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fall/winter/spring schedule 2017/18

October 20, 2017







Winter/Florida Events 2017

January 23, 2017


We are pleased to exhibit a collection of available artworks by 20th Century Abstract Expressionists including Richard Diebenkorn, Sam Francis, Conrad Marca-Relli, Cleve Gray, Adolph Gottlieb, Helen Frankenthaler, and others. Presented in partnership with The Banks Gallery,

Please join us for the Opening Reception February 1st in Naples.  On View thru March 12.

View e-catalog here


Quidley & Company is again exhibiting at the Palm Beach Jewelry, Art, and Antique Show President’s Weekend – February 15-21st.  Contact us for tickets.


There is no force comparable to the sea, and since humans set sail, artists have tried to capture its boundless majesty, serene beauty, terrific chaos, and our adventures upon it. This show features such works by Montague Dawson, John Stobart, Tim Thompson, Michael Keane, William Davis amongst others.

Please join us for the Opening Reception February 15th in Naples.


One of the finest living watercolor artists, Flick Ford meticulously and accurately captures every detail in his ‘portraits’ of fish.  This show focuses on the beautiful species native to Florida.

Please join us for the Opening Reception  March 15th in Naples.

Scott Fraser’s Lemon Fall

July 10, 2015
Quidley & Company Fine Art
presents an Exhibition of new works by
featuring his Magnus Opus: Lemon Fall
July 17 – August 4, 2015
26 Main Street
Nantucket, MA
Scott Fraser "Lemon Fall"  52 x 66 inches  oil on canvas

Scott Fraser “Lemon Fall” 52 x 66 inches oil on canvas

“My goal for Lemon Fall was to define in space a bold shape known as a catenary curve, using peeled lemons as my subject. Five months, 8 pre-studies, and 100 lemons later, I completed this labor of love, which combines my fascination with art history, a touch of humor and some surreal visual tension.” – Scott Fraser

Read more…

Michael Keane (1948-2015)

April 17, 2015


The art world is a little less bright today as we learn of the unexpected passing of Michael Keane.

For the last three decades, Michael brought joy to those who viewed his artwork. His serene and luminous marine paintings portrayed the warmth of summer days spent sailing on Nantucket Sound. Keane had the remarkable ability to transport a viewer; to gaze at one of Michael’s beautiful and obviously lovingly wrought images is to imagine yourself cruising on the open sea–whether on a striped sail Beetle Cat or a majestic J-Class yacht, it’s the next best thing to actually being out there.

A man of few words with a bit of a no-nonsense exterior, Michael had a heart of gold.  Most of you were introduced to him through his gift of painting. I knew him not only as an artist, but as a husband, father, grandfather, fellow sailor, car enthusiast, mentor and friend. I had the opportunity to be in his company as he shared information about his family ancestry, or told wild stories about his teenage years on the south shore of Boston and California; we talked about topics that ranged from politics, carburetors, yacht design, painting plans to marketing. A consummate professional, design and composition were everything to Michael. He took pride in every detail of the finished product, including the large bright gold leaf frame that completed each piece. When I decided in 2005 to open my own gallery, Michael was the second artist (the first was my father) to call me and say he would come on board, giving me the boost in confidence I needed to take that plunge.

Where Michael Keane will be placed in the world of marine masters only time and the unfolding of history will tell, but for me his contribution to the art world, the island of Nantucket, the gallery and to my life will never be forgotten.

Fair Winds and Following Seas Michael.

A Visual Journey with John Swan

September 24, 2014

Quidley & Company is pleased to present a solo exhibition of work by the internationally recognized painter John Swan. The show will run from October 9 – November 26, 2014, with an opening artist’s reception on Thursday, October 9th from 5-8 pm.

Swan Yellow Dress

Though widely known for his sporting art, Swan’s paintings comprise a range of subjects and genres, from seascapes to portraiture to nudes. Working in both watercolor and oil, his paintings are awash in light, color and a sense of energy that combine in shimmering images.

The artist demonstrates a facility for rendering naturalistic detail that is the result of a life spent immersed in the outdoors, from northern New England to the Bahamas. Swan’s passion for nature is matched by his sensitivity to the human form; his subjects, compelling in their casual depictions on boats, in backyards, or in seaside bars, come to life on the canvas in an expression of personality and vitality.

invThe River Boat small (1)

As described by Tom Davis, in “Reluctant Stardom,” “Swan’s art is fresh, vital and never overstated. He leaves room for the imagination to make its own discoveries. Daring colors and free, agile brushwork are trademarks of his style; a keen eye and astute judgement result in compositions that appear utterly spontaneous and unforced. Viewing them is as if you are standing at the artist’s shoulder, seeing what he sees, feeling what he feels. The experience is immediate and intense.”

invUnder the Umbrella small (1)

Painting and exhibiting for over 20 years in the US, Canada, and the Bahamas, Swan’s work is collected worldwide, and has been reproduced in countless periodicals, journals and books. John Swan’s paintings offer a window into his wonderful world and an escape to outdoor adventure.

A Flick of the Wrist: Flick Ford demonstrates both his fishing and his painting talent on Nantucket

May 29, 2014

Fans of Flick Ford will be interested to know about the latest creation out of the studio of this master of marine life portraiture. After a terrific success with the sale of “Betsy,” the 4 x 10.5’ great white shark watercolor that was exhibited this year at the prestigious art fair Art Palm Beach, Flick is taking on a new challenge this spring. He has been hard at work on a sperm whale of similar proportions, which he expects to complete by the end of the first week in June. Below is an image one of the artist’s preliminary drawings. The first of its kind out of Flick’s studio, the sperm whale will be offered at $34,000.

We are also excited to report that Flick will be on island June 16th through the 19th to do some fishing off Nantucket’s shores. During that week, he will be doing an in-gallery painting demonstration during which he will complete work on his next piece, a bluefish watercolor. Mark your calendar to see Flick in action, and we’ll keep you posted on the details!


Scott Fraser Shares his Experience of Subjecting “Three Way Vanitas” to Scientific Scrutiny

May 11, 2014


Scott Fraser’s Three Way Vanitas. Oil on Board. 35 x 49″ 2008

These days it seems that the boundary between art and technology is getting more and more blurred. Quidley & Company gallery artist Scott Fraser discovered just how interrelated the two have become when he was contacted back in 2008 by David G. Stork, chief scientist of Ricoh Innovations and adjunct professor at Stanford University. Scott told us that Stork had read an article related to a show Scott helped organize that year, called The Object Project. The Object Project, a group show that travelled to five museums over two years, featured the work of fifteen artists, each with their own unique style, technique, and approach to a project that involved painting the same five objects.


Applied Reflections, by Scott Fraser. Oil on Board. 27 x 37″ 2014

Scott’s contribution to the show was a painting entitled Three Way Vanitas, which featured the same mirror he later used in his painting Applied Reflections. Professor Stork was quite taken with the perspective challenges Fraser faced while executing Three Way Vanitas. Stork, whose specialty is optics and art, has done a great deal of research on how the Old Masters worked out their perspective, with a special focus on images reflected in mirrors. A particular piece he has analyzed closely is the Flemish painter Jan van Eyck’s iconic Arnolfini Portrait, with its use of a mirror to reflect the space and its unusual geometric orthogonal perspective.


Jan van Eyck’s The Arnolfini Portrait, 1434

Professor Stork shared with Fraser that his studies were in large part a rebuttal to The Secret Knowledge, a book by David Hockney which investigates Old Master painting techniques. Professor Stork, whose studies focus primarily on such artists as Caravaggio, Da Vinci and Holbein, disputed some of Hockney’s assumptions, and asked whether Fraser would be willing to serve as a modern-day guinea pig for his research. Fraser confessed to us that the idea of Stork’s team deconstructing Three Way Vanitas caused him a bit of trepidation; since he works from life, never from photos, the artist knew a close examination by Stork and his research team might expose his perspective flaws. Fraser explains that his hand and eye move all over the place when he works, and that he often relies on instinct rather than scientific formula.

In the spirit of curiosity, and in support of scientific inquiry in general and Stork’s explorations in particular, Fraser ultimately rose to the challenge. The results were fascinating, if at times difficult for the average art lover to grasp. Read the paper, “Three-dimensional reconstruction from multiple reflected views within a realist painting: An application to Scott Fraser’s Three way vanitas,” here:

Fraser explains, “Yes, my faults were revealed, but the painting was accurate enough for Professor Stork to run a 3D computer recreation of the work showing its various dimensional anomalies. I found it all very interesting, if well outside of my realm of understanding. One revealing image his team produced shows how far out of sync my reflected objects were in relation to each other, in particular, a glass of water whose reflected level is distinctly higher than that in the original glass. The glass is significant, since for me it signifies the evaporation of time. It’s interesting that the water level is so obvious in the scientific data. These discrepancies were conscious decisions I made from an artist’s point of view, in order to portray the spacial effects I was pursuing. Doubtless Stork would find similar inconsistencies in Applied Reflections, and yet it is one of the reasons I keep returning to this mirror and the challenges of light and perspective it offers.”

The article by Professor Stork et al. is a fascinating example of the application of computer technology to the problems of fictive space in art history. But it raises questions at the same time: what makes a work of art beautiful? Can technological advances create a “better” painting? We think not. We celebrate the aesthetic, technical and conceptual choices of fine artists, and we know that what makes a painting great is the degree to which it pleases our eye, the extent to which we love it. We hope Scott Fraser’s “brush with science” hasn’t distracted him from that truth, and we look forward, as always, to more spectacular work out of his studio!

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