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Artist's Estates

An integral aspect of Alexandre Gallery is the family of artists and artist estates that we have the honor of working with over many years. Through this Virtual Viewing Room we present a selection of paintings and works on paper by Will Barnet, Hyman Bloom, Sally Hazelet Drummond, Loren MacIver, Emily Nelligan and Neil Welliver.  We are grateful for the privilege of having known and worked closely together with each during their lifetimes – and now with their families.  As their work continues to inspire us, and to give us pleasure, we hope you will enjoy these selections.

Neil Welliver  Emily Nelligan  Loren MacIver  Will Barnet  Sally Hazelet Drummond  Vincent Smith  Hyman Bloom

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Neil Welliver, portrait by Rudy Burkhardt.

Neil Welliver, portrait by Rudy Burkhardt.

What sets Welliver’s woods apart from the woods of others is that they are, of course, his. We see them and know instantly who painted them.  That stream plunging and swirling around those gray rocks is familiar, so are those clouds parading in ragged order across the sky spreading a midday blue over those hills.  They are all part of Welliver’s woods.  The unaffectedness, the ease with which they are simply here, without a hint of what went into their making, without an indication anywhere of the turmoil that prompted them, is what sets them apart.

Mark Strand, 2001

Emily Nelligan, portrait by Alexandre Gallery.

Emily Nelligan, portrait by Alexandre Gallery.

Like much of Maine’s northern coast, Cranberry Island is a moody place, austere in its beauty, rich in wet, dark spruce trees, and overwhelmed by the atmospherics of the sea and sky. In many of her drawings, Nelligan captures the island at twilight when the failing light softens the outlines of the trees and mutes the contrasting textures of sky and water. The softness of her lines and forms is an appropriate vehicle to evoke the way that fog obscures details—such that the fog that made Nelligan first fall in love with Cranberry Island has, in a certain manner, never left her drawings of it. Nelligan’s use of charcoal contributes to her ability to capture the dramatic weather changes and atmospheric moods typical of this island’s environment. Cumulatively her drawings give us a sense of what it is like not only to see but to feel the moist foggy air on our skin, allowing us to imagine the smell of the cool crisp ocean breeze tinged with the pungency of washed-up seaweed, or the sound of the deep, grand rhythms of the ocean’s waves as they roll on to the shore.

Alison Ferris, 2005

Loren MacIver, portrait by Lloyd Frankenberg.

Loren MacIver, portrait by Lloyd Frankenberg.

In our harsh age of anxiety and despair, the lyric art of Loren MacIver shimmers with enchantment. Her observation distills the spiritual from the ordinary, and she expands the familiar into vivid patterns that constantly surprise. Color is pleasure and often joy. Overstatement is alien to MacIver’s eloquence and as an artist she fits no convenient category. She shares with us the clarity of her personal vision, and its essentials combine a poet’s eye and a painter’s craft. She discovers magic in simple truth and we are richer and therefore greatly in her debt.

William S. Lieberman, 1987

Will Barnet, portrait by Marc Royce.

Will Barnet, portrait by Marc Royce.

Will Barnet has made outstanding contributions to American art as a painter, printmaker and teacher. In the course of a long, virtually unparalleled career, he has always taken a vigorously individual route advancing to the pulse of his own aesthetic and philosophical concerns. He has traveled that road so rarely traveled, moving fluidly between abstraction and representation. Barnet has followed the passions of his own beliefs, even when this has not only meant going against the grain of prevailing movements in American art, but even contrary to the directions by which he established his own reputation.

Bruce Weber, 2011

Sally Hazelet Drummond hanging an Alex Katz painting at Tanager Gallery.

Sally Hazelet Drummond hanging an Alex Katz painting at Tanager Gallery.

It was not only the finished image but the awareness of how it came into being, the pointillist technique itself, that generated a meditative mood. The viewer re-experienced the slow single-minded addition of dot to dot, each subtly modulated in tone so as to create a luminous field.”

“The paintings are finally, a place into which to project yourself. They are experiential and attempt to describe both an inner experience and outward perception, harnessing fleeting aspects of the natural world. Drummond has said that her work is, “like a humming, a drone, emanating from somewhere, a unified field, pulsing, energetic.

Irving Sandler, 1984

Vincent Smith in the studio working on the mural Jonkonnu Fesival Wid/ The Frizzly Rooster Band, 1990.

Vincent Smith in the studio working on the mural Jonkonnu Fesival Wid/ The Frizzly Rooster Band, 1990.

Visit the quiet and passionately inquiring mind of Vincent Smith and what is gently revealed is an impressive and dynamic display of black history, memory and creative workmanship in a very unique visual experience. Undaunted by the difficulties one encounters in a racially repressive society in which many African Americans often struggle daily to live above the poverty line, Vincent Smith, like his long time friend, Jacob Lawrence, has chosen art as the vehicle through which he speaks to the world airing his concerns about our humanity as well as our inhumanity to each other. Smith’s art examines, chronicles and visually comments upon an important segment of American history thereby singling him out as one of the few remaining American artists whose work is truly social commentary in nature.

The figural dimension of Smith’s art is bold without being overpowering. It is expressionistic without the impuissance of action painting. Most importantly, Smith’s work is a passionate inquiry into the nature of things and we see it from the hand of a visually affluent artist.

David C. Driskell, 2003

Hyman Bloom. Courtesy of the Bloom Estate.

Hyman Bloom. Courtesy of the Bloom Estate.

The art world, with its fast pace, ongoing turnover of interests, and voguish audiences, never held him. He always knew he was an anomaly. His only satisfaction was to mine the possibility for an art that could transcend temporal boundaries by alluding to a world beyond the material.

Debra Bricker Balken, 2019

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Neil Welliver, Sun's Nadir, 1996, oil on linen, 24 x 24 inches

Neil Welliver, Sun's Nadir, 1996, oil on linen, 24 x 24 inches

Available

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Neil Welliver, Study for Stream in Brigg’s Meadow, c. 1970, oil on canvas, 20 x 20 inches

Neil Welliver, Study for Stream in Brigg’s Meadow, c. 1970, oil on canvas, 20 x 20 inches

Available

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Neil Welliver, Study for Orange Brook, 1985, oil on canvas, 24 x 24 inches

Neil Welliver, Study for Orange Brook, 1985, oil on canvas, 24 x 24 inches

Available

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Neil Welliver, Flotsam Allagash, 1988, oil on canvas, 48 x 48 inches

Neil Welliver, Flotsam Allagash, 1988, oil on canvas, 48 x 48 inches

Available

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Emily Nelligan, 23 SEPT 05, 2005, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 23 SEPT 05, 2005, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

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Emily Nelligan, 2 OCT 07 (1), 2007, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 2 OCT 07 (1), 2007, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

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Emily Nelligan, 11 OCT 94 (1), 1994, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 11 OCT 94 (1), 1994, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

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Emily Nelligan, 27 Oct 82 (2), 1982, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 27 Oct 82 (2), 1982, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

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Loren MacIver, Porte Bonheur, 1980, oil on canvas, 21 3/4 x 18 inches

Loren MacIver, Porte Bonheur, 1980, oil on canvas, 21 3/4 x 18 inches

Available

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Loren MacIver, Geranium, 1957, oil on canvas, 28 x 16 inches

Loren MacIver, Geranium, 1957, oil on canvas, 28 x 16 inches

Available

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Loren MacIver, Fire Escape, 1958, oil on canvas, 47 1/4 x 32 1/4 inches

Loren MacIver, Fire Escape, 1958, oil on canvas, 47 1/4 x 32 1/4 inches

Available

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Loren MacIver, Bright Spring, 1980, oil on canvas, 21 1/4 x 32 inches

Loren MacIver, Bright Spring, 1980, oil on canvas, 21 1/4 x 32 inches

Available

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Will Barnet, The Spider as an Artist, 1990, oil on canvas, 42 x 22 inches

Will Barnet, The Spider as an Artist, 1990, oil on canvas, 42 x 22 inches

Available

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Will Barnet, Vigil, 1979, watercolor on paper, 21 3/4 x 30 1/4 inches

Will Barnet, Vigil, 1979, watercolor on paper, 21 3/4 x 30 1/4 inches

Available

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Will Barnet, Early Spring, 1977, watercolor on paper, 21 3/4 x 30 1/4 inches

Will Barnet, Early Spring, 1977, watercolor on paper, 21 3/4 x 30 1/4 inches

Available

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Will Barnet, Poem 1764, c. 1989, charcoal on vellum, 17 x 11 1/2 inches

Will Barnet, Poem 1764, c. 1989, charcoal on vellum, 17 x 11 1/2 inches

Available

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Sally Hazelet Drummond, Unified Field, 1980, oil on linen, 30 x 30 inches

Sally Hazelet Drummond, Unified Field, 1980, oil on linen, 30 x 30 inches

Available

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Sally Hazelet Drummond, Union Place, 1978, oil on canvas, 40 x 40 inches

Sally Hazelet Drummond, Union Place, 1978, oil on canvas, 40 x 40 inches

Available

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Sally Hazelet Drummond, No Trace, 1973, oil on canvas, 40 x 40 inches

Sally Hazelet Drummond, No Trace, 1973, oil on canvas, 40 x 40 inches

Available

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Sally Hazelet Drummond, Untitled (Pink), c. 2010s, oil on canvas, 24 x 24 inches

Sally Hazelet Drummond, Untitled (Pink), c. 2010s, oil on canvas, 24 x 24 inches

Available

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Vincent Smith, On a Sunny Day, c. 1972, oil and sand on canvas, 43 1/2 x 49 1/2 inches

Vincent Smith, On a Sunny Day, c. 1972, oil and sand on canvas, 43 1/2 x 49 1/2 inches

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Vincent Smith, Untitled (Brooklyn), c. 1972, oil and sand on canvas, 46 x 56 inches

Vincent Smith, Untitled (Brooklyn), c. 1972, oil and sand on canvas, 46 x 56 inches

Available

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Vincent Smith, Ritual Man, c. 1972, oil and sand on canvas, 40 x 48 inches

Vincent Smith, Ritual Man, c. 1972, oil and sand on canvas, 40 x 48 inches

Available

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Vincent Smith, The Projects, 1972, woodcut, 7 x 11 1/2 inches

Vincent Smith, The Projects, 1972, woodcut, 7 x 11 1/2 inches

Available

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Hyman Bloom, Untitled (Lubec Woods), ca. 1975, oil on canvas, 72 x 55 inches

Hyman Bloom, Untitled (Lubec Woods), ca. 1975, oil on canvas, 72 x 55 inches

Available

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Hyman Bloom, Woods in Lubec, ca. 1975, oil on canvas, 72 x 48 inches

Hyman Bloom, Woods in Lubec, ca. 1975, oil on canvas, 72 x 48 inches

Available

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Hyman Bloom, Landscape #2, 1970, ink on paper, 21 3/4 x 16 3/4 inches

Hyman Bloom, Landscape #2, 1970, ink on paper, 21 3/4 x 16 3/4 inches

Available

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Hyman Bloom, Tree Study, ca. 1970, ink on paper, 20 x 24 3/4 inches

Hyman Bloom, Tree Study, ca. 1970, ink on paper, 20 x 24 3/4 inches

Available

Inquire
Neil Welliver, Sun's Nadir, 1996, oil on linen, 24 x 24 inches

Neil Welliver, Sun's Nadir, 1996, oil on linen, 24 x 24 inches

Available

Neil Welliver, Study for Stream in Brigg’s Meadow, c. 1970, oil on canvas, 20 x 20 inches

Neil Welliver, Study for Stream in Brigg’s Meadow, c. 1970, oil on canvas, 20 x 20 inches

Available

Neil Welliver, Study for Orange Brook, 1985, oil on canvas, 24 x 24 inches

Neil Welliver, Study for Orange Brook, 1985, oil on canvas, 24 x 24 inches

Available

Neil Welliver, Flotsam Allagash, 1988, oil on canvas, 48 x 48 inches

Neil Welliver, Flotsam Allagash, 1988, oil on canvas, 48 x 48 inches

Available

Emily Nelligan, 23 SEPT 05, 2005, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 23 SEPT 05, 2005, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

Emily Nelligan, 2 OCT 07 (1), 2007, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 2 OCT 07 (1), 2007, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

Emily Nelligan, 11 OCT 94 (1), 1994, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 11 OCT 94 (1), 1994, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

Emily Nelligan, 27 Oct 82 (2), 1982, charcoal on paper, 7 1/4 x 10 1/2 inches

Emily Nelligan, 27 Oct 82 (2), 1982, charcoal on paper, 7 1/4 x 10 1/2 inches

Available

Loren MacIver, Porte Bonheur, 1980, oil on canvas, 21 3/4 x 18 inches

Loren MacIver, Porte Bonheur, 1980, oil on canvas, 21 3/4 x 18 inches

Available

Loren MacIver, Geranium, 1957, oil on canvas, 28 x 16 inches

Loren MacIver, Geranium, 1957, oil on canvas, 28 x 16 inches

Available

Loren MacIver, Fire Escape, 1958, oil on canvas, 47 1/4 x 32 1/4 inches

Loren MacIver, Fire Escape, 1958, oil on canvas, 47 1/4 x 32 1/4 inches

Available

Loren MacIver, Bright Spring, 1980, oil on canvas, 21 1/4 x 32 inches

Loren MacIver, Bright Spring, 1980, oil on canvas, 21 1/4 x 32 inches

Available

Will Barnet, The Spider as an Artist, 1990, oil on canvas, 42 x 22 inches

Will Barnet, The Spider as an Artist, 1990, oil on canvas, 42 x 22 inches

Available

Will Barnet, Vigil, 1979, watercolor on paper, 21 3/4 x 30 1/4 inches

Will Barnet, Vigil, 1979, watercolor on paper, 21 3/4 x 30 1/4 inches

Available

Will Barnet, Early Spring, 1977, watercolor on paper, 21 3/4 x 30 1/4 inches

Will Barnet, Early Spring, 1977, watercolor on paper, 21 3/4 x 30 1/4 inches

Available

Will Barnet, Poem 1764, c. 1989, charcoal on vellum, 17 x 11 1/2 inches

Will Barnet, Poem 1764, c. 1989, charcoal on vellum, 17 x 11 1/2 inches

Available

Sally Hazelet Drummond, Unified Field, 1980, oil on linen, 30 x 30 inches

Sally Hazelet Drummond, Unified Field, 1980, oil on linen, 30 x 30 inches

Available

Sally Hazelet Drummond, Union Place, 1978, oil on canvas, 40 x 40 inches

Sally Hazelet Drummond, Union Place, 1978, oil on canvas, 40 x 40 inches

Available

Sally Hazelet Drummond, No Trace, 1973, oil on canvas, 40 x 40 inches

Sally Hazelet Drummond, No Trace, 1973, oil on canvas, 40 x 40 inches

Available

Sally Hazelet Drummond, Untitled (Pink), c. 2010s, oil on canvas, 24 x 24 inches

Sally Hazelet Drummond, Untitled (Pink), c. 2010s, oil on canvas, 24 x 24 inches

Available

Vincent Smith, On a Sunny Day, c. 1972, oil and sand on canvas, 43 1/2 x 49 1/2 inches

Vincent Smith, On a Sunny Day, c. 1972, oil and sand on canvas, 43 1/2 x 49 1/2 inches

Available

Vincent Smith, Untitled (Brooklyn), c. 1972, oil and sand on canvas, 46 x 56 inches

Vincent Smith, Untitled (Brooklyn), c. 1972, oil and sand on canvas, 46 x 56 inches

Available

Vincent Smith, Ritual Man, c. 1972, oil and sand on canvas, 40 x 48 inches

Vincent Smith, Ritual Man, c. 1972, oil and sand on canvas, 40 x 48 inches

Available

Vincent Smith, The Projects, 1972, woodcut, 7 x 11 1/2 inches

Vincent Smith, The Projects, 1972, woodcut, 7 x 11 1/2 inches

Available

Hyman Bloom, Untitled (Lubec Woods), ca. 1975, oil on canvas, 72 x 55 inches

Hyman Bloom, Untitled (Lubec Woods), ca. 1975, oil on canvas, 72 x 55 inches

Available

Hyman Bloom, Woods in Lubec, ca. 1975, oil on canvas, 72 x 48 inches

Hyman Bloom, Woods in Lubec, ca. 1975, oil on canvas, 72 x 48 inches

Available

Hyman Bloom, Landscape #2, 1970, ink on paper, 21 3/4 x 16 3/4 inches

Hyman Bloom, Landscape #2, 1970, ink on paper, 21 3/4 x 16 3/4 inches

Available

Hyman Bloom, Tree Study, ca. 1970, ink on paper, 20 x 24 3/4 inches

Hyman Bloom, Tree Study, ca. 1970, ink on paper, 20 x 24 3/4 inches

Available