Thanks to all who made our first annual Farm to Easel Art Auction a huge success! A portion of art sales from winning bids will support farm-based education programs at Wolfe’s Neck Farm that help to connect people to food and farming in a meaningful way.
The following two pieces of art are up for bid to the general public! If you are interested in placing a bid, email email@example.com with your name, phone number and bid amount. Please note the starting bids for each piece. Bidding will close at noon on Monday, September 25th, at which time winning bidders will be notified.
Phoebe Porteous, “Aerial View Freeport” (Live)
18″ x 36″, Framed 20″ x 38″, oil on canvas
Starting bid: $3,800
Living where I paint is another luxury, and I paint looking to capture a slice of Robert McCloskey’s “Time of Wonder”, hoping to offer the viewer a reminder of openness and curiosity on a day when nature was their best companion.
Jan Pieter van Voorst van Beest, “Wolfe’s Neck Farm”, (Silent)
4 Limited Edition photographs
13″ x 19″
Starting bid: $400
Jan Pieter van Voorst van Beest is a photographer living and working in Pownal, Maine. His work is in private collections and has been shown in such places as: the Art Gallery at UNE in Portland, The Bowdoin Art Museum, and the Portland Museum of Art as well as in many Galleries both national and international. His book: “New Mainers, Portraits of our Immigrant Neighbors” was published by Tilbury House Publishers in 2009. His work has appeared in many other publications. His website is: vanvoorstvanbeestfinefoto.com.
Featured Art at the 2017 Farm to Easel Art Auction
John Bowdren, “3 Sheep at Wolfe’s Neck Farm” (Live)
22″ x 22″ (framed) 20″ x 20″ (unframed), acrylic on canvas
“The quality of light makes Maine a special place, the long lingering summer light is emotionally interesting, as in the fusing of colors in the late afternoon or the way the setting sun will light up tree tops or pick out boats on the water. Each season shows a new face, the clear sharp Winter light, the vivid greens of Spring, the competition of colors in Autumn, each it’s own challenge of line, color, composition and intention. I paint in oils, acrylics and watercolor, I also work with wood in sculpture or woodblocks for printing. My reaction to the subject will suggest the materials to use. The main thing is to convey the quality of the light, seeing in the landscape how light reveals aspects of composition, and how color and light can carry that Ah-Ha moment of discovery and emotion to the viewer.”
Margaret Gerding, “View from Burnett Road” (Live)
24″ x 24″, oil
Margaret Gerding is a national-exhibited landscape painter, who earned her BFA from the University of Massachusetts. She recently moved to Kennebunkport, where she splits her time between the studio and plein air painting. Her work is represented by numerous galleries, including Arden Gallery, Boston, The North Gallery, Martha’s Vineyard, and Galerie SoNo, Conn. She is locally represented by Maine Art Paintings and Sculpture in Kennebunk.
Susan Metters, “Sheepish Casserole” (Silent)
10″ radius, 8″ height withlid, ceramic
“Sheepish Trio” (Silent)
“Clay for me provides a vehicle for bringing fantasy to life. Influenced by stories my grandfather told me, my work with sculpture and functional pottery reflects love for and curiosity about animals. And today I love to visit Wolfe’s Neck Farm with grandchildren of my own, I work primarily with high fire stoneware. My interest in ceramics has taken me to workshops at Haystack, MECA, Castle Hill, Bennington, and a number of other studios, allowing me to meet and work with many other clay makers who have enriched my life immensely.”
Jenny Scheu (Silent)
12″ x 8″(Matted and framed in maple: 19″x15″)
Watercolor & Gouache on Arches
“My works explore color and light. The layered and calligraphic images interpret natural and built forms, and have their roots in printmaking and drawing.”
Suzanne Harden, “Afternoon Nap” (Live)
12″ x 12″, oil
Suzanne Harden has been painting scenes from Maine’s rugged coastline since her arrival in the state in the fall of 1994. Before moving to Maine, Harden owned her own interior decorating and faux painting business in Ohio. Her artistic interest shifted upon seeing the multitude of picturesque landscapes Maine had to offer. A learning friendship with renowned Maine artist Chip Chadbourne and several oil painting classes cultivated Harden’s talent into what it is today, resulting in the colorful, vibrant and energetic paintings that can be seen in the gallery. In addition, example’s of the artist’s work can be seen in several different settings outside the gallery. Her work was featured in the Summer 1999 issue of “Home Magazine”, where it can be seen accenting the brightly colored interior of a traditional Maine vacation home. In 2000 Friends of the Portland Symphony Orchestra picked Harden to paint the program cover for the Designer’s Show House. Harden’s work can also be seen at Bayview Gallery in Brunswick, Maine.
Catherine Breer, “Mallet Barn” (Silent)
18″ x 24″, Acrylic on Canvas
“I have always loved to draw and paint. When I was a child, I slept with a sketchbook beside my bed so I could draw first thing when I woke up in the morning. I am particularly interested in the play of light on an object and the shadows and highlights that are created. I distill these images to graphic shapes which become the basis for my paintings. Color and composition are the two most important elements in my work. I try to look at ordinary objects from a little different perspective and bring something unique to my work. I hope that people enjoy my paintings as much as I enjoy creating them.”
Linda Bail, “Duo-Wolfe’s Neck Farm” (Live)
(2) 6″ x 6″, oil/linen canvas board
Linda is a Maine native and currently lives in Freeport. Painting “en plein air” is her preference, especially when she can include the figure. Oil paint on linen canvas or board is her medium, although she also enjoys drawing with graphite and charcoal.
Marsha Donahue, “Eleven Cows” (Live)
15″ x 30″, oil on board
“It is hard to imagine a better place to grow up than the fields and woods of central Maine. I was born in Waterville but grew up in Pittsfield, West Paris and Auburn as a minister’s daughter. Being at Wolfe’s Neck Farm and doing studies of the barns and animals brought back vivid memories of tearing around my best friend’s farm in Burnham, those clear, hot, endless July days when everything seemed right with the world. The fields were awash with bright light and all the animals seemed happy and well-tended. It is a welcoming and well-run farm where kids were having the same experience I had when I was young. I hope my painting of “Eleven Cows” under the trees conveys that feeling of wellbeing and helps to support this special place.”
Torrie Dorsey, “Farm in the Morning” (Silent)
20″ x 25″, acrylic
Andrea van Voorst van Beest, “September, Wolfe’s Neck Farm” (Silent)
11″ x 14″, oil
Andrea van Voorst van Beest is a painter/print-maker living and working in Pownal, Maine. She is a member of the Addison Woolley Gallery and the Peregrine Press, a print-making cooperative. Her work has been shown nationally and internationally and is in the permanent collections of the Portland Museum of Art, Bowdoin College, New York Public Library and the University of New England among others.
Julie Freund, “Little River Estuary” (Silent)
18″ x 18″, acrylic
“My paintings are love letters to the Maine coast, specifically familiar bodies of water near where I live. They are about the passage of time, the ebb and flow of the tides, seasonal shifts and the light that changes each day. I am especially drawn to the dynamic tension created where the land meets the sea. The work is about my intense passion for color relationships, both bold and subtle. Certain colors thrill me in nature and in paint. The colors of the water shift a thousand times during a painting session due to the light, tide and my ability to perceive them. I share a captured moment of the Maine Coast and invite the viewer to see what I see. The paintings are studio based, working from plein-air pastel sketches that capture the essence of the moment of inspiration. In some cases the pastels become paintings. Other times, they stand alone as completed work.”
Judy Segal, “View from the Burnett Bridge” (Silent)
11 3/4″” x 12 1/4″Watercolor
“Two of my favorite subjects to paint are flowers and the sea. There is something magical in the simplest flowers, and they evoke a lot of happiness for me. I have lived in Maine since 1970, and find the ocean an unending source of peace and pleasure. Through painting these subjects I have the pleasure of exploring their beauty and spending extended time in their presence, throughout the year. Elizabeth Coatsworth speaks of deeply loved places, noting, they “must be sung and painted and praised until each takes on the gentleness of the thing long loved, and becomes an unconscious part of us and we of it.” Painting is a way for me to praise these cherished places.”
Anne Niles, “Belted Galloway” (Silent)
8″ x 8″, acrylic on board
Living on the coast of Maine, I am surrounded by the beauty of the natural world, which provides endless inspiration for my work. I am drawn to bold colors, and continually marvel at the interplay of colors and patterns in the landscape. When painting, I try to capture a specific captivating moment, some combination of color and light and form that made a distinct visual impression. What interests me is to try and convey through paint the essence of that moment, creating a harmonious blend or friction that is intriguing to the human eye.
Suzanne deLesseps, “Overlook” (Silent)
10″ x 10″ image, 14″ x 14″ framed, oil
Suzanne deLesseps spent over 40 years as a landscape gardener before becoming a full-time artist. She paints in both oil and pastel and has received many awards in National Juried Exhibitions throughout the USA. In 2016 she achieved Master Circle status in the International Association of Pastel Societies. Suzanne paints her home territory of coastal Maine and travels regularly to France and Italy to paint with other artist friends. Suzanne and her husband live in South Freeport.
Diana Johnson, “Late Day Light” (Live)
12″ x 24″, oil
Diana Johnson, Freeport artist, paints landscapes in oil and pastel. Painting is her way to share what she notices about the natural beauty of Maine. Her first impression becomes a lasting impression when she paints it. She has won many awards and exhibits her oils at Yarmouth Frame & Gallery and her pastels at Wiscasset Bay Gallery.
Jennifer Kimball, “Sun Up at Little River” (Silent)
12″ x 16″ (unframed), acrylic
“I enjoy painting the varied, beautiful landscapes of Maine. Light and color are the elements that draw me in. In my home, I am surrounded by the works of artists that inspire me. I believe that art in all forms can fill and nurture one’s soul.”
Liz Prescott, “Wolfe’s Neck Barn, Evening Light” (Live)
18″ x 18″, acrylic on panel
“This year my work has centered around a fascination with reflections, particularly those of boats mirrored in the water. I am as interested in perfectly still images mirrored back as those broken apart and remade by wind and waves and my imagination. These variations are like meditations for me and provide a place of calm and quiet focus to capture all the nuance. I work in acrylic paint and teach classes at my studio in Freeport.”
Ted Wengren, “Clary Lake” (Live)
24″ x 24″, oil on canvas
“Picasso is reported to have said that the artist’s job is to find God’s secret hiding place. So, we look: so far without success, but we are persistent.”
Ellie Barnet, “Barn at Night” (Silent)
12″ x 18″, oil
Ellie Barnet grew up in Midcoast Maine. Raised at an Inn specializing in art workshops and surrounded by an artistic family, she knew from a young age she wanted to be an artist. She received her education in Fine Arts at Boston University, majoring in Painting. Since graduating Barnet has studied with Knox Martin at The Art Students League in New York City, and attended workshops taught by Lois Dodd and Joel Janowitz. She currently lives and works in Portland, Maine.
Lesley MacVane, “Barn Collage” (Silent)
24″ x 18″, photography
“I am primarily a documentary/portrait photographer. After studying technical photography at Appalachian State University, and documentary photography at the Salt Institute for Documentary Studies, I began working at Community Television Network in Portland to include video in my work. I am at present working on a documentary video about white mothers of black children, as well as three photo projects. I am an active member of the Union of Maine Visual Artists.”
Anne Ireland, “September Sky” (Live)
20.5″ x 20.5″, oil
“My paintings are the result of observation informed by imagination – A place where the iconic is seen in the emotional context of mystery and surprise. I’m after a certain atmosphere, a feeling of place, derived from the relationships of color and a singular composition.”
Irelands recent solo show at the Maine Jewish Museum, highlighted her work as a colorist and as an abstract landscape painter. Her work is found in many private and corporate collections and has graced the cover of two LLBean catalogs. In an article by Bob Keyes in a July 2017 Portland Press Herald , curator Nancy Davidson describes Ireland’s work as “unique and expressive, including the creative use of many colors that add everlasting exuberance.”
Judy Kane, “Friends of the Farm” (Silent)
9″ x 12″, oil
“After a 20 year psychology practice in Portland, Maine, I turned to painting, and have been having the time of my life! I love Plein Air work to enjoy the fresh Maine air, the natural splendor of the state be it coastal or bucolic, woodland, or rock-ledges. I especially love painting animals as they have such endearing personalities and innocence. It has been my pleasure participating in this lovely event.”
Katrina van Dusen, “Low Tide at the Bridge” (Silent)
8″ x 10″, block print
“I started printing to make Christmas cards, following my grandmother’s tradition, and 50 years later I still usually carve and print my holiday card. I continue to be inspired by my grandmother’s prints, small and detailed or larger, multi-layered and graphically stunning. Over the last 15 years I have been making more prints, carved in softcut linoleum and capturing many lovely places on the Maine coast. Whether it is painting or printing, it is shape that catches my eye, and printmaking is a satisfying medium for playing with shape.”
Sukie Curtis, “Late Spring in the Meadow” (Silent)
12″ x 12″, oil on panel
“Every painting is something of an adventure, a small journey into territory that is both familiar and strange, the final destination unknown at the start. Most of my paintings begin in response to things that intrigue or delight me: the colors and forms of fruits and vegetables; kitchen utensils, fabrics, and pots; the sights, scents and sounds of a walk outside; or the shape-shifting of clouds across the sky. Sometimes my starting point is simply the paint itself and a process of exploration and playing with layering, scraping, making marks, moving paint around until I sense where I’m going or decide that the paint and I have “arrived somewhere.” People often comment that my paintings are “happy.” While I do not set out to make “happy paintings,” painting for me is primarily a celebratory act– using the sensory language of paint to express my curiosity, fascination, and gratitude for life, the natural world, and color!
Ceri Nichols, “Wolfe’s Neck Farm” (Silent)
11″ x 14″, acrylic on canvas
“My paintings are about my interest in the concept of place. Place can mean nature, architecture, memory, sensory perception, and many different things to different people. These paintings are about my experiences with place using a simple and particular structure. I am organizing shapes and playing with color associations people have in culture and in mood. I am curious about the things people see in other things. The memory and experience of a place is often disconnected or fragmented and these paintings are a way of putting those pieces together.”
Arthur Nichols, “Bonjour Mademoiselles!” (Silent)
22.5″ x 30″, watercolor/acrylic/graphite
Ineke Schair, “View Down Little River” (Silent)
14″ x 18″, acrylic
As an artist Ineke feels the constant pull of the poetic use of light and subtle brush stroke applied by many of the European Masters, yet draws constant inspiration from the dramatic and acute realism of Maine’s water and sky
Anna Yankee, “Sheepish” (Live)
14-year-old Anna Yankee is a 9th grader at North Yarmouth Academy. She enjoys doing many types of art and especially likes painting animals. Her other hobbies include baking and being upside down.
Amy Kustra Barksdale
“Queen Anne’s Lace at the Edge of the Wedding Field” (Silent)
10 1/2 ” inch W X 10 11/16″ inch H with frame. 6″ X 6″ without frame, Goache
“Painting for me is an expression of gratitude, as well as a way in which to enjoy the beauty that abounds all around us. I love to paint outside in the elements as well as deep in observation of living still lifes. Another theme in my art is the human form. After years as a practicing family physician, I have had the opportunity to appreciate and explore the mystery of healing and the intricacies of the human body. Not surprisingly, I am drawn to the human form and draw regularly from the figure. I love seeing the soul and spirit of the person emerge as a work progresses. My paintings are in oil and gouache and I like to paint plein air or from life.”
Mary Berry, “Field to Bay” (Silent)
Framed 13 1/2″ x 13 1/2″, oil on canvas
“Images and landscapes that catch out aesthetic senses are everywhere in Maine. I look for the color, pattern and design that make our spaces unique and I seek to bring those elements into its own sense of place. Form, color and line are also part of my professional career. After graduating from Michigan State University, with a major in Interior Design, I practiced design in Portland architectural offices for 25 years.”
Mary has exhibited her oils and acrylics at the Window Tree Gallery in Brunswick, the libraries of Falmouth, Brunswick, Yarmouth and Freeport as well as the Freeport Historical Society, Maine Cottage Furniture, and auctions and private collections. She studied painting with Janet Conlon, Bonnie Spiegal, Tina Ingraham, Sarah Knock, , Charles Sovek, Frank Webb, Diane Dalke, Jon Imber, Don Demmers, and Phillip Frey.
Harris Witzel (Silent)
Harris is 7 years old and is a second grader from Waitsfield, Vermont. He and his family camped at the farm for the first time this summer. During their visit. Harris loved watching the farmers spread manure on the pastures, and was inspired to draw this piece. He and his family also witnessed the birth of a calf during their time on the farm, something he said he would never forget. Harris loves art and loves to draw, and usually focuses on birds and trucks.
Lindsay Hancock, “A Field Becomes a Forest” (Live)
16″ x 20″, oil on panel
Every field or meadow that is neglected or left to its own devices will eventually grow into a forest. Wolfe’s Neck Farm’s grass eating herd will be good stewards of the farm’s surrounding fields.
Sarah Littlefield, Wolfe’s Neck Farm Dairy Director
“Geraldine’s Pedigree” (Silent)
8″ x 10″, acrylic
As the Dairy Director at Wolfe’s Neck I am often walking through the barns looking at the details of the animals. Cattle show signs that can be translated into a diagnosis to help their farmer better care for them. When I look at a cow I watch the way she moves, the fill of her udder and pace of her breath long before I am close enough to see her face. When you have a cow’s attention and she stares at you it’s often only for a moment.
Sophia Schelino, “Farms Feed People” (Silent)
8 1/2″ x 11″, crayon
Sophia is six years old and just started first grade in her hometown of New Paltz, New York. She and her family camped at the farm over the summer and enjoyed visiting the barns and walking along the shore. Sophia loves to draw and paint (her mom is an art teacher!), and also plays the piano and speaks Spanish.
Lucinda White, “Field and Barn” (Silent)
9″ x 12″, oil on linen
I began oil painting while living in New York City from 1967-1970. My subject matter then was life studies and still life. I painted my first landscapes on Monhegan Island in the early 1980’s. I did not return to painting until 20
10, after raising my children and working as a natural resources attorney, protecting forests, parks, and shorelands for the State of Maine. I wanted to examine and savor Maine’s natural beauty in new ways. I began spending more time in places I had previously only passed by. I first focused on landscapes and seascapes in parks and other protected areas. More recently I have explored aspects of my personal landscape—children, grandson, journeys.
In selecting a composition, I am drawn to contrasts between elements—stone and grass, sand and water, light and shadow—as well as color relationships. Once I begin to paint, I am inspired by the viscosity and smell of oils, and using brushes, or on occasion my palette knife, to spread paint onto the canvas. Although the season and time of day may influence my choice of color, my palette tends toward rich, warmer hues. The color that I mix doesn’t always match exactly what I see, but it sometimes works better. So there is mystery and magic in the mixing. I work slowly, deliberately, whether working indoors from my own photographs/sketches, or outside, on location, relishing the sun’s warmth and the fresh air. I hope that my paintings will cause viewers to reflect on our shared values, and to support protection of our natural resources.
Lucinda has taken classes in painting at Maine College of Art, the University of Southern Maine, and the New School in New York City. She has attended numerous painting workshops, including ones led by Maine artists Carolyn Walton, Stuart Ross, and the late Elena Jahn. Lucinda’s work has been shown regionally at corporations, libraries, schools, and churches.