DALE EMMART · November 6, 2018 - February 9, 2019


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

CHRISTOPHER AND ESTHER PULLMAN · August 2 - November 3, 2018


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.

LITTLE GEMS · May 29 - July 28, 2018



OPENING RECEPTION · Saturday, June 9, 4-7pm

Our latest exhibit, Little Gems, celebrates small original artworks by fifteen contemporary artists, many of whom we have worked with over the past decade, as well as artist friends new to the gallery. 

One of the things that makes a jewel so compelling is the concentration of beauty in a tiny object. My father loved small wonderful things. He drove a small car, owned tiny houses, and loved miniature books.

In 1977, working for the J.M. Kaplan Fund and in conjunction with the Smithsonian, he curated Artists’ Postcards, a collection of small artworks by contemporary artists. All of the original art was executed at postcard size. The 39 original paintings, drawings, and collages were exhibited together. Beautiful reproductions of the works were published and sold as individual postcards and as a complete set.

Now, 40+ years later, Elaine and I continue to be inspired by how concentrated beauty in small format can escalate its special and compelling qualities.

We are excited about the prospects for exhibiting this small scale gem-like work in conjunction with our jewelry collection.

- Charles Gladstone



Laraine Armenti

Jill Whitney Armstrong

Erin Arnason

Leslie Bartlett

Karen Bellacosa

Kate Browning

Mara Callahan

John Coles

Russell Jones

Evan Lindquist

Diane Charyk Norris

Christopher Pullman

Esther Pullman

Julia Von Metzsch Ramos

Juni Van Dyke

 JILL WHITNEY ARMSTRONG,  Straightsmouth Sea Smoke,    2018, oil on canvas, 5” x 4”

JILL WHITNEY ARMSTRONG, Straightsmouth Sea Smoke, 2018, oil on canvas, 5” x 4”

GEORGE ANDERSON · November 10, 2017 - January 26, 2018


paintings and collage

OPENING RECEPTION · Saturday, December 2, 4-6pm

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

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

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.


MARA CALLAHAN · August 29 - October 28



OPENING RECEPTION  ·  Saturday, September 16, 4-6pm

  Roses , 2017, monotype, 22" x 30"    (click on image to view the Rose series)

Roses, 2017, monotype, 22" x 30"    (click on image to view the Rose series)

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






Saturday, May 27, 4-7pm

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

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

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

POLLY WALES POP UP - Wednesday, April 19, 11-3

Join us!  Polly Wales’ extraordinary cast-in-place gemstone and diamond creations will be here at Gladstone...unique alternative bridal designs and coveted one-of-a-kind jewels for your everyday adornment.  Don’t miss the opportunity to see the Collection firsthand and enjoy special event pricing!

“I love the unpredictability of the casting process.  How a piece will look is never sure until the investment plaster is cleaned away and the gold is revealed. It’s magical every time.”  ~ PW

Click here to view "The Rogue Moment", a video featuring Polly Wales

GILES EDWARDS · December 1, 2016 - February 25, 2017




Thursday, December 1, 5-7pm

This is the first US exhibit of English photographer Giles Edwards’ work. Born in London in 1958, his street and social documentary photography captures the quirkiness and mindset of the English people, and addresses homelessness. These images are juxtaposed with Edwards’ photographs of Britain’s majestic countryside, Hadrian’s Wall in Northumberland.

Edwards’ education began at St George's School Windsor Castle, the Queen's boarding school for choristers of the castle Chapel Choir, from 1966-1971. He took the test to become an angelic choir boy, but failed. Not a strong academic student, he studied photography at Radley College for one year, spending most of his time in the darkroom at age 18. This was the extent of his formal training in the field. 

In life, Edwards has explored numerous career paths. Antiques dealer, “selling bits and bobs to an assorted collection of eccentrics, low lifes and chancers”, a stint in the music industry at Island Records, and training with Peter Newman as a fine art oil painting restorer. Clients included the National Gallery, National Gallery, Greenwich Maritime Museum, National Portrait Gallery, and the Mellon Foundation. “As with the antiques chapter, this was a time spent mixing with the art dealers of London, a fabulous collection of old school charmers, streetwise artful dodgers and, more often than not, an impossibly seductive combination of the two.” From 1986 - 2014 Edwards worked in film and video. He and a partner formed an independent film production company making promotional and corporate films. This culminated in a longterm project in which he produced 60 films to promote higher education in the UK.

“Throughout all these haphazard adventures and assorted shenanigans I have never been far from a camera and I suppose photography has always been my No.1 preoccupation ever since I first got me mitts on a Kodak Instamatic.”

“With regard to the street photography side of things, when I was in my teens I discovered an English photographer called Tony Ray-Jones. He was operating in the 1960’s and very early ’70’s. I absolutely loved his stuff, amazing pics full of humour and kindness.” Ray-Jones described his own work, “My aim is to communicate something of the spirit and the mentality of the English, their habits and their way of life, the ironies that exist in the way they do things, partly through tradition and partly through the nature of their environment and mentality.” Giles’ other influences include Martin Parr, John Gay, Edith Tudor-Hart, Garry Winogrand, and Vivian Maier, and a number of the 1960’s generation of British landscape photographers. 

“The way I actually go about shooting in the street is quite simple. Every day that I spend attempting to shoot this stuff starts as early as possible. Summer 5:00am onwards, winter just before sunrise. I randomly select a starting point on the tube map and see what happens. Sometimes things just fall into your lap and on other occasions I will spend perhaps an hour waiting in a location I like for something to happen. Anyway, it involves a lot of walking. I think my longest hike has been just over 20 miles through London in a day. Occasionally, I will shoot at night. The beauty of street shooting is not having any idea at the start of the day of what will unfold. In the early days of this project I used to blast off far too many shots and the results were not noticeably more interesting because of this. Now I am much more frugal in terms of number of shots taken in a day and the percentage of worthwhile stuff seems to have increased. I think I have a result if I have just one image I like from the day. When shooting the ‘down and outs’ I always talk to them before attempting any photography. It’s incredible how positively these overlooked people react even to just being asked their names… It’s quite a controversial issue, this type of snapping, but I’m firmly of the opinion that if you show these people a little respect, it can be justified. I know that a few of the pictures I have taken of ’street people’ and the story behind them have changed the way some of my pals think about this issue. Not saying I’m changing the world, but I think it all helps.”

Edwards’ work hangs in the collection of the Rolling Stones’ London office, and he recently was the photographer at Bill Wyman’s 80th Birthday Gala event in London. He is currently preparing for a January 2017 solo exhibit at the Union Club Gallery in Soho in the West End of London. 

Click on any of the slideshow images above to access Giles Edwards' website

POLLY WALES · Wednesday, June 29, 2016

S A V E   T H E   D A T E  !


Wednesday, June 29, 11 - 7

one day only  enjoy special event pricing

Polly Wales is an award-winning British fine jeweler, who we have had the pleasure of representing since 2012.  In early June she won the Couture 2016 "Best in Bridal" Award, a well-deserved recognition from one of the most discerning competitions in the fine jewelry world!  The Couture Show takes place in Las Vegas and is attended by over 4,000 of the world's most prestigious brands who come to preview exquisite original designs from more than 200 international designers. The show is a destination for tastemakers in fashion and design, so we expect to see her stunning work featured in the world's top publications soon! 

Polly uses traditional lost wax casting methods in a most unorthodox process to create one-of-kind pieces of jewelry that have become her signature style. Each unique creation has a raw, unconventional beauty, featuring repurposed diamonds or precious colorful gems cast directly, often randomly, into gold.

 “We make jewelry that never has a perfect moment”, says Polly of her jewelry. “The process behind the backbone of our work is to cast an array of gemstones inside precious metal, to create pieces that always have unique and slightly unpredictable outcomes with a rough luxe, ‘from the earth’ aesthetic….like geodes split open as stones break through at random points to penetrate the surface of the gold.”