A Little Somethin’

Collector's Focus: Small Works & Miniatures

By John O’Hern

It is said that good things come in small packages. That’s why there are many small artwork exhibitions and sales across the country and why we have this special section. Bigger isn’t always better. There are sites on the internet, however, that dictate the size of a work in relation to the size of a wall and the amount of space to have between small works. Another soothes that if you have fallen in love with small pieces, “don’t fret!” Don’t fret, indeed. Buy what you love, what moves you, hang it alone or with other works, and enjoy it.LewAllen Galleries, Apples Blossoms in Small Jar, graphite on board, 13 x 11”, by Skip Steinworth.

Leslie Lewis Sigler often paints spoons along with other mass-produced silver serving pieces. Although the pieces don’t vary coast to coast or country to country, their use and the environment they’re in produce unique wear and, in most cases, undesirable tarnish that is often quite beautiful. She says, “By composing portraits of silver heirlooms, I explore the character evident in their inherent design and ever-changing patina. Each singular object’s form, condition and character transform an otherwise functional object into something rich with history and artistic beauty, with the power to reflect our own life stories and family histories in the process.”George Billis Gallery LA, Silver Spoon #188, The Manifester, oil on panel, 12 x 5”, by Leslie Lewis Sigler; Arden Gallery, Plum Pyramid, oil on linen, 12 x 12”, by Sherrie Wolf.

Jon Redmond says, “I love taking objects and plunking them right in front of me, looking at them and thinking about how to make an interesting painting out of those elements. The light inspires me.” We don’t know how many pieces he initially plunked for his painting Pile of Silverware because he often removes a piece or two to adjust the composition. It is a study in values from the high reflections on the surface to the shadows cast in the depths of the pile. The objects lose their individuality as the light reflects off them, illustrating more about the wonders of the qualities of light than the objects themselves.Top: Somerville Manning Gallery, Pile of Silverware, oil on board, 10 x 10”, by Jon Redmond; Barbara Mauldin, Promise of Spring, oil, 8 x 10”. Bottom: Kim VanDerHoek, Your Vote is Your Voice, oil on panel, 10 x 10” ; Barbara Mauldin, Casa Grande, oil, 12 x 9”

The ephemeral beauty of apple blossoms is captured in a graphite drawing by Skip Steinworth. The blossom may be forgotten when, four to five months later, we bite into a juicy apple. Steinworth has placed a stem of blossoms in a simple jar of water, it’s flowers looking like porcelain in the raking light, dropping petals to the table top as they fade. I’ve known the artist for over 20 years and once wrote, “From a single apple to a bowl of pears and on to complex still lifes, from intimately scaled drawings to compositions of monumental scale, Skip’s drawings are symphonies of expression and form.” As he matures, they become more symphonic and expressive.Cindy Sorley-Keichinger, Autumn Snooze, acrylic, 11 x 14”

Cindy Sorley-Keichinger, Geoldi's Monkey, acrylic, 5 x 7”

Sherrie Wolf excels in large scale complex compositions often with art historical references. She explains, “My still life paintings evolve out of my passion for arranging objects. I delight in the objects themselves, as well as the spaces between and within the objects. I marvel at their beauty, and I enjoy making visual and conceptual associations between objects in a form of viewable alliteration. My compositions are theatrical, as if the setting is a stage on which drama is being performed.” In her 12 by 12-inch painting, Plum Pyramid, the objects are ripe plumbs— the sensuous cloudy bloom of their skins disturbed by their being moved and by their rubbing against one another. They appear monumental as they command the space they are in.

Throughout this section, you’ll hear from artists, galleries and museums discussing and sharing insights into the creation of small works and miniatures. Collectors will also find helpful advice on how to expand or establish a collection of the genre.Top: Jacalyn Beam, Dressed for the Weather, oil on Belgium linen panel, 8 x 8”; Jacalyn Beam, Pullet and Rooster, oil on Belgium linen panel, 10 x 10”. Bottom: Sally Ruddy, Coffee Black, oil on canvas, 6 x 6” ; Barbara Mauldin, Solitaire, oil, 16 x 12” ; Cecilia Brendel, Roses in Vase, oil on Belgium linen mounted on 14 karat gold custom design frame with .20 carat diamond, ¼ x 1½”

For artist Barbara Mauldin’s small works, it’s hard to go outside and NOT find something to paint. “There is that little cactus blooming along a path, sunlight spilling over a hill, glistening water in a stream, an old, ramshackle shed reflecting warm sunshine—many things from which to choose,” says Mauldin. “The challenge is to transform inspiration into a design with gentle colors and shapes, lights and darks, and a cheerful mood. I find the variety of colors in the landscape enchanting and I look for excuses to add lavenders, pinks and soft blues in the foliage and soil, rather than feeling restrained by the expected browns and greens.

Her advice to collectors is to “choose art that makes you smile, because that happiness will revisit your heart each time you glance at the art in your home.”Linda Sacketti, Bending in the Wind, acrylic on canvas, 16 x 20”

As a plein air artist and collector, Jacalyn Beam loves small works. “You capture light, shadow, action and an introductory story which can be used later for a larger, more detailed work,” she explains. “Small works are also easily combined into anyone’s home, no matter how many paintings are already filling the walls! The small works add interest to shelves in our library, creating a different kind of story than found in books. We also use small paintings on easels throughout the house, including the kitchen counter where we rotate smalls according to season, and we have them stacked on the walls in our guest powder room. Barbara Fracchia, Not Alone, oil on canvas, 20 x 16”

Beam lives in the Brandywine Valley, where she often sees sheep, chickens, horses and other domestic animals—depicted in pieces Dressed for the Weather and Pullet and Rooster, pictured here. They were painted in plein air, which the artist says is “a challenge when animals are moving.”

Much of Kim VanDerHoek’s inspiration comes from traveling. “Often,” she says, “I’ll use several reference photographs I’ve taken while flying on commercial planes. I like to combine elements from different photos in order to create a strong painting. For example, I’ll use the clouds from one photo and the land in another photo. I try to balance painting essential details that give a scene it’s individual character while also including simplified palette knife work.”KevinBoxStudio, Ewe and Me, ed. of 500, painted & patinaed cast bronze, 3½ x 5 x 3”, by Kevin Box and Beth Johnson.

VanDerHoek continues, “Collecting small works is a great way to start an art collection with a tight budget without sacrificing quality. Try hanging groups of small paintings together on one wall. They’ll have the same visual impact as a single large painting.”

It is with a sincere tenderness towards humanity and a reverence for nature that Sally Ruddy creates her paintings. “I work both from direct observation of nature and from imagination,” she explains. “My work is about color and feelings, and for inspiration, I turn to my personal environment, reflecting my intimate world.” Ruddy’s piece Coffee Black, pictured in this section, is asking: “Is there a connection with the viewer in the familiar habit of shared coffee. When I have my coffee, experiencing warmth on my hands, how many others are doing the same thing?”Top: Kim VanDerHoek, Top of the Hill, oil on panel, 8 x 8”; Cindy Sorley-Keichinger, South American Red, oil, 9 x 12” . Bottom: Sally Ruddy, Morning View, oil on canvas, 5 x 5”; Barbara Fracchia, Alone with the Nose, oil on canvas, 14 x 11” ; Barbara Fracchia, Moon Glow, oil on canvas, 11 x 14”

Ruddy also notes that “miniatures can be delightful to collect. They can be displayed in a grouping like photos or tucked in a small space on their own. If they are on a deep canvas, they can stand on a surface much like a sculpture. One thing I enjoy about miniatures, is the intimate space that pulls the viewer in close.”

As an opera and classical ballet lover, Barbara Fracchia completed several series on the subjects in spring of this year. “These became popular and the Metropolitan Opera now displays my small paintings,” she notes. Fracchia’s new show and series titled ALONE, is about an entirely different genre. “Creative thoughts are a way of life for artists and I intend to explore this venture,” she adds. “This series will include comedy and a bit of abstractions about our lives. Being alone does not mean isolation, but a freedom to continue my creative mind into unique adventures…To coin a phrase ‘being alone does not mean being lonely.” Solitude can be a welcome change from the chaotic world we live in.” From left: KevinBoxStudio, Bunny Family, painted or patinated cast bronze, available in blue, white and red, varied sizes, by Kevin Box; Linda Sacketti, Hiding in Plain Sight, acrylic on canvas, 16 x 20”; Cecilia Brendel, Clipper Ship, oil on Belgium linen mounted on 14 karat rose gold custom design frame, ¼ x 1½””

We see Fracchia’s celebration of aloneness in pieces like Moon Glow, of a figure standing in the way of an expressive, cascading moon ray on a very dark night.

The tiny pendants made by Cecilia Brendel, pictured in this section, are inspired by the Old Masters’ floral oil paintings. “I wanted a piece of art to wear,” she explains. “I love technical detail since I have been a technical illustrator for about 25 years prior to oil painting larger paintings. I carry my technical detail skills in my work, large or tiny. When I designed the frames I wanted a Victorian feel—I have always loved this era. I have solid silver, gold and rose gold frames for my pendants, and I also carry silver and 18k gold plated frames to create different prices for different budgets.”Rehs Contemporary, The Leaning Tower (Triptych), oil on panel, 7 x 5”, by Nigel Cox.

Cindy Sorley-Keichinger subjects of choice are landscapes and wildlife. She finds them calming and tries to project that in her work— “in today’s busy world, a little bit of calm and peace is a necessity,” she says. Over the years her style has evolved to where it is now, working primarily in acrylic but often uses gouache and oil. “The main point of my work is that we are not the only ones on the planet and I would like people to see and enjoy images of our [wild] neighbors. To see and know something is to take an interest in it. Urban life, and to a lesser degree rural life insulates us from the world around us.” As in pieces like Geoldi's Monkey, Sorley-Keichinger hopes to introduce people to what they do not see every day, and to see beauty in what they do see.KevinBoxStudio, Pony, open edition, painted or patinated cast bronze, available in black, blue, red, white, brown or orange, 4 x 6 x 1”, by Kevin Box and Beth Johnson.

Everything in nature inspires artist Linda Sacketti. “I use bold colors and brush strokes to capture the emotion and personality of my subjects,” she says. “I always say that art is an interpretation of reality, not a copy. If I can capture a moment in time that touches other’s hearts and souls, then I have created a successful painting.” Sacketti’s pieces Bending in the Wind and Hiding in Plain Sight, definitely capture hearts with their joyful subject matter and vibrant color.

Her suggestion is for collectors to “find a piece that speaks to you and brings you joy, peace and/or a sense of wellbeing. Art is very personal and everyone has their own reaction to a piece so go with your gut and buy what you love.”Liz Beecher, Memories of Maine, oil on panel, 10 x 8”

Santa Fe artist Kevin Box with KevinBoxStudios, takes the art of origami—folding paper in creative ways to produce elegant objects—to another level with his museum-quality metal sculptures. Sizes range from miniature animals and flowers that can fit in the palm of your hand to a 32-foot kinetic bouquet of flowers. Origami in the Garden, an exhibition created by both Jennifer and Kevin Box, features Box’s own compositions as well as collaborations with world-renowned origami artists Dr. Robert J. Lang, Michael G. LaFosse, Beth Johnson and Te Jui Fu. The exhibition places these artworks in botanical gardens where they feel right at home in their settings since paper originates in plant life and origami is made of paper.Rehs Contemporary, Sunset in the North Country (Richford, VT), oil on panel, 9 x 12”, by Andrew Orr.

Artist Liz Beecher claims to be a child of the countryside, having grown up in Appalachia. “Hills, forests, rocks, streams and skies are part of my psyche,” she says. “When you live in the country, you are inherently aware of the weather and its moods, and I was naturally drawn to the Hudson River School artists…I have always wanted to paint landscapes, ever since I started hiking. It is a compulsion—when I see natural beauty—
I just want to capture that essence in paint; not just the view, but the feeling of awe, peace, calmness and the environment. We see an example of this in works like Memories of Maine, pictured in this section.

“For art collectors who love landscapes,” Beecher says, “I recommend reading the latest art magazines and attending plein air events in your area or on vacation. Look at lots and lots of contemporary art and artist, and eventually, several artists will naturally appeal to you. Those are the ones to collect…”Rehs Contemporary, Midnight Melody, oil on panel, 10”, by Lucia Heffernan

Even as Rehs Contemporary prepares to open their new space, they continue to present online exhibitions. This November, they are featuring small works from some of their hottest artists including Lucia Heffernan, Andrew Orr, Nigel Cox and more than a dozen others! “Though all of the works are small, there is a big variety ranging from landscapes and cityscapes to still life and figurative work, and even some adorable little critters,” says Rehs representatives. “As always, Heffernan’s whimsical animal portraits are sure to bring a smile. By giving a voice and personality to her subjects, viewers can relate in a uniquely personal way. Orr’s serene landscapes are executed in extreme detail and will add a soothing touch to any home, while Cox’s mini triptychs take us on an adventure around the world. No matter your preference, this diverse exhibit offers a ‘little something’ for everyone!” —