Left Bank Gallery

Michael Coyne

2008-07-24T19:18:00.001-07:00

Michael Coyne's show, "Along the Shore," opens this Saturday in Orleans. Michael's professional career as an artist began with freelance illustration, product design and print work for books. This led to mural installations in private homes and large commissioned pieces for corporate clients such as Miller Beer, Kajunga Arts, and F-1 Boston.

Working in a representational style, Michael depicts the rocky shorelines and salt marshes from the South Shore to Cape Cod and the Islands. This is his first exhibit at Left Bank Gallery.

Please drop by and say hello to Michael this Saturday evening from 6 to 8, at 8 Cove Road, Orleans. The show will continue through August 8.

above: "Aground" oil, 9" x 12"

Mary Bourke

2008-07-16T19:01:00.000-07:00

This painting makes me want to put a screen porch on my house right this minute.

You can see all Mary Bourke's new paintings at her show "Just Once," which opens this Saturday. Paintings for the show are posted on our website.

Please come by and say hello to Katie and Mary at an artist reception from 6 to 8pm on Saturday, at 25 Commercial Street, Wellfleet. See you there!

Katie Trinkle Legge

2008-07-16T18:55:00.001-07:00

Here's Katie, hard at work in her studio. She's getting ready for her show, "Table Tops and Other Places," which opens Saturday.

And totally unrelated, did anyone else notice that the painting titled "Five Cherries" has six cherries in it? Is she messing with us? All the paintings for the show have been posted to the web, so you can take a sneak peek now.

Leslie Thompson

2008-07-16T07:28:00.000-07:00

A new collection of work by Leslie Thompson just opened at the Commercial Street gallery in Wellfleet.

Leslie studied art and ceramics at the University of Chicago, as well as the Caulfield Institute in Australia. Her art has been featured in several publications, including Architectural Digest and American Craft. She has participated in numerous juried exhibitions around the country, notably the Smithsonian in Washington, D.C. and the Craft and Folk Art Museum in Los Angeles, California.

We've just posted the whole collection on our website, including more information about how the vessels are made.

Fine Art and Travel Auction

2008-07-09T07:37:00.000-07:00

On July 27th there will be an auction to benefit Wellfleet Preservation Hall, our community cultural center. Left Bank artists Arthur Bauman, Michael Davis, Jim Holland, Steven Kennedy, Rosalie Nadeau and Fay Shutzer will all have work in the auction.

For more information, including a complete list of artists and travel destinations, go to the Wellfleet Preservation Hall website: www.wellfleetpreservationhall.org

Jim Mullan - Vintage Birds

2008-06-25T10:12:00.000-07:00

Jim Mullan begins by hand painting each bird, to which he adds a variety of vintage pieces. The unusual relic’s he uses in his sculptures, such as croquet balls, binoculars and old toys, give each inspiring bird its own personality. Objects that were cast aside as useless are used in his designs to demonstrate the fragile balance between nature and industry.

The birds give life to the once forgotten pieces of yesterday. We invite the observer to find warmth, history, and humor in each and every bird sculpture.

The vintage bird collection is on display in Orleans, as part of our Flight: Birds in Art exhibit. See the collection on our website if you can't make it in person!

Paul Sumner

2008-06-25T10:05:00.000-07:00

Paul Sumner's sculpture has evolved over the years to become an expression of all his passions, not just his love of the medium of wood. He began more than 20 years ago as a traditional wood craftsman, making jewelry boxes and furniture. His interests branched out to explore the textural possibilities of weed, then to color, and on to the addition of other materials until his work became truly mixed-media.

Paul's most recent work involves combining metal with wood. An avid collector, Paul finds antique tins to be outstanding for their color and pattern. The tins also allow him the opportunity to explore the possibility of introducing words into the pieces. He likes to hint at meaning or humor using text he extracts from his tins.

His mixed-media bird sculptures are part of our "Flight: Birds in Art" collection, currently showing in Orleans (through July 19). His birds can be seen on our website.

Linda Chamberlain: Flight

2008-06-25T10:00:00.000-07:00

Vintage elements: glass lenses, printer's type, furniture hardware, clock faces are just some of the elements used in creating these theaters by Linda Chamberlain. In the studio, found objects take a direction of their own and, through the assemblage process, evolve into their own form.

Special painting processes unite all elements. Various woodworking equipment: the lathe, router and scroll saw, are employed to develop architectural elements and the painting supports. Texturing and transfer techniques, developed by the artist, contribute to the dialogue.

Chamberlain draws upon the simplification associated with the Arts and Crafts Period. She creates works that eliminate the superfluous in life, reducing reality to the essentials.

These pieces are part of the "Flight: Birds in Art" show currently in Orleans. Linda is represented at the Left Bank Small Works and Jewelry gallery in Wellfleet.

Her collection of bird studies are shown on our website.

James Carter on "Flight"

2008-06-25T08:03:00.000-07:00

"My focus on painting birds dates back to when I was a boy and watching my grandfather, an accomplished wildlife painter. They became my first subject matter. Unlike your typical wildlife painter, I bring my birds to an interior world and pose them with inanimate props such as cameras, books and boxes. They therefore become both a metaphor and the subject of the piece. As shadows are an important part of the piece I use both airbrush and traditional wash painting to give my work that dimensional aspect. In the over-all look of my work I am focused on line and balance in the piece. I want the viewer to see not just a bird but a player in the subject's story." - James Carter

In addition to studying at the Silvermine College of Art in New Canaan, Connecticut and the Maryland Institute of Art, James Carter considered becoming an architect. He found that working with line and form, however, was more important to him than creating buildings. His architectural training is evident in his clearly structured compositions, as well as in the use of architectural details in his work, including mantels and doorways, graph-like grids and crosshatchings as seen through surveyors' instruments.

Both collections (Wellfleet and Orleans) are shown on our website.

Christina Goodman on "Flight"

2008-06-25T07:46:00.000-07:00

Christina Goodman's brooches, pendants and earrings are miniature paintings reminiscent of Renaissance artwork. Most of these miniatures are landscapes influenced by Giovanni Bellini, Lorenzo Lotto, Dosso Dossi and Jan Van Eyck, but over the last few years she has begun watching birds from her studio near the San Francisco Bay and is now incorporating them into her work.

Christina was born in Pisa, Italy, to American parents. She grew up near Washington D.C. and New Orleans, attended Colorado College, and received a studio art degree from the University of California at Santa Cruz. Christina later moved to New York where she studied fashion design at Parsons School of Design and worked for several years as a decorative artist specializing in gilding and painted finishes.

Christina began her design business in 1990. Her knowledge of decorative art and her passion for Renaissance painting merged into the creation of her own line of hand painted miniatures and jewelry. She continues to study and utilize 14th - 16th century gilding and painting techniques, as well as Renaissance frame design.

Collections from both Orleans and Wellfleet galleries are shown on our website.

Ellen Granter on "Flight"

2008-06-25T07:38:00.000-07:00

Ellen Granter shared some thoughts with us about the work she's brought to our "Flight" exhibit (at Left Bank in Orleans through July 19). Here's are some biographical bits we thought you'd like:

"Although I have painted and created artwork since I was old enough to draw on my parent’s kitchen cupboards, my formal training was limited to a few drawing courses during college. I grew up in upstate New York and received a BA in Political Science and a MA in Chinese History from the University of Vermont. I studied Mandarin Chinese for seven years and lived in both Hong Kong and Beijing. I currently work part-time as a book designer for an educational textbook publisher, creating instructional design that helps children learn math, social studies, and science. Working from a tiny spare bedroom in my house near Boston, with one wall jammed full of art books and magazines, my artwork is now shown in numerous galleries across the Unites States and is present in many corporate collections. I am an avid birder, a slow hiker, an even slower runner, an obsessive sketcher, an intrepid traveller, a passionate environmentalist, and an aunt who enjoys spoiling her many nephews and nieces with elaborate pirate treasure hunt schemes."

Don't forget to visit our website to see more of Ellen's paintings

Summer wedding?

2008-05-28T08:32:00.000-07:00

If you're planning a summer wedding, we have some ideas for you! We love weddings and are always on the lookout for things to make your day even more spectadular.

We just found this little gem - a sterling and diamond necklace from Saundra Messinger. Very affordable for bridesmaids gifts and so pretty and sparkly! You can see more of Saundra's designs on the website or in our Orleans and Wellfleet galleries (Small Works in Wellfleet, on West Main Street).

We have a page of wedding gift ideas, favors, bridesmaid's jewelry and usher gifts on the wedding page of our website, where you'll also find our Bridal Registry. We're adding things all the time and will be photographing and posting a few more dreamy items soon.

Fran Forman

2008-05-28T07:15:00.000-07:00

Fran Forman won in the PX3 Prix de la Photographie Paris!

"Alchemy of Memory" took first place in the Fine Art/collage category.

2008 Commercial Street Show Schedule

2008-05-13T08:42:00.000-07:00

Jim Holland
July 5 - 18
Meet the Artist Reception:
July 5, 6 to 8pm

Mary Bourke
Katie Trinkle Legge
July 19 - August 1
Meet the Artists Reception:
July 19, 6 to 8pm

Fay Shutzer
Carol Odell
August 2 - 15
Meet the Artists Reception:
August 2, 6 to 8pm

Tatjana Krizmanic
Graceann Warn
August 16 - 29
Meet the Artists Reception:
August 16, 6 to 8pm

Kate Nelson
August 30 - September 12
Meet the Artist Reception:
August 30, 6 to 8pm

above: "Book a Boat" by Fay Shutzer

2008 Orleans Show Schedule

2008-05-13T08:39:00.000-07:00

“Flight” Ellen Granter, Jim Mullan, Linda Chamberlain,
James Carter, Christina Goodman, Paul Sumner June 21 - July 19

Michael Coyne July 26 - August 8 Meet the Artist: July 26, 6 to 8pm

Meg Little September 13 & 14 Meet the Artist: 11am to 4pm both days

“Small Treasures” November 8 -January 31 Holiday Reception: November 29, 5 to 8pm

Above: "Yellow" by Ellen Granter

2008 Small Works Show Schedule

2008-05-13T08:34:00.001-07:00

Ongoing show with works by
Gregory Kammerer
Del-Bouree Bach
Jim Holland
Michael Lowenbein
Jim Youngerman
Ellyn Weiss
Jamie Johnson

above: Salt Pines, by Gregory Kammerer

April Sale!

2008-04-09T09:36:00.000-07:00

50% off selected crafts, jewelry, wearables, lamps, glass and accessories at all three of our galleries!

Sale continues through to the end of the month - hurry in for the best selection!

Caller ID

2008-04-04T19:13:00.000-07:00

Yesterday we discovered that when we call people from Commercial Street our caller ID reads "Butik Gemini."

Back in the early days of the gallery, Audrey had a needlecraft boutique where the storage room now is. 30 years later, the phone company still can't let go....

Christine Kaiser

2008-04-02T08:12:00.000-07:00

Neuroses and psychoses, now even BIGGER!

Each one is different - all hand made by Christine Kaiser. They have five or six legs, lots of eyes and heaps of character.

Who doesn't need a nice fresh neurosis, when bathing suit season is upon us?

See more examples here and call the gallery to pick out your own - 508-349-9451.

Sarah Graham

2008-03-31T13:32:00.001-07:00

The San Francisco Chronicle had a great article on Sarah Graham on the front page of the style section last week.

By hosting several people at her studio while she made a new piece, she raised $6,800 for a non-profit organization which provides microcredit to women in Mexico and Guatemala.

See the complete article here. And see Sarah's jewelry here.

Vladimir Barsukov

2008-03-27T19:29:00.000-07:00

Vladimir Barsukov was written up in the Boston Globe yesterday!

an interview with Graceann Warn

2008-03-22T18:42:00.000-07:00

Interview with Leslie Stainton and Graceann Warn
Ann Arbor, Michigan
October 2007

.LS: When did you first begin to think of yourself as an artist?

GW: When I was a kid I guess. I had an art studio in my bedroom. I was always arranging things. Design was just in me. But I never knew an artist when I was growing up. I grew up in a really small town in New Jersey, and it just never occurred to me that people could make their livings as artists. We barely had an art program in my school. I went to college and became a landscape architect—it was the closest thing to art I could find. After I graduated, I was working for a private office in Ann Arbor, and they sent me to Minneapolis to attend an urban design conference, and when I was there I took a look at the Walker Art Center. I went to see the building, the siting of the building, and poked my head in. What was showing was an exhibition of the last works of Mark Rothko. I went into the gallery, and I was surrounded by these paintings, and I had a strong, emotional reaction-my heart was beating so fast and my eyes filled with tears. I was in the gallery by myself. I was really surprised by my reaction because I wasn’t a person who went to galleries or museums then. This was the first time that abstract art had affected me in such a profoundly emotional way. In retrospect, I realized that my own work, the design work I was doing in an office, couldn’t compare with what art had to offer, and I decided to get a studio. My life changed within that year.

How so?

I came back to Ann Arbor, and I rented a tiny, tiny studio space above the Ann Arbor Art Center. This was the 80s. At the time there were several studios up there—they called it the loft. I think there were eight of us at one time- all women. They were all making their living with art somehow. And that to me was an eye-opening experience, because here were these people who were dedicated to making art, and they were making their living that way. They became mentors to me in a certain sense. So I spent weekends and evenings there. That little studio made me take myself seriously as an artist. Fortunately for me, I made things, and they sold. I kept at it and by 1986 I was making my living solely on my art and haven’t stopped.

It’s interesting that it was abstract rather than representational art that first moved you so profoundly.

I wonder if it has something to do with the concept of synesthesia. I’ll look at a color and I’ll taste it- as if colors have flavors. And numbers have colors. There are all kinds of things that cross over in my head. I’ve only recently realized that I do that—I guess I assumed everybody did- that it was a normal thing. I think for me abstract art, especially color and form, have something to do with that, because when I look at an abstract painting I can taste it or I can hear it. Edges of color, one edge of color against another, that connection, that line that they make, is heartbreaking to me sometimes. Or it’s joyful. It has an emotion—there’s a word that I can put to it that has an emotional meaning. Rothko has always been like that to me. The edges of where a red fades off to a black—it can make me cry.

You obviously strive to achieve the same effect with your own work. How do you know when you’re there? Or do you?

There’s something that happens in the studio when you’re making the work, and it just rings true to you inside. And if it’s ringing true for me, I’m assured that there are going to be other people for whom it will ring true as well. It’s just something human or authentic when it comes through, but I have to be true to myself when I’m making it. I have to know this is right, that I’m not intellectualizing it, I’m not analyzing it, I’m not trying to force anything. It’s like tennis—you can’t muscle the ball because when you do you ruin the flow.

What do you mean by “true”?

I heard Annie Lamott talk once about writing a novel. She had been writing these successful books for years, and she was sort of angry with herself, because she thought she was using hooks and things she knew that would work, things that would people would respond to. She said, “I came to the moment when I knew I had to write the great novel I thought was in me, and I knew I had to kill off my little darlings.” Sometimes when I’m making a piece, if I’m being lazy, and I just want to get it done, make something to sell, I know the little hooks that will sell. It behooves me, as I’m trying to make work that I’m digging deeper for, to know what those little darlings are. And I have to either reject them or employ them for something other than their likeability. It’s being really conscious and editing all the time when I’m making the work, and at the same time working in a natural way. It’s a very special state of mind to be in, to do this—like being conscious but not being overly conscious. I’ve always equated it to having this pool that’s just under my consciousness, that I can just dive into, and it’s this warm, easy place that the work comes out of, and as soon as I become overly aware of it, it goes away.

Does this mean you now shun the commercial side of what you do?

This great thing has happened. I’m saying this now because it’s been successful—the great thing that’s happened is I’m aware of the faith I have in myself to do the work that’s good and true, and I can count on it. I just know that if I’m truthful with the work, other people will see it the same way. I’m not looking for mass adoration—I would hate that, actually, if people wanted to make pillowcases out of my images. There are just enough people out there who get what I do, and love it enough, that I can keep doing it. Somehow, I’m connecting with enough people that I can keep doing this work, and that’s all that I want.

When and why did you start doing encaustic work?

I’ve played around with it in a nonserious way since the early 90s. Nobody I knew [then] was doing it—it has become more popular lately. The first time I saw Jasper Johns’s work, the beauty, the sensuality of the surface is what got me. I always had that in the back of my mind, and the first opportunity I had to use it in my own work, I started to do it. After my first trip to Oaxaca, Mexico, in the mid-90s, I noticed a lot of contemporary artists down there were using it, and I really liked what they were doing with it. The abstract work that you see now I started in earnest only in the last four or five years.

It’s a venerable medium.

Encaustic goes back a couple of thousand years. Many surviving paintings are Egyptian and they were paintings on linen, on wood, on mummy cases. Greeks actually invented it, but then the Egyptians ran with it.

And these ancient works speak to you?

I think to a certain extent they inspire me. I’m very old-school with the way I paint and the way I do things, and I love the tradition of some of the materials I use. I grind my pigments. I love buying pigments from as close to the source as I can. I buy a lot of my dry pigments from a place in Florence, Italy. The pigments are all from that ground, that earth. I like knowing I’m part of a line of people that have used them and made art with them for centuries.

There’s something almost graffiti-like about many of your encaustics.

A lot of the encaustics that I’m doing now are inspired by walls. Simply walls. But more than just the physical nature of a wall—because encaustic can really look like a wall—I love the idea of walls, especially in old cultures, in third-world countries, as being places where people communicate, and have for centuries, and the idea of this wall that has all this information on it, and gets replastered and has all this stuff on it. Just think what’s under those layers of paint, what have people said, what have people expressed. That’s kind of what I’m doing when I’m making these. Last time I was in Rome I took tons of photographs of walls, close-ups of walls. I would stand there and just wonder what’s under all of that. What’s under that piece of poster-I think of that great stuff that they found in the Athenian Agora. It goes back thousands of years.

There’s a word for it—palimpsest.

Palimpsest is the name of the show at River. Because that’s what these pieces are. These pieces are palimpsests.

Why do you suppose that idea intrigues you?

I don’t know why—I really, really don’t. Something about secrets and hidden things. When I went back to graduate school, the thing I chose was archeology. One of the best things I got from classical archaeology is that something we know today could very well be undone by something that they find out tomorrow. All these theories can all be undone with a single find. I think I like that continual mystery and possibility and being at the right place at the right time.

Is that what you hope happens in some way with your work?

I want people to look at my works and maybe create their own story for them. What does that thing mean? I bet it’s this. Or create a story around their own backgrounds, their own lives and experiences. I always want my work to be personal for the people who have them. It’s not mine anymore. I really want people to attach themselves to these pieces in some way or another. I’ve had people tell me that certain pieces that they’ve had over the years, that they can look at over and over and get something new. For me that’s successful, that’s what I love.

Describe a typical day in your studio.

I start with my journal, and I just write down words. I generally come up with ideas from words. I’ll just list words and titles of pieces, before I’ve visualized them. So the pieces generally come from a word, a single word or a couple of words. Geoff just came up with one for me, lacuna. The titles are always small. I will do a few sketches, but generally not too many. It’s mostly verbal.

What makes a word inspiring?

For word or phrase to grab me, I think it has to have dimension to it. It’s got to have something I can dig into and find. A great word is a word like quench, that can mean a lot of things, and the slightest drawing can make you evoke it in your head. Words and colors go together for me, which is handy. People would ask me, “Why do you put so many numbers in your pieces?” And I used to say, well, my dad was an accountant, but after I realized I had this thing, this synesthesia or whatever, numbers and colors just go together. It just makes sense to me in my weirdly wired brain. Yeah, well, it’s red, so of course you have to have a number four there.

What happens after this verbal stage?

Then I”ll go into the workshop downstairs, and I’ll start building the supports for the pieces. That’s sort of an exercise for me in holding back. I have to go through this stage in order to get to the fun part, and it makes me wait, and it makes me anxious. I need to sort of organize my brain, and make the supports, and make myself wait until all that’s done. I take birch plywood, I get it cut at Fingerle Lumber, and I build bracing on the back, and it’s a lot of very physical work, and it’s exhausting. But I’m figuring out sizes and shapes, and it’s sort of easy, but it’s all sort of this working process. It’s a way for me to feel in control, get ready and make myself anxious. Then when the day comes, I can come upstairs and start laying out the basic color and patterns that are going to be on the pieces. I generally do that by gluing colored sheets onto the boards, which provides me with a palette that I’ll paint on top of. And then I just start layering on the wax. Frequently pieces start out as one thing and end up as something else.

Give an example.

There’s a piece over here, Rome 2, I wanted to do almost a memorial to Aldo Moro, the ex-Italian prime minister. He was kidnapped and murdered in ’78, and I graduated from college that year, and I was obsessed with that story. There was this one picture of him that haunted me forever. So I laid the piece out and I started it, and you’ll see it, and you’ll have no idea that’s what it’s about. Pictures of him are under it, and I just started layering, and it moved onto another piece. The basic idea is of him, but it looks like something else. Those are the most successful pieces to me, and it’s because of what happens in the work, just letting yourself go, and being free.

For a long time, you were better known for your assemblages than for your paintings. Where does that earlier work fit into what you’re doing now?

It’s really the roots of this, and I’m still doing it (assemblage). A funny thing happened—a lot of people started making that sort of work, and it soured me for a while, because I didn’t want to be one of a million people making those pieces. It kind of made me sick. I needed to get away from it for a little bit. And now I’m back doing pieces again, fewer of them, certainly, but the assemblages that I do make now I really feel good about. I feel like that was my original medium, that’s mine. I feel a certain ownership of it, and I’ll never not do those, I’m sure. Even some of my encaustics are incorporating objects, but in a limited way. It’s just in me to make those kinds of pieces.

There’s something marvelous, whimsical even, about the way you incorporate old things into your pieces.

Retrieving objects, altering their original purpose, reclaiming them. There’s also humor in taking an object that’s really just a piece of crap and making an altar to it. It’s almost Dada.

You come by this work honestly, inasmuch as you grew up with builders.

My grandfather was a carpenter—he built the house I grew up in. I have memories of lying in bed and staring at the ceiling and looking at the molding that he made by hand. This is such a strong memory. I remember looking up and seeing the little chisel marks. He had died by then, and I would feel his presence by seeing his hand in the marks in the molding. That’s important to me as an artist. The work that I love, and the work that I make—I want my hands all over that stuff. I want you to feel that there was someone there, there was a human who made that. I think people need that more than ever these days.

Why?

Because of our disconnect with handmade objects. When I first started doing shows in the early 80s, handmade objects were everywhere. Ceramic artists made dinnerware for instance. These days they can’t, because who wants to pay that much for something that looks almost as good from Pottery Barn or Ikea, and I’m just as guilty. But I think the more that we get away from things that are handmade, letters that are handwritten—and I’m not a sentimentalist about that, I love my computer, I love e-mail—but I think there’s a void that has to be filled, and I think art can fill it for people, as poetry can, as books can. I think it’s just a human necessity, as much as we think it isn’t. I know a lot of people have to have it. I’ve talked to these people, I’ve sold to these people.

Who are your influences?

Cy Twombly, like, big time. My work looks nothing like his work, but there is something about—he’s just so brave. I love how brave he is. He just scrawls on those canvases and puts them out there, and you can’t deny how powerful they are. But my main guy is Antoni Tàpies. My true love. I’ve been obsessed with his work from the minute I saw it. The reason his work is so big for me is for me is it’s the perfect combination of painting and the use of objects. A lot of his work is so political and so ballsy, it’s just undeniably powerful and strong and no-holds-barred kind of work. And what he can do with just a line of red against a dark ground—nobody comes close. Franz Kline is another one I always loved. I love that whole period. Abstract Expressionism is my favorite period in art, barring none. Something about what it took for those guys to make that work. They really turned their back on what was going on, and it wasn’t about making money at all, because they weren’t. And they had that scene. I always wished I could be part of a scene like that. That true something about the soul of these people coming out from their hands through paint onto canvas. It just seems like there were no gates, everything flowed. Lately I’m looking at Caio Fonseca and Sean Scully.

Does it ever grieve you to part with a piece you’ve made?

Not really. Sometimes I have wished that I had been able to live with one or two a little longer. My works live in some great places They’re all over the world. One of my galleries shipped some to Dubai. I had such a weird feeling about that, it’s like wow how did this happen? The thing that constantly gets me is that I can come into the studio, and there’s this piece of wood and these paints, and I make something that didn’t exist before, and then someone lives with it. That’s just wild to me. That’s just amazing. Isn’t that cool?

Leslie Stainton is a writer in Ann Arbor, Michigan. She is an editor for the University of Michigan and the author of Lorca: A Dream of Life (Farrar, Strauss and Giroux, NY).

Jim Holland

2008-03-05T11:54:00.000-08:00

Four new Holland paintings at the gallery on Commercial Street!
See them here.

Rosalie Nadeau

2008-02-27T13:46:00.000-08:00

I visited Rosalie Nadeau at her studio last fall and took some pictures to share here - which I promptly forgot to do.

It's a beautiful studio, hidden among the flowers (well, it was then). And art covered all the surfaces - including art books on the stairs.

Janna Ugone Dinnerware

2008-02-20T10:00:00.000-08:00

Janna Ugone and Lennox have teamed up to create a collection of dinnerware called Tabella. Home Accents Today says there are " three distinctive dinner plate options, three separate salad/dessert plates, soup bowls, mugs, cup and saucer, and serving pieces. The design combines matte, gloss and textured glazes and showcases Ugone’s popular pomegranate pattern, which is accented by pleated borders in glossy celadon, little vases, detailed midlines and graceful botanicals.

We can't wait to get it in! There will be a set on display at the gallery and we'll be taking orders for place settings. Please call the gallery for more information or to order: 508.247.9172

Isn't it scrumptious?