to Oct 12

ZUFAR BIKBOV | plein air paintings

RECEPTION Saturday, October 5, 4-6pm

"I paint nature, since it is an inexhaustible source of inspiration."

Zufar Bikbov’s passion for oil painting and the dynamic nature of the plein air art form has led him to avidly explore the American landscape for over a decade. 

A native of Russia, Zufar was influenced by his father’s unrealized dream to become a professional artist in Stalin era post WWII Soviet Union. Zufar trained from the age of nine at Zelenodolsk Youth Art School in Kazan in the Russian realism tradition. He embraces experimentation in his artwork and today his landscape painting style exhibits elements of both realism and impressionism.

As a young adult, Bikbov’s desire to help others led him to embark on a career in medicine. During his years in medical school and residency, art remained an important constant in his life. He was honored to participate in the 2002 exhibit, Doctors Paint, at the State Museum of Fine Arts in Kazan, Russia where he made a connection which ultimately brought him to Yale to further his medical studies. He relocated to the United States in 2004 and continued to work in the medical field through 2016, painting and participating in plein air competitions all the while.

Zufar became a full-time artist and art teacher in 2017. He teaches painting in studio and online at the

Bikbov is the recipient of multiple prestigious plein air awards at national competitions of juried artists. This is the second year he will be competing in the Cape Ann Plein Air competition and festival, October 6 - 14. He was the recipient of the Second Place Award at Cape Ann Plein Air 2018. 

The artist’s work is represented in private collections throughout the United States – from New England to California – as well as the UK, Spain, and of course, Russia.

instagram @zufar_fineart

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6:00 PM18:00

MBTS Summer Soirée


Join us for a Summer night out by the Sea featuring your favorite MBTS stores. Shop & sip your way through town and enter to win prizes from each store and one fabulous grand prize. Finish your evening by hitting up one of our fabulous Manchester Restaurants.

4 BEACH | Cargo Unlimited | GLADSTONE | Cuddlefish | J. McLaughlin | Madam Had'em Boutique Consignment | MAHRI | Michelle James Salon | North Coast Too | The Stock Exchange | Style Snoop

BLACK ARROW | Calas | Allie's Beach Street Cafe | Bravo by the Sea

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to Aug 17


Opening Saturday, June 22, 4-6pm

Joel Janowitz is a master of technique, form, and color. This exhibition of work on paper presents intaglio prints, monotypes, and watercolor paintings.  Focusing on the theme of Venetian footbridges and canals, Janowitz explores the simple yet dramatic architecture of bridge structures and descending steps that intersect and coexist with abstract forms of shadow and reflection. 

“Over much of my career as an artist, my work has addressed my curiosity about the emotive and psychological potentials of pictorial space. I have worked on numerous series, each of which delved into a different kind of spatial structure and the potentials of that structure to carry meaning. Some of my work has explored perspectival space and offered a sense of anticipation and inevitability. In other pieces layered space suggested the known, the less known, and the unknowable. My interest in visual space has extended to a fascination with the nature of perception itself and how we unconsciously build a coherent sense of the world from visual fragments, along with memory, feeling, and prior experience.”

Janowitz has taught Art at numerous colleges including Wellesley College, Massachusetts College of Art, School of the Museum of Fine Arts, and Harvard University. He has also been an instructor and mentor to a great many fellow artists through art workshops across the nation.

Joel has exhibited his work widely through solo and group exhibitions in New York and the Boston area since 1973. His artwork has been collected by many museums including the Whitney Museum of American Art, Brooklyn Museum, DeCordova Museum, Farnsworth Art Museum, Harvard Museums, and Museum of Fine Arts/Boston. In 2016, he received his fourth Artist’s Fellowship in painting from the Massachusetts Cultural Council. In 2013 Janowitz was awarded a John Simon Guggenheim Fellowship.

instagram @joeljanowitz

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to Jun 8

IN ABSENTIA | Dale Goffigon

Opening Saturday, March 9, 4-6pm

Dale Goffigon’s photographs are dreamy architectural portraits of old world elegance. These are powerful glimpses of light, color, texture, and form, frequently of forgotten spaces. She layers her fascinating travel experiences onto her background in textiles and weaving, sharing views that range from decay to opulence. All is bound together by the artist’s sensitive ability to frame and capture haunting beauty. 

Goffigon’s work has been published in The Redstone Book of the Eye and Connecticut Cottages & Gardens. She studied at Parsons School of Design, the International Center of Photography and the Center for Alternative Photography in New York.

I am drawn to document architecture, interiors and gardens that represent a wide span of centuries. I look to represent both the classical motifs and the beauty that is found in distressed and decaying structures. The formality of much of the work is guided by the desire for a sense of order and the isolated fragments are abstractions that offer up an element of surprise. - DG

instagram @goffigon

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12:00 PM12:00


Tarra Rosenbaum Aurora Ring Gladstone.jpg


Join London designer, Tarra Rosenbaum, to create your bespoke future heirloom. 

Elegant and timeless, this 18k gold ring design is available in an endless number of gemstone and enamel color combinations…your choice! 

Bring along a piece of gemstone jewelry that you would like to redesign and repurpose or just come and discover all of the possibilities!

GLADSTONE will be donating 10% of your Aurora ring purchase to Wellspring House in Gloucester, MA

To RSVP, please email

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to Feb 9


Transfer, 2016, oil on panel, 8” x 10”

Transfer, 2016, oil on panel, 8” x 10”

Dale Emmart paints constantly changing skies en plein air. In this particular exhibit she focuses on Accessory Clouds, smaller clouds which accompany or are adjacent to larger cloud masses such as the Cumulus.

“Painting a sky is like attempting a race that one is prepared for, well shod, and warmed up. Choices are made instinctively, fresh with urgency as well as commitment. My skies are improvisational, based on observations that imitate gigantic illuminated form.”

Educated at the Cooper Union School of Art in New York (BFA) and Rhode Island School of Design (MFA Painting), Dale’s artistic vision has influenced literally thousands of budding young artists. A native New Yorker and lifelong teacher, Dale has been an instructor of art at New York’s Brearley School for the past 15 years, currently as the Head of the Art Department there. She has taught drawing, painting, and printmaking in numerous other positions at the Rhode Island School of Design, Parsons School of Design, Fordham University, Brooklyn College, and New York Institute of Technology, among many other fine art institutions in the US and abroad. Dale has led numerous painting workshops in Europe and is Co-Director of Plein Air Portugal in Amarante, Portugal.

Dale and her photographer husband Glenn split their time between New York City and rural Pennsylvania where their studios are located.

We are both pleased and fortunate to be exhibiting Dale Emmart’s paintings.

Instagram: @de2msart

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to Nov 3

COMPOSITIONS + CRUSTACEANS | Esther + Christopher Pullman


Opening Saturday, August 4, 5-7pm

Husband and wife, Christopher and Esther Pullman, both trained as graphic designers, but now are working in different media. While their work does not appear to have commonality, they both are dealing with the overlooked and under-appreciated leftovers of the world around us. Esther frames elegant compositions found in the hum-drum geometry of the streetscape while Christopher is drawn to the complex engineering of crab parts the seagulls leave behind on the beach. Both look closely at small details and find beauty in something most people pass by without notice.

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to Jan 26

MEN OF THE SEA | George Anderson

Winter Blues, 1072, 2015, acrylic on canvas, 24" x 28"

Winter Blues, 1072, 2015, acrylic on canvas, 24" x 28"

Opening Saturday, December 2, 4-6pm

As admirers and collectors of Rockport artist George Anderson’s work for the past twenty odd years, we are very pleased to be showing his rich modernist portrayals of Gloucester fishermen at work. George’s well-developed eye for two dimensional design in advertising is evident in his mastery of composition and color in the powerfully graphic paintings. His flat outlined figures and their ubiquitous large gloved hands bring an anonymity, strength, and nobility to his subjects.

Emerson wrote, "It is in the doing that you gain the power." As an artist, this quotation has great significance to me. It has encouraged me to paint when it seemed impossible. Painting the same subject over and over and gaining a rapport with the canvas has instilled in me a power and an inner strength which I believe is inherent in my work.

I was born in Montreal, Canada in 1931. I attended commercial art school in Quebec and became a member of the Art Federation of Canada. As a young man I worked as a display artist and later became an art director with a major Canadian publisher. In 1967, I formed G. Anderson Advertising in Montreal. The agency grew and expanded with offices in Montreal, Toronto and Brussels. 

Throughout my career, I have always been involved with art direction. In 1981, I moved with my family from Montreal to Exeter, New Hampshire. Two years later, I sold the agency to the employees to work on a new career in fine art. The agency has since been sold to D.D.B. Advertising and is called Anderson D.D.B. (Toronto, New York, Montreal and California).

Over the past 20 years I have worked daily on my career as a fine artist. I have had group and solo exhibitions of my paintings, including:

iartcolony, Rockport 

Noho Gallery, New York

Jules Gallery, Boston

Rockport Art Association

Judi Rotenberg Gallery, Boston

Field Gallery, Martha's Vineyard

Granary Gallery, Martha's Vineyard

Cambridge Gallery, Cambridge, England

First Sight Gallery, Bath, England 

At present, I have studios and galleries in Rockport, Massachusetts, and Portland, Maine.

- George Anderson

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to Oct 28

FLORIBUNDA | Mara Callahan

Roses, 2017, monotype, 22" x 30"

Roses, 2017, monotype, 22" x 30"

Opening Saturday, September 16, 4-6pm

My artwork explores flora and fauna with a playful embrace of color and texture across three primary media: painting, printmaking, and drawing.

I seek to capture a sense of freshness and spontaneity in my work and enjoy the sense of discovery in unexpected results. Above all I wish to communicate my sheer wonder at the transient beauty and mystery of nature.

Floribunda is a celebration of the flowers in my garden that have been my inspiration over the past several summers. Roses, butterfly bush (Buddleia), columbine (Aquilegia), lilies, poppies, Japanese painted fern - all their varied forms and beautiful colors have informed my artwork. The rose series is monotype in oil on 100% rag paper. I used several stencils for the outline shape of the roses. I enjoyed experimenting with how little information I could put down and still have the image read as "flower".

- Mara Callahan

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to Aug 27

SEAFORMS | Christopher Pullman

Crab #9, Annisquam, 2017, watercolor, 15" x 22"

Crab #9, Annisquam, 2017, watercolor, 15" x 22"

Opening Saturday, May 27, 4-7pm

This exhibition looks at two distinctive shapes of the sea shore: crab claws, part of the non-descript detritus washed up on the beach below our cottage in Annisquam; and the ungainly hulks of trawlers and tugs hauled up on the drydocks in Gloucester. Each is seen unnaturally. 

The claws are unsettlingly large but at the scale their sculptural forms and subtle colors can be admired and their engineering understood, when before they were just unexceptional flotsum. The big work-boats are similarly out of their element, oddly levitating and worringly top-heavy. 

While the claws are small things seen big, the boats are big things seen small. For the painter, the closer we look the more detail we see and can depict. The reverse happens as we miniaturize: the smaller the scale, the more the tools force us to generalize and find the essential form. In each case, the activity involves looking closely at things, and often, looking at familiar things in a different way.

- Christopher Pullman

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to Nov 26

SMALL POTATOES | Christopher Pullman

Opening Friday, August 26, 5-8pm

These paintings are affectionate portraits of the humble tuber in its more flamboyant state, forgotten but lively, in the back of the cupboard.

Since 2011, I have periodically recorded these finds. I first draw them in conté or graphite to discover just the right pose, and then paint them in oil on 20” x 16” panels. After a while I tried rendering them even larger, where their fascinating patina and decorative appendages can be appreciated even more. Seeing something small blown up to an unnatural size has always interested me, like the gigantic 17th century flea engraved by Robert Hooke.

These portraits have mostly been painted in my studio, in winter, when I take a break from my habit of painting the rocks (outside, in watercolor) along the shore of Cape Ann, north of Boston, where we have a cottage. Friends have mentioned the strange similarity of these boulders, deposited on the beach by the retreating glaciers, to the potato, and I must admit there is something familiar about their form. But the potatoes have a charm and amusing persona that I just don’t see in the rocks. 

For years I resisted showing these potatoes outside my studio because I liked watching them grow as a family of related shapes and personalities. Elaine and Charles, the proprietors of Gladstone Jewelry and Gallery, have finally twisted my arm to go public.

- Christopher Pullman

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to Aug 21

STONE WAVE | Leslie Bartlett


Opening Friday, June 3, 5-8pm

We are pleased to present Stone Wave, an exhibit of Cape Ann quarry images by photographer and historian, Leslie Bartlett.

These abandoned deep water pools with emerging stone walls were created through the back-breaking labor of local granite quarrymen from the mid 19th century through the 1930s.  Bartlett happens upon these manmade stonescapes, overtaken by nature, and perceives them as a gift and a meditation, “a presence defined by absence”.  His work is done after the manner of Shi Tao, a 17th century Chinese landscape painter; the artist’s name translates to Stone Wave, hence the tile of this show. 

" I do not dare to lay claim to these images as mine.

Worthy only as I relinquish the cloak of ownership,

I bow before the resilient elements...taking up for myself,

the courtesy name of ‘Stone Wave.’ "

- Leslie Bartlett

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to Jan 26


Adventure with E.L.: Surf, picture size 6.4 x 11.8, matted size 12 x 18

Adventure with E.L.: Surf, picture size 6.4 x 11.8, matted size 12 x 18

Opening Friday, November 20, 5-7pm

Evan Lindquist is an award winning Master Engraver and one of the few late twentieth century American printmakers working in the medium of copper plate engraving. Lindquist is the recipient of a Lifetime Achievement Award from the Society of American Graphic Artists and his work is represented in major museum collections in the United States and abroad. A longtime professor of printmaking, Lindquist is now a full-time artist, living and working in Jonesboro, Arkansas. We are honored to be exhibiting this selection of engravings which celebrate the calligraphic line.

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to Jan 26

STILL LIFES | Laraine Armenti

Avocado, 2014, oil on linen, 8" x 10"

Avocado, 2014, oil on linen, 8" x 10"

Opening Friday, August 14, 5-8pm

I use oil paint, graphite on mylar, ink on paper, gouache, and acrylic-painted paper collage to invent images from observation and imagination. The work relies on thematically related subjects to create pictures within established genres of florals, still-life, interiors, figure, and landscape.

My interest in art history is equally as strong as my practice in visual art.  The Romantic movement in Europe and Chinese ink painting are primary touchstones of my aesthetic and philosophic concerns. Their material qualities illuminate my creative process in spite of the contrary omnipresent technological and economically globalized modern era.

By engaging with the intersection between realms of history, dream, and contemporary life, my work in art embodies archaic gestures as a personal act that manifests the act of looking.

- Laraine Armenti

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to Jan 10


Opening Friday, September 12, 5-8pm


The opening of Japan to Western trade in the 1860s and the reformation of Japanese society in the Meiji Era are revealed through this collection of 19th century Japanese Ukiyo-e woodblock prints. The marvels of a new industrial world and the cultural contrasts of East and West are visually and historically intriguing. Please join us to view this impressive group of prints that document a pivotal moment in Japan's past.

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to Aug 11

TAKING FLIGHT | Diane Charyk Norris


Opening Friday, May 15, 5-8pm

In this new work Diane studies and abstracts the patterns in butterfly wings.  “I am captivated by the underlying structure, patterns, and unexpected vivid colors in nature’s wings, set in a world of flickering light, elusive movement, deceptive camouflage, and delicate beauty. I am also intrigued by the underlying purpose of patterns in butterflies. Patterns echo dappled light and shade to confuse a predator.  Bright complementary colors serve to distract the eye.  Peacock jewel patterns or vivid blue stripes can hide a true outline. Eyespots distract birds and fake swallowtails steer predators away from vital parts.”

These extraordinarily powerful images explode with color and pattern, and capture the velveteen surfaces of butterfly wings. The series is a beautiful celebration of Spring and the emergence of new life! 

Coordinating with the theme, and with a nod to vintage butterfly wing jewelry, we will be presenting our new signature rock crystal and gold locket with natural butterfly wing interiors.

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to Sep 9

WATER & ICE | Diane Charyk Norris

Diane Charyk Norris.jpeg

Opening Friday, June 20, 5-8pm

Diane Charyk Norris is a visual artist of environmental spaces. As a landscape painter influenced by a background in waterfront planning and architecture, she works in acrylics, oils, inks, charcoal, watercolor, printmaking, and photography.

The phenomenon of patterns in water and ice offers insight into geometries found in nature.  This collection of paintings, monotypes, and drawings explores changing tidelines, coastal underwater reflections, and retreating glaciers to identify timeless patterns of vast elemental space.  

In the tideline paintings, the systemic network of channels in tide flats at the mouth of a river and rocky tidal coves shapes a dialogue between sky, water, and land.  My response is made of interconnected marks, blended light, and color passages to invite contemplation and exploration beyond the surface.

In the monotypes, I have drawn the underlying structure of tessellation patterns in underwater reflections to create a vast sense of space and context for playful overlays of transparent inks.  

In the charcoal drawings, the tracking of a river of ice is traced as it flows from the snow fields at the top to the bottom valleys.  Glaciers appear static, but have tremendous power as they quietly ooze downhill.  The ink drawings explore the marking of these tracks with natural ink flow and animation of the white spaces between. 

In watching and painting these subjects, I find stillness and quiet in the midst of extraordinary energy and movement and contemplate changes we are facing on the New England coast with deep respect.  I invite the viewer to enjoy these watery worlds and ponder on the forces that shape them.

-Diane Charyk Norris

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to Mar 28

RECENT ROCKS | Christopher Pullman

Slot, 2013, watercolor, 15” x 22”

Slot, 2013, watercolor, 15” x 22”

Opening Thursday, December 5, 5-8pm

With an ever-evolving eye, Christopher Pullman continues his exploration of the boulders and basalt ledges of coastal Annisquam.  Pullman approaches his subject as an exercise in theme and variation, painting the same groupings of rocks from different points of view. Watercolors and oils capture the shifting weather, tide, and distinctive Cape Ann light. 

The rocks are not so recent, having been dropped on Cape Ann by the retreating glaciers 10,00 years ago, but the paintings are. They represent my most recent record of the boulders and exposed granite and basalt ledges on Cambridge Beach and nearby Lighthouse Beach, both in Annisquam, where we have a summer cottage.

When my wife Esther and I moved to Boston in 1974, we were soon exposed to this wonderful landscape by my cousin, who by chance had married a man who grew up in Annisquam. Smitten, we immediately started renting a summer place and after 19 years were able to buy it. These rocks sit patiently on the beach right below our house. For over a decade I have found them to be an engaging and accessible subject whose aspect changes from hour to hour as the tide and weather change. The same subject looks radically different depending of the time of day, the sky and the tide, and so is constantly interesting, while being essentially the same since the ice age. You may recognize the same clusters in several paintings: ThreesomeSwell and Knee Deep.

The watercolors are all done on the spot, trying to capture the quality of the scene before (or usually while) it changes. Ditto with some of the oils. Others (for example the three over the cases and the large painting to the left of the front door) are done later, in my studio in Somerville, from references captured during the summer, or in the case of Ledge, Lighthouse Beach, in the winter.

Painting from a reference is definitely a different experience, with the outcome usually being slightly more interpreted. Something happens when the “real” thing is translated into a two dimensional, static image like a photograph and is then re-translated into a re-interpreted invention. And time plays a different role, too. Instead of working to capture something within a fixed time frame (before the sun sets or before the tide goes out), you can address the painting through a series of states until it is cooked to your liking.

- Christopher Pullman

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to Aug 31


Bedroom Mirror, Annisquam, MA, 2009, 12” x 21”

Bedroom Mirror, Annisquam, MA, 2009, 12” x 21”

Opening Friday, June 14, 5-8pm

Esther Pullman’s Summer House series is a continuation of her experimentation with digital photography, approached in a playful spirit. The formal concerns of geometry and proportion serve as the underpinning for these photographs with space ambiguously presented, time stopped by the capture of quickly changing light, and color revealed in painterly vignettes. The objects, and the spaces, and the light evoke both a sense of place in the present and nostalgia for times gone by.

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