Among their impressive collection of contemporary realist art, Joan and Bill have a small print of little intrinsic value. It is a reproduction of a 1660 map of lower Manhattan, then known as New Amsterdam. It was created by Jacques Cortelyou (ca. 1625–1693), surveyor general of the Dutch colony under Governor Peter Stuyvesant (died 1672). Its significance is that Cortelyou was Joan’s 10th great-grandfather.
The large painting is White Street Shadows, oil on canvas, by Stephen Magsig.
Both Joan and Bill are from New York and now live across the Hudson River in New Jersey. Their collection reflects their love for the City. The paintings remind them of New York as well as aspects of their childhoods. Neither had collected art before they were married, and they didn’t begin collecting until they were well into raising a family.
“We went to friends’ houses who had original art and we have one friend who’s a big collector,” Bill explains. “We realized that what they had was much better than the ‘hotel art’ we had in our home.” Joan adds, “It makes a difference when you have something that’s well done and you don’t see everywhere else.”
Above the sofa is The Little House, acrylic on panel, by Bennett Vadnais. On the adjoining wall is Key, oil on linen, by Nicholas Evans-Cato.
Above the chair in the bedroom is Wine and 2 Oranges, oil on panel, by Tom Gregg.
Bill is drawn to the subject, Joan more to the composition and color. Both must agree on a painting before it becomes part of the collection. They frequent galleries and art shows, sometimes with no intention of buying. The subject of a painting is often what makes it stand out on a gallery wall or an art show booth. “It’s not an artistic decision,” Bill admits. “If we like it, we buy it.”
Hanging behind the collectors are two paintings by Christopher Stott: at top is Mr. Pop, oil on canvas, and below is Capital Beverages, oil on canvas.When I first saw Francis Smith’s photos of the collection, I was happy to see a painting by Bennett Vadnais hanging over a sofa. To interject a personal note, it’s my favorite Vadnais painting. Although the subject is Baltimore, it reminds them of New York. Bill points out the lighting and the subtlety of the shadows and all the things I mentioned a few years ago in this magazine. As both collectors talk about the paintings, they reveal a much deeper understanding of art and acknowledge “we learn more every day, and we’re always amazed at the talent.” Their growing understanding doesn’t hinder their spontaneity, however.
In the dining room is Aubrey Levinthal’s M + C, oil on panel. Through the doorway is her oil on panel Bouquet Among the Pines.
“We don’t buy the artist,” Joan says. Bill adds, “We don’t buy for investment, either. We buy what we like and we like to support these artists.”
Bill particularly admires the Nicholas Evans-Cato paintings of the Brooklyn Bridge and the Manhattan Bridge in their collection. “I like the way the Manhattan Bridge fades into the distance,” he says. “We randomly stumbled into the George Billis Gallery when it was in Chelsea and have become friends with George over time. He and his family have visited us here.”
In the kitchen is The Alliance, oil on panel, by Leslie Lewis Sigler.
On the left is White Castle Ketchup, oil on panel, by Gina Minichino, and on the right is Ford Quality Ball Gum, oil on canvas, by Christopher Stott.
“George helps guide us a bit, steering us in the right direction,” Joan explains. “He even helped us hang some of the art.”
Bill continues, “The Brooklyn Bridge painting was the first piece we bought from George. We were hesitant. George told us to take it home. He said, ‘I’ll take it back with a full refund if you don’t like it, but I know you’re going to fall in love with it.”
Gina Minichino’s White Castle Ketchup and Christopher Stott’s Ford Quality Ball Gum remind Bill of his youth. “I also spend a lot of time reading, and Christopher Stott’s Two attracted me.” In the painting, a wind-up alarm clock set at 2 o’clock sits atop a stack of well-worn books. “I liked the painting first,” Bill says, “and then I began looking at the detail.”
Above the dresser is Nicholas Evans-Cato’s Boardwalk, oil on linen. On the right is Bennett Vadnais’ End of Day, acrylic on panel. In the center is a reproduction of a 1660 map of lower Manhattan that was done by Joan’s 10th great-grandfather, Jacques Cortelyou.
In the far room is Nightowl, oil on panel, by Nick Patten. To the right of the opening is Christopher Stott’s Two, oil on canvas. On the right is Stone House, acrylic on aluminum, by Bennett Vadnais.
Bill adds, “When I get up in the morning, I feed the dog and let her out and make my first cup of coffee of the day, usually espresso. I’ll find a comfortable spot to sit to collect my thoughts—and to look at the paintings. It’s rejuvenating. Sometimes I’ll see something in a painting I haven’t seen before.”
Joan, too, shares, “I’ll sit and enjoy the art whenever I’m in the house. It speaks to me.” —
Powered by Froala Editor
