art occurs in the process of life itself, and you don’t have to go outside of the context of your own life. It’s all there, and you just tap into it. You open up to it. You have to make yourself available to possibilities.”
— David Ireland, he Art of David IrelandThe Way Things Are ²

Lisa Espenmiller "Begin in the small," 2013 acrylic and ink on canvas over panel 20 x 20 inches — Lisa Espenmiller
“Begin in the small,” 2013
acrylic and ink on canvas over panel
20 x 20 inches

Lisa Espenmiller "Born in the void" 2013 acrylic and ink on canvas over panel 20 x 20 inches — Lisa Espenmiller
“Born in the void” 2013
acrylic and ink on canvas over panel
20 x 20 inches

Know when to stop, 2012 acrylic & ink on canvas over panel 24" x 24" — Lisa Espenmiller
“Know when to stop”, 2012
acrylic & ink on canvas over panel
24″ x 24″

Nothing slips through, 2014 acrylic & ink on canvas over panel 30" x 30" — Lisa Espenmiller
“Nothing slips through”, 2014
acrylic & ink on canvas over panel
30″ x 30″

Espenmiller.Ofitsownaccord.acrylinkoncanvas.24x24.1200 — Lisa Espenmiller
“Of its own accord “
acrylic & ink on canvas over panel
24″ x 24″

Lisa Espenmiller, "Some breathe gently", 2013 | acrylic & ink on canvas over panel | 36" x 36" — Lisa Espenmiller
“Some breathe gently”, 2013
acrylic & ink on canvas over panel
36″ x 36″

Artist’s Statement

The lines and washes of color in my paintings and works on paper, visual descriptions of the chi or breath-energy that flows through all things, seek to sober and quiet the mind. When the mind quiets it becomes susceptible to inspiration, to movement from the microcosmic to the macrocosmic. Whether the body of work attempts to depict the inner scenery of breath-energy (The Way, Where you come from), the ever-shifting inner and outer landscape (the groundless ground), or talismanic power (chant), the goal is to engender a stilling of the hyperactive mind so the viewer can recognize the existence of a source that transcends human or divine authority – what Lao Tzu refers to as “dark-enigma” – the chi-tissue of empirical reality and the empty opening of consciousness itself.

The paintings and works on paper function both as mirror and window. Viewers are encouraged to stand before each one allowing the piece to offer a reflection of what’s inside or a view into another layer of reality. Think of them as modern mandalas or yantras.

As in meditation, my process requires that I remain rooted and immersed in the realization of the piece for a focused, uninterrupted period of time. There is little time or space for the logical mind to intervene in an attempt to control the outcome. The pace of each line, the movement of the brush or pen are guided by intuition and “no-mind,” accepting and trusting what presents itself in each fluid, changing moment.

These Featured works by Lisa Espenmiller are presented by Art Consultant, Laurie Ghielmetti Interiors + Art ³ and can be viewed at Garden Court Antiques at our 151 Vermont Street Showroom in San Francisco’s South of Market Design Neighborhood.

Artist’s Social Portals

^jh

Connie Goldman: The Constancy of Change and The Predictability of Uncertainty.

Much of Bay Area Artist, Connie Goldman’s ¹ work relates to upset equilibrium and the tension between stasis and flux. Her work is reductive and abstract yet deeply personal. As with equilibrium, it is not static but always on the brink of changing in one form or another.

As part of our Temporary Contemporary Fine Arts Exhibit Garden Court has introduced Connie Goldman’s abstracts to our Vermont Center Gallery. Combining contemporary alongside the antique reflect the juxtaposed styles of designers and collectors today. Our Fine Arts Exhibit is presented by Art Consultant, Laurie Ghielmetti Interior + Art ².

Connie Goldman, Phasis XI, 2007, Oil-on-panel, 32 in x 60 in.

Connie Goldman, Phasis X, 2007, Oil-on-panel, 32 in. x 60 in.

Phasis Series

Phasis n. a manner, stage, or aspect of being; phase .

Phase n. (1) any of the major appearances or aspects in which a thing of varying modes or conditions manifests itself to the eye or mind (2) a stage in a process of change or development (3) the particular appearance presented by the moon or a planet at a given time.

Lunar Phase – Lunar phase refers to the appearance of the illuminated portion of the Moon as seen by an observer, (usually) on earth.

The multiple panels allow for time elapsed and changing points of view. These pieces speak to the constancy of change, the predictability of uncertainty. ³

The creative process for Ms Goldman often begins with sketches and words. Phasis began with sketches ( At point 1:25 in the video above ) and a rift on ‘Phases of the Moon’. A self-confessed ‘Geek’, Ms Goldman loves words. She will sit and read the dictionary. “Language, music, poetry”, she says,”has a certain meter to it, a regularity like our own heartbeat”. She’s also a “Quote Junkie” having collected thousands of them over the years. These quotes serve as a type of shortcut to express ideas and a personal point of view. Ms Goldman read a few of her favorite quotes to Blogger, Phillip J. Mellen of Ahtcast in a 2013 interview. ⁴

Robert Henri ⁵ (leading figure in the Ashcan Art Movement ⁶ of the early twentieth century): “The object isn’t to make art, It’s to be in that wonderful state which makes art inevitable” ⁷

Frank Lobdell ⁸: “Sometimes it’s not what one puts into a painting but rather what one leaves out that makes a compelling picture.” ⁹

Pearl Buck ¹⁰: “The truly creative mind in any field is no more than this: a human creature born abnormally, inhumanly sensitive. To them a touch is a blow, a sound is a noise, a misfortune is a tragedy, a joy is an ecstacy, a friend is a lover, a lover is a God, and failure is death. Add to this cruelly delicate organism, the overpowering necessity to create, create, create, so that without the creating of music, or poetry, or books or buildings or of something of meaning, their very breath is cut off. They must create — must pour out creation. By some strange unknown urgency, they are not really alive unless they are creating. “ ¹¹

Patti Smith ¹²: “In art and dream may you proceed with abandon. In life, may you proceed with balance and stealth.” ¹³

Marcel Proust ¹⁴ : “The real voyage of discovery consists in not seeking new landscapes but having new eyes.” ¹⁵

Anais Nin ¹⁶: “There came a time when the risk to remain tight in the bud was more painful than the risks it took to blossom.” ¹⁷

Constantin Brâncuși ¹⁸ : on Abstraction. “When you see a fish, you don’t think of its scales, do you? You think of it’s speed, it’s floating, flashing body seen through the water. If I make fins and eyes and scales I would arrest its movement. Give it pattern or shape of reality. I just want the flash of the spirit. “ ¹⁹

Paul Cézanne ²⁰: “Painting is damned difficult. You always think you’ve got it but you haven’t. I could paint for a hundred years, a thousand years, without stopping and I would still feel as though I knew nothing.” ²¹

Bay Area Abstract Artist, Connie Goldman.

Asked to apply three to five words to describe her work, Ms Goldman responded, “Quiet, understated, musical. My work is far-reaching, referencing other disciplines, language and music; the spaces that exist in music, haiku, proportion.” The creative process is never-ending. Of her work, Ms Goldman observes: “You can’t master it. You can’t completely master it.”

Connie Goldman, Captive I 2006 Oil-on-panel 53 in. x 43 in. x 2 in. — Connie Goldman, Captive I, 2006, Oil-on-panel, 53 in. x 43 in. x 2 in.

Connie Goldman, Captive II, 2006, Oil-on-panel, 48 in. x 39 in. x 2 in.

Artist Statement

Using a minimalist vocabulary and a reductive aesthetic that emphasizes the importance of space, rhythm, structure, and relations, I make works of art that are concrete and essential approximations of my own emotional and intellectual experiences. The work reflects my interests in architecture, music, science, sculpture, and painting as well as the threads of commonality that run between them.

The tendency or desire to gravitate toward unity and stability is in opposition to the urge toward independence, transition, and growth. My work evokes this same tension, the dynamic that underlies my own existence. I see each piece as being analogous to the rhythmic and contradictory forces of stasis and flux that propel my world toward both constancy and change.

The Artist’s social media portals

^jh

Ann Holsberry: Nomadic by Nature.

Bay Area Artist, Ann Holsberry, works in cyanotype¹, a kind of photographic printmaking that yields a rich Prussian blue combined with gouache (an opaque watercolor paint). She uses this process in a painterly manner to convey vast impressions of the oceans and cerulean skies in her Migration series which is now on display at Garden Court’s Vermont Center Showroom presented by Art Consultant, Laurie Ghielmetti Interiors + Art ²

Holsberry’s Migration series is fluid and ever-changing. Using a combination of source materials—her Qi Gong meditation and movement practice, images from the Hubble Space Telescope, old maps, and her collection of nests, feathers, and other ephemera—Holsberry creates stunningly beautiful works that engage the viewer and encourage deeper reflection. Her pieces draw inspiration from nature and her fascination with migratory birds—which often appear as metaphorical symbols in her work —but her meditations on migration also delve deeper. Her works map emotional territory born from semi-annual trips to France.

Being somewhat nomadic by nature, I like to move about, establishing little studios wherever I land for a while. For the past decade, I have spent part of each year living and working in France, where I find inspiration in the rich cultural history and beauty of Europe – in particular, Paris. It is a place where serendipitous discoveries seem to lead me in unexpected creative directions.³

Additionally, she is moved by the experience of seeing family members and the increasing numbers of people being pushed and pulled around the globe; movement that needs to be expressed. Though deeply personal, Holsberry’s work maintains an important universality, drawing on the individual, yet shared, experience of moving from one place to another.⁴

Ann Holsberry: Hover, 2014, Cyano Gouache 72 in. x 38 in. — **Ann Holsberry: Hover**, 2014, Cyanotype & Gouache on paper, 72 in. x 38 in.

The name cyanotype was derived from the Greek name cyan, meaning “dark-blue impression.” ⁵ The cyanotype process, together with a number of other, older photographic processes, was revived by contemporary photographers in the 1960s The basic cyanotype recipe has not changed very much since Sir John Herschel introduced it in 1842.

Ann Holsberry: Towards the Seas 1, 2014, Cyano 72 in. x 38 in.

Ann Holsberry: Towards the Sea 2, 2014, Cyno 72 in. x 38 in

Migration by Ann Holsberry from Tina Toriello on Vimeo.

Artist Statement

MIGRATION
I am fascinated by the movement of humans and animals across the globe, and am drawn to illustrate their webs and networks of transit. I am also fascinated by cosmology, in particular the way the earth and other heavenly bodies travel through space. Accordingly, my current work is inspired both by the movements of planets and stars, and by the complementary movements of animals and people across the earth.
To express these ideas, I work with cyanotype, one of the oldest alternative photographic processes. Cyanotype was the original process by which blueprints were created, and its blue color evokes skies and oceans, giving the works a vast, dreamlike, atmospheric quality. I begin each piece by painting the chemicals onto paper in the darkroom in varying patterns, after which I expose the prints in outdoor sunlight, sometimes working in locations over which flocks of migratory birds fly, or near oceans and rivers where whales and fish are migrating. Following the exposure process, I add gouache, ink, pastel, or wax to some of the works to further develop them as paintings.⁶

Ann Holsberry on Instagram⁷

^jh

Contemporary Art and Beautiful Antiques.

Modern Art and Beautiful Antiques at Garden Court in San Francisco: — photo: Laurie Ghielmetti.

2016, and we have had a busy first week!

One of our commitments since moving into our new Vermont Center Showroom has been simply, show how modern and antiques can be used to create gorgeous and eclectic interiors.

We’ve been fortunate to work in tandem with Fine Arts Consultant and Interior Designer, Laurie Ghielmetti Interiors in our efforts.

Combining modern with antique reflects the real world of interior design today and we are happy with the results.

.. more to come. Meanwhile, we hope you’ll stop in to view our temporary contemporary exhibit at 151 Vermont Street in San Francisco.

Author: Jim Gallagher

Demystifying Antiques: an ASID Evening Event

Like this:

It’s 2018 and Back to Work! Welcoming, Wonderful and Inspiring!

Like this:

How Jeremy Irons Rescued and Restored a 15th-Century Irish Castle – Vanity Fair, October 2017

Like this:

Reminiscences of Summer.

Like this:

“Keep Calm and Carry On”

Further readings and sources:

Like this:

Eleanor of Aquitaine Died On This Day in History, April 1st, 1204

Like this: