Monday, September 22, 2008

New Artists

One of the most exciting parts of putting together a new show is receiving new work from artists. For "Looking In/Looking Out", we have new pieces from several artists, including Cameron Bennett, Anthony D'Allesandro and his wife Lesley Campbell, Kate Doyle, returning artist Ed Hicks, John O'Shaughnessy, Gail Sauter, and Andrea Sawyer.

Cameron Bennett's quietly meditative piece "Shadow Light, Melody" emphasizes his classic technique and the precision of his characterizations. Kate Doyle is using charcoal and pastel, a new medium for us to have from her. Her pieces always engage the viewer in an ongoing dialogue. Perennial favorite Gail Sauter has given us a few of her water pieces. Andrea Sawyer's color palette emphasize the hard-edged shadows of her beach pieces.
Visit our website at to view these pieces and many more.

Friday, September 12, 2008

Looking In/Looking Out - Opening Sept 15

"The eye is the window to the soul." The theme for the current show at Art 3 Gallery is "Looking In/Looking Out". Private spaces, private places - we asked our artists to recreate what they see when they peer in a window, open a door, visualize within the confines of their own head.
It is always fun to put together a group show at Art 3. We have an eclectic group of artists resulting in a wide range of artwork, from landscapes and still-lifes to abstract and multi-media pieces. Paintings in oil, acrylic, watercolor and pastel are showcased along with sculptures in metal, wood, and fabric.
For this show we have several new artists including Lincoln Perry, Rosemary Ladd, Jody Wright, and Cheri Dennett. Each artist adds a unique touch to our collection. Judith Shah has changed direction and sent us some great abstract paintings. We received several new pieces Ann Legg, Cynthia Niederheilman, John Sirois, Robert Collier, Dorine Gross, Edie Green, Olga Gernovski, Kate Doyle, Dustan Knight, Dennis Perrin, Pat Schappler, Frankie Tolman, Andrea Sawyer, Joyce Kingman, Ed Hicks, and Stan Moeller.
There will be an open house on the evening of Thursday Sept. 18th, in conjunction with Manchester Open Doors. Join us then or stop by anytime Monday-Friday from 9 a.m. to 4 p.m. for a private showing.

Tuesday, August 19, 2008

Who's the Fairest of Them All?

Mirrors aren't just for checking your hair as you run out of the house in the morning. When thoughfully added to a room design, a framed mirror has the ability to change the overall look and feel of a room. At Art 3 Gallery we get excited about your vision; come into the gallery and see how we can complete the look you've been imagining. Here are some tips that may entice you to purchase a custom-framed mirror.
1. Be Creative
Mirrors belong in any and every room. A mirror in a dark hallway or narrow stairwell will lighten the space and open it up.
2. Lighten Up
Bring some light into a dark room with a mirror hung to reflect the out-of-doors - a beautiful sunrise or sunset, a lovely view of trees or a garden in bloom.
3. Expand Your Space
Mirrors can give a room a feeling of depth. A small dining or sitting room can be visually enlarged very easily with a perfectly placed framed mirror.
4. Group Up
If a large mirror isn't your thing, how about using a grouping of several smaller mirrors. It's not important to match the surroundings or each other. At Art 3, we are experts at hanging multiple pieces.
5. What's Showing?
Hang a framed mirror to reflect something on the opposite wall - a piece of framed artwork will do double duty.
6. Mix and Match
Add mirrors to other pieces of wall decor already in place. The mirror will give your eye a rest from whatever else you have on your walls.
7. To Hang or Not To Hang
Your mirror does not have to be hung on the wall - it can be rested on the floor, a shelf, an easel, or a mantel. When you do decide to hang a mirror, try using the professionals at Art 3. Quite often, a mirror will weigh much more than a similarly sized painting, and you will want to make sure the height is just right for checking yourself out in the morning as you run out the door.

Tuesday, August 12, 2008

Is it HUNG or HANGED - No Matter Which, Use a Professional

Three Rules of Thumb when hanging artwork:

1. A piece of art, its matboard and frame, should all be coordinated with their surroundings.

2. A successful grouping of artwork involves pieces that have some sort of similarity to tie them into a unified arrangement.

3. If art is hung in a space where it is exposed to direct sunlight, over time, the art as well as the matting will fade. The best way to protect the picture is to frame it with UV treated glass.

Rather than attempt a complex job of hanging artwork yourself, contact one of the professionals at Art 3 Gallery. We have the right tools to make the job easier.

Wednesday, March 12, 2008

It's Not Spring Yet

As art consultants we are constantly on-the-go taking artwork to clients' business offices and/or residences. Winter is not over and today it is snowing and raining, sometimes both at the same time. So that the work we carry is not damaged by the elements, we rely on Tranzporter products. The portfolio cases are perfect for framed pieces as well as unframed pieces of art. When we visit decorators and designers, we carry design boards along with frame corner samples. Everything fits conveniently in one case. One of us is tall and the other short, so the multiple handles on each case make it easy for either of us to use. And when we have to carry heavy pieces over long distances, we use the detachable wheels that move smoothly over concrete as well as carpet. Visit their website at and be moved.

Friday, February 22, 2008

But What Does It Mean?

Etchings and lithographs usually have a series of markings and numbers on them, but what exactly do these mean?
AP - this mark stands for "Artist's Proof", a few prints that the artist might make for his own collections or to finalize color choices and double-check registration marks.
Edition - the total number of prints made of an image. The print will usually be marked with two numbers separated with a slash, such as "12/35". The first number represents the print's place in the series, the second number represents the total number of prints in the edition.
Limited Edition - some artists produce only a certain number of prints and then destroy the plate used. Purchasing a piece from a limited edition is best.
Signed and numbered - an artist will sign each piece in pencil and attach an edition number. The print's number should not affect its quality although some people like to purchase pieces with low edition numbers.
State - while the artist is pulling proofs of a print, he may make alterations which change the plate. Each time a plate is changed, it is said to be in a "state."

Monday, February 18, 2008

Why Don't You Come Up and See My Etchings?

An etching begins when a zinc or copper plate is covered with an acid-resistant coating of wax. If the wax is hard, the artist gently scrtaches a drawing into the wax with steel needles, exposing the metal plate underneath. If the wax is soft, the artist first lays a piece of paper over the wax and then creates impressions in the wax with soft pressure on the paper.
When the drawing is completed, the metal plate is immersed in an acid bath. The areas covered by wax are protected but the scratched or pressed areas are eaten away by the acid, leaving behind incised lines. The wax is then removed from the plate, leaving a clean, smooth surface with a series of fine lines and designs throughout. Ink is applied to the plate and then wiped clean. Only the etched design contains ink at this point. Placed on the printing press face up, the plate is ready for printing. A dampened sheet of paper is applied to the plate, topped by a layer of felt blankets. The "sandwich" is then pressed and the ink is transferred to the paper. Each print requires a fresh inking of the plate although the drawing is only made once.

Saturday, February 2, 2008

Pardon Our Dust

Our website is in the process of being totally overhauled. Some pages have been updated but many have not, so please, pardon our dust. We're working as fast as we can to get all of the pages relinked during phase 1. Phase 2 will be a total color redo. So come back and visit us again soon and hopefully it will all be up and running (fingers crossed.)

Friday, January 25, 2008

The Art of Collecting Art - Part 1

Art 3 Gallery is a retail art gallery and we are in the business of selling art. If you are a first time buyer or an experienced collector, there are still things to know before buying a piece of artwork.
  • Decide why you're buying artwork - are you interested in starting (or adding to) a collection of work by major (collectible) artists or are you looking for something that goes with the sofa?
  • Educate yourself by reading art magazines, art history books, books about collecting, and checking internet resources with regards to pricing.
  • There is an old adage regarding art work "Purchase what you love." There's no guarantee that what you buy today will increase in price so that you can sell it and retire on the proceeds. (And your kids may not like it either.)
  • Visit art galleries in your home town and when you're on vacation. Although intimidating to some people, galleries want your business, so feel free to ask questions about what you're seeing.

Art 3 Gallery located in Manchester, NH is open from M-F, 9 a.m. to 4 p.m. Evening and weekend appointments are always welcome. Come and visit us and maybe there's something here that you'll fall in love with.

Friday, January 18, 2008

Caring for Art

Buying original artwork is not only a unique and satisfying experience, but also an investment that requires some care to ensure its preservation, longevity, and value. Whether you own art, are thinking of beginning to collect, or just have an appreciation, these points will prove useful. There are many factors, seemingly benign, that can affect the life of a work of art. Here are a few of the more important ones:
Humidity - A relative humidity of 50% is most beneficial for any type of artwork. A dry environment (45% or below) will accelerate deterioration and aging, while a more humid environment (65% or higher) will proliferate mold and mildew.
Temperature - Avoid extreme shifts in temperature. Ideally the environment where art is stored or displayed should stay with the 68 to 72 degree range.
Heat & Light - Light, both natural and artificial, creates heat which can be damaging. Illumination should not be excessive nor should any work of art be placed in direct sunlight. Avoid hanging works near windows, heating vents, or radiators.
Framing Works on Paper - Works on paper include prints, watercolors, drawing, pastels, and photographs. Always separate the art from the glass by an acid-free matboard or spacers. This will prevent mold and stainging damage which can be created by condensation on the inner side of the glass.
Art 3 Gallery in Manchester, NH, is open M-F from 9 a.m. to 4 p.m. Evening and weekend appointments are always welcome.

Friday, January 11, 2008

Beat the Winter Doldrums with Color

During the gray days of winter when the trees are bare of leaves and the streets are coated in mud brown slush, the least bit of color catches our eyes, making us yearn for the warm days of spring. One way to add color to our lives right now is to update a room with paint and new fabric. Another way to add color to our lives is with artwork. At Art 3 Gallery we work with several designers who are expert at choosing color, furnishings and accessories to complement your home and life style. If you are in the Manchester NH area, please stop at the gallery to look at what we have hanging on the walls, something colorful might just catch your eye.

Below is a brief overview of how an artist might use color:

Decorative color tends to provide a pleasing background for daily life. Decorative colors are chosen for their stylistic properties and are often flat in nature, meaning there is little or no modulation of tone.

Realistic color forms a natural record of life, depicting things as our eyes would perceive them. These colors tend to be literal and descriptive, utilizing a range of tomes to create the illusion of three dimensions.

Symbolic color moves away from realism with the aim being to express feelings and ideas about the narrative of an artwork. Color then becomes a symbol for allusions, emotions, thoughts, etc.

Impressionistic color can be described as realistic color reinterpreted. Often pure colors are juxtaposed on the surface - rather than mixed on a palette - where the eye mixes them visually.

Abstract color has no agenda to render appearances as they are witnessed, therefore colors are chosen to create visual movement, space, form, or dynamic relarionships.

In any style of art, color is of primary importance, and it is vital to recognize that none of these applications of color are mutually exclusive. Often within a single artwork, several modes of color will exist. Some colors will dominate, thus influencing the overall effect of the piece.

Art 3 Gallery is open M-F from 9 a.m. to 4 p.m. Evening and weekend appointments are always welcome.

Friday, January 4, 2008

Traveling with artwork

As gallery owners and residential and corporate art consultants, we are always traveling with artwork in our cars - framed and unframed canvases, paper pieces, as well as frame moulding samples. How do we do it safely and professionally? We use Tranzporter International portfolio cases and tubes. Made of 1000 denier Cordura nylon, these versatile cases and carrying tubes are available in a wide range of sizes and dimensions. Perfect for a single piece of framed artwork or many paper pieces of varying sizes, the portfolio case has interior straps to hold everything in place. For really heavy loads, there are optional wheels that strap on and then store conveniently in the front pocket - large enough for paperwork, too. Visit their website at
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