This is a shadowbox frame we built for a collection of antique stirrups, a holster and pistol. The customer wanted to be able to remove the pistol and stirrups. We made the frame with a door and made hangers so the items could easily be removed. A faux suede fabric and olive veneer moulding with silver accent extend the style of the antiques and create an excellent display.
September 19 – October 28, 2014
Opening reception Friday, September 19th, 5:30 – 7:30 pm
Elizabeth Allen received her BFA from the Rhode Island School of Design in 1972 where she spent her last year in Rome studying the Italian masters. She continued studying with American Master painters at the Art Students League of New York where she gained a classical foundation in painting the figure, portraiture and still life. Her move to Vermont in 1989 opened a whole new world of landscape painting, as only Vermont can. Her award winning paintings have been published in 2 books by International Artist “How to Paint Landscapes” and “How to Paint Still Life and Flowers”. Her painting was also included in Verve Editions “The Art of Lake Champlain”. Her work can be found in many private and corporate collections both nationally and internationally. She is a member of the Art Students League of New York.
“For me, painting landscape is capturing the color created by light and atmosphere in fleeting moments throughout the day. An early morning mist is a lavender veil enveloping the valley—I marvel at how it transforms the scene. Autumn foliage against a yellow sky adds even more color when I thought nature couldn’t add any more to its palette. Atmosphere changes the colors of the layers of hills and trees as they go off into the distance— inspiring me to find those unnamable colors on my palette. I see color changes in a quiet still life as the light source wraps itself around the forms. These are the things that inspire me to paint— finding those color surprises.”
Furchgott Sourdiffe Gallery is pleased to announce the opening of “Summer Horizons: New Vermont Paintings by Bonnie Acker” The exhibit opens with a public reception with the artist on Friday, August 8th, 5:30-7:30 p.m., and will run through September 16th. All are welcome to the reception, as well as gallery browsing during regular hours.
Acker’s work is joyously rendered, and reflects her multifaceted approach to life:
“I wear many hats, all of them colorful and connected to the
communities around me! When I glean time for creating landscapes … I am painting at the kitchen table – or pastelling outside in warmer
weather …I am alone, focused, looking inward, bringing up the courage to make my mark.
The rest of my life, what a wild and wonderful contrast! … community-linked efforts
give a momentum to the artwork I create at home.
There is no other place on earth I’d rather be than Vermont. The
optimism, the dedication to improving the planet, the widespread
resourcefulness, all give me the strength to believe in the future and
connect my artwork to the wider community.”
Bonnie, a lifelong artist and activist, has lived with her family in
Burlington since 1986. She creates paintings, paper-collages and
fabric banners, and is immersed in numerous food-and-farming
Since 2002 she has been a food-educator with the Burlington School
Food Project; since 1994 she has served on the board of directors of
the Intervale Community Farm Cooperative; and since 1993 she has
helped coordinate the flower gardens at City Market/Onion River Co-
Bonnie’s work has been featured in Vermont Life Magazine and
several books including The Art of Lake Champlain, Champlain’s
Lake Rediscovered, The Community Land Trust Reader and
Legendary Locals of Burlington, Vermont.
She has received numerous awards and extensive recognition for
her art and other endeavors, including being named a “Burlington
Community Treasure” by the City of Burlington on Bonnie Acker Day,
November 4, 2013.
Bonnie is a graduate of Sarah Lawrence College; she studied further
at the Massachusetts College of Art.
The conservation and restoration of this state seal was entrusted to our skilled conservators, Brad Sourdiffe and Randy Smith. Here is a glimpse of the process of stabilizing, cleaning, and restoring this unique, historical piece.
Our upcoming exhibit opens with a reception with the artists on Friday, May 16, 6-8 p.m., and will run through June 24.
Originally developed in the 17th century, monotypes are unique prints, sometimes created by running a zinc plate through a press multiple times, each time inked with different colors and shapes to achieve a layered quality. Monoprinting is a form of printmaking that has images or lines that can only be made once, unlike most printmaking, where there are multiple originals. Also known as the most painterly method among the printmaking techniques, a monoprint is essentially a printed painting.The beauty of this medium is also in its spontaneity and its combination of printmaking, painting and drawing media.The difference between monoprinting and monotype printing is that monoprinting has a matrix that can be reused, but not to produce an identical result. With monotyping there are no permanent marks on the matrix. In the absence of any permanent features on the surface of the plate, all articulation of imagery is dependent on one unique inking, resulting in one unique print. Monoprints can be thought of as variations on a theme, with the theme resulting from some permanent features being found on the plate – lines, textures – that persist from print to print. Variations are confined to those resulting from how the plate is inked prior to each print. The variations are endless, but certain permanent features on the plate will tend to persist from one print to the next. Both involve the transfer of ink from a plate to the paper, canvas, or other surface that will ultimately hold the work of art. Other methods that make a print “one of a kind” might be the addition of drawing, collage,or even sewing, to the printed impression of a woodblock, linoleum print or etching.
Furchgott Sourdiffe Gallery is pleased to announce the opening of “Preserving the Past: Artfully Framed Antique Prints and Botanicals” which will run April 12-May 13, 2014.
The decorative art of framing antique prints draws on many traditional and handcrafted techniques that have become as rare as the prints themselves.The prints range from a hand-colored Curtis engraving of a dandelion dating from 1795 to a German chromolithograph of butterflies, bees, and insects from 1894. Other images include rare fruits and birds, bugs, poultry and early Vt. settlers at work. Exquisite and labor intensive french mats with hand-drawn ink lines, marbelized papers, gold leaf and painted panels showcase these hand-colored engravings and early lithographs superbly. These techniques, which draw on a framer’s design abilities as well as skills handed down from past artisans, showcase the kind of traditional handcrafted framing that is a specialty at Furchgott Sourdiffe Gallery.The preservation aspect comes from the use of contemporary archival, museum quality materials that will ensure these pieces are kept in pristine condition for future generations.