This terrific, unique mixed media Artists Palette was created by Jane Hammond and Connecticut based Trompe L'Oeil painter Arden Mason for a fundraiser in support of Friends of Olana -- an effort to preserve the Frank Church Estate (called Olana) in Hudson New York and save it from the hands of developers. In 1967, Olana was designated a New York State Historic sight, and The Friends of Olana was created in 1971. It later became known as the Olana Partnership. Many artists who worked or lived in the region would contribute works to the annual Friends of Olana art auction to raise funds for the preservation of the Estate. Arden Mason, who himself lived in an iconic, sprawling Litchfield Connecticut mansion, joined forces here with Jane Hammond to create this Artist's Palette, featuring a small Trompe L'Oeil work depicting a landscape and a mansion -- possibly even Olana.
Signature: The work is signed and dated 2004 by both Jane Hammond and Arden Mason on the recto (front); inscribed with names of colors like Titanium Zinc, red. etc.
This was acquired from the 2005 Friends of Olana Benefit auction by Ashton Hawkins, former Executive Vice President of the Metropolitan Museum of Art, N.Y. It was purchased by us from a sale of Mr. Hawkins collection.
About Jane Hammond
In her paintings and photographic prints, Jane Hammond organizes found image fragments into surreal juxtapositions, foraging flea markets, used bookstores, and antique shops for inspiration. Hammond’s densely literary paintings, which she intends to make “as complicated, inconsistent, varied, multifaceted as you are, as I am, as life is,” as she has said, include images of props such as masks of Einstein and King Tut, and puppet parts. During Hammond’s nine-year collaboration with the poet John Ashbery, he suggested titles for her paintings, including “A Parliament of Refrigerator Magnets,” “Do Husbands Matter?” and “The Wonderfulness of Downtown,” which served as the starting point for her compositions. Hammond also produces black-and-white photomontages that draw on elements of Russian Constructivism and Dada, which she reworks digitally, collaging, retouching, and developing shadow and tone before converting the digital file into a negative and printing the resulting image in the darkroom as a gelatin silver photograph.
American, b. 1950