Ann Chernow, N.A. Born 1936.
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Watercolor and Oils.
Barmaids. 2009. Watercolor on rag paper. 30 x 22. Signed, lower right. $1,200.
Them Thar Shoes. 2008. Oil on board. 8 x 10. Signed lower right. $1,000.
Fine Prints:Bad Girls series.
Easy to Pick Up. 2009. Etching and aquatint. 14 7/8" x 11 7/8. Edition plus 5 artist's proofs. Series: Bad Girls. A pristine impression printed on copperplate paper with full margins. Signed in pencil. $750.
She Had No Bed of Her Own. 2009. Etching and aquatint. 19 3/4 x 15 3/4.Edition plus 5 artist's proofs. Series: Bad Girls. A pristine impression printed on copperplate paper with full margins. Signed in pencil. $750.
Fine Prints:Broadway Babes series.
Fifth Avenue. 2011. Lithograph. 8 3/8 x 5 1/4 (sheet 13 1/4 x 9 3/8). Series: Broadway Babes. A pristine impression printed on Canson Edition paper. Printed by James Reed, Milestone, Graphics. Signed, titled and numbered in pencil. $400.
Siren. 2011. Lithograph. 10 7/8 x 9. Edition 2. Series: Broadway Babes. A pristine impression printed by James Reed, Milestone, Graphics on , on the full sheet of Canson Edition paper. Signed, titled and numbered in pencil. $600.
Fine Prints: Individual Images
A Day in the Country. 1996. Intaglio. Amity 150. 15 7/8 x 20 5/8. Edition 50 with 5 artist's proofs. Printed on Velouwe. Signed in pencil. $500.
"As I was Say'n' to the Duchess." 1994. Etching and aquatint. Amity 130. 14 5/8 x 7 7/8. Edition 25 with 5 artist's proofs. Printed on Rives BFK. Prize: 10th Annual National Print Exhibition, Florida Printmakers Society. Exhibited at the 1998 World Print Festival in Slovenia. Signed in pencil. Framed $1,000; unframed $900.
Beauty Queens. 2009. Lithograph from one stone. 18 1/2 x 14. Edition 12. Printed on Rives paper. Signed in pencil. $600.
Cygnus. 1977. Silkscreen and collage. 30 x 20. Star series. Edition 50. Printed on coated paper. Signed in pencil. $750.
Dreams. 2000. Etching and aquatint. Chernow 175. 10 3/4 x 13 1/4. Edition 15 with three artist's proofs. A unique impression printed in blue; edition 15 in siena on Copperplate Deluxe paper, on the full sheet with deckle edges. Signed, titled and numbered in pencil. $750 in blue; $600 in siena.
Lady Love. 2009. Lithograph from one stone. 7 x 6 1/2. Edition 15. A fine impression printed on Somerset paper. Signed in pencil. $500.
A Small Cafe. 2000. Etching and aquatint. Chernow 176. 9 3/4 x 13. Edition 15, with 3 artist's proofs. Printed on Copperplate Deluxe. A pristine impression with full margins. Signed in pencil. $600.
Small Town Girl. 2002. Etching and aquatint. (sheet 18 1/4 x 14 3/4). Edition 20, #8. A rich, tonal impression printed by James Reed, Milestone, Graphics, on the full sheet of Canson Edition white wove paper with deckle edges. Signed, titled and numbered in pencil. $600.
Spring. 2002. Etching and aquatint. 6 7/8 x 9 3/4. Edition 12. A pristine impression on the full sheet. Signed in pencil. $600.
Summer. 2010. Lithograph from one stone, printed on Arches paper. 8 3/4 x 7 1/2. Edition 7. Signed in pencil. $500.
Swingtime. 2009. Etching and aquatint printed on Arches paper. 10 x 8. Edition 12. Signed in pencil. $500.
Time After Time. 1989. Lithograph with watercolor. 22 3/8 x 30 5/8. Edition 56 (plus 5 artist's proofs). A bright impression printed on the full sheet of Arches paper. Signed and numbered 4/56 in pencil. $650.
Two for the Show. 2008. Lithograph printed on Rives paper. 10 1/2 x 15 1/2. Edition 6. Signed in pencil. $600.
Ann writes:
"My work is based on specific scenes and impressions related to movies from the 1930s and 1940s. I use film characters and period settings as a point of departure and then reinterpret. Contemporary faces are added but without altering the spirit of a cinematic moment. In blending past and present images I try to create a sense of dejà vu or nostalgia without the sentimentality often associated with specific film stars. I am interested in individual personalities and in using crowded scenes of choreographed women."
Images as social icons and attention to individual incident interest me. Depicting physical clumsiness alters the perception of each performer's physiognomy and brings it more to the 'real'. Gender is important, yet gesture and establishing a dramatic moment are paramount. A movie is never totally forgotten. Memories from films can be channels, metaphor and private reverie through which an artist can address the human condition. "
" My story with Isabel Bishop is that we became friendly after she visited my show at the Alex Rosenberg gallery in l982, she invited me up to her studio. She liked me very much personally and I became a kind of confidant to her until she became very sick, and spent most of her time in Riverdale. I admired her dedication and perseverance. In spite of family problems and ill health she worked as much as possible. (My hero is Giacometti whose life was work.)"
Ann's work is in the permanent collections of: The Metropolitan Museum of Art, Yale University Art Gallery, Art in Embassies Collection of the U.S.A., Davison Art Center at Wesleyan University, Elvehjem Museum of Art in Madison, Wisconsin, The National Museum of Women in the Arts, The New York Public Library Print Collection, Syracuse University Art Collection, Housatonic Museum of Art in Connecticut, U.S.O. of Greater Metropolitan New York, Utah Museum of Fine Arts, Zimmerli Museum at Rutgers University, Reading Public Museum in Pennsylvania, Portland Museum of Art in Oregon, Arkansas State University, Duxbury Museum in Massachussetts, The Aldrich Museum of Contemporary Art in Connecticut, Museum of the City of New York, the Art Collection of the United Nations, and The Brooklyn Museum.
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