As we launch into this new year, Elizabeth Sadoff Art Advisory wishes to thank the standard bearers of the Art World; the makers, the advocates and the collectors who keep the formula alive. We invited Berry Campbell and Chambers Fine Art to select three artists respectively whom we would feature in our ESAA Winter – artists who would offer an introduction into each gallery’s unique program model.

1. ESAA Winter

2. ESAA | Elizabeth Sadoff Art Advisory
We are excited to share with you a collection of
artworks from two New York Galleries.

3. Take your art home
and pay for it later, interest free.
It has never been easier and more affordable to buy your
favorite artwork.
After paying a minimum 10% deposit, you can take your
artwork home and pay the remaining balance over 9 months,
interest free.
In partnership with art money, ESAA is able to provide
interest free financing from $1,000 to $50,000.

4. Berry Campbell

5. Raymond Hendler
(1923 – 1998)
Raymond Hendler started his career as an Abstract Expressionist in
Parisas early as 1949. In the years that followed he played a significant
role in the movement, both in New York, where he was a friend of
Franz Kline, Willemde Kooning, and Jackson Pollock, and in
Philadelphia, where he ran an avant-garde gallery between 1952 and
1954. Hiswork evolved from overall tightly-wound linear webs to
abstract pictograms that blend a personal language with hints at
figuration.
While in New York during the 50’s, Hendler was a familiar face among
the New York School stalwarts while also helping introduce to America
work made by his American ex-pat friends including Stephen Pace,
Milton Resnick and Yvonne Thomas.
His work is represented in collections including: Walker Art Center,
Minneapolis, MN; Pennsylvania Academy of Fine Arts and Philadelphia
Museum of Art, Philadelphia, PA.
Hero on the Rocks, 1974, Acrylic on canvas, 50 x 42”

6. Hello Out There, 1979, Acrylic on canvas, 60 x 50”
Journey to the East, 1965, Acrylic on canvas, 36 x 31”

7. Judith Godwin
b. 1930
For Judith Godwin, painting “is an act of freedom and a realization that
images generated by the female experience can be a powerful and
creative expression for all humanity.” From 1950, when she first
exhibited her work to the present, Godwin has held to her convictions,
using a language of abstract form to respond with unbowed directness
and passion to life and nature.
During her studies with Hans Hofmann in the early 5o’s she came into
contact with the leading New York School avant gardeand regularly
attended the Cedar Bar gatherings where she associated with influential
artists includingJackson Pollock, Willemde Kooning and Marcel
Duchamp. As difficultas it was to gain recognition as a female painter
during the late 50’s/early 60’s, Godwin received favorable notice in many
significant publications. Her workis represented in many important
private and public collections : Hirshhorn Museum, Washington D.C.;
San Francisco Museum of Modern Art; Metropolitan Museum, New
York and Museum of Modern Art, New York.
Nucleus, 1950, Oil on canvas, 39x 30”

8. Black Cross, 1959, Oil on canvas, 96 x 50”
Blue Figure, c. 1955, Oil on canvas, 36 x 24”

9. Summer Day II, 1952, Oil on canvas, 48 x 64”
Yvonne Thomas
(1913 – 2009)
Throughout a career lasting over fifty years, Yvonne Thomas blended
the intuitive freedom of Abstract Expressionism with the symbolic
language of form and color. For Thomas color was the “strongest joy
and enigma,” and she used an expressive range of pigments in works
that progressed logically in series, often conveying her emotional
responses to the spirit of nature. Dedicated with serious focus to art
from the late 1930suntil her death at age 95, Thomas was one of few
women to be part of the early generation of Abstract Expressionists.
During the late 40’s, while studying at the Subjects of the Artist School,
Thomas formed relationships with Willemde Kooning, Lee Krasner,
Marcel Duchamp, Phillip Guston, Clyfford Still, Ad Reinhardt and
Barnett Newman, all of whom became primary exponents of the New
York School.

10. Chinese Words, 1954, Oil on canvas, 52 x 65”
Blue Sign, 1961, Oil on canvas, 38 x 45”

11. Chambers Fine Art

12. Baoshi Hill #6, 2016, Copper plate etching, 11½ x 7¾ ”, Edition of 30
Yan Shanchun
b. 1957
Among the first of a generation of artists who emerged from the
academies when they were reopened after being closed during the
Cultural Revolution, Yan Shanchun graduated from Zhejiang Academy
of Fine Arts (now the China Academy of Art) in 1982, specializingin
printmaking. He was trained in traditional Chinese calligraphy and
influenced by American abstract painting.
Although Yan is fully cognizant pf the long history of abstract painting
in the West, he has been less concerned with rivallingthese antecedents
than in modifying their example to enrich the valued tradition of
Chinese literati who cultivated the arts of calligraphy, painting and
poetry in seclusion. That privileged life-style is no longer possible but
in his detachment from the goal-orientated atmosphere of the
contemporary art world and in the development of his own quiet poetic
sensibility equally attuned to poetry and the visual arts, he may be
considered a twenty-first century equivalentof these legendary
polymaths.

13. Baoshi Hill After Shi Tao No 1, 2017, Cooper plate etching, 13¾ x 20”, Edition of 30

14. Baoshi Hill After Shi Tao No 2, 2017, Cooper plate etching, 13¾ x 20”, Edition of 30

15. Zhang Dun
b. 1979
Zhang Dun was born and educated in the industrial northeast of China.
Since graduating from the Central Academy of Fine Arts (CAFA) in
Beijing, she has worked primarily in pencil on paper. Initially, she
produced a haunting series of monochromatic urban landscapes
inspired by childhood memories but has recently focused on large-scale
drawings of fruit, primarily peaches and bananas. Greatly enlarged and
viewed from all angles, her studies of peaches, four of which will be
present at Art Brussels, are simultaneously highly-refined and frankly
erotic, an unexpected development after the austerity of her early work.
Peach 13, 2013, Pencil on paper, 31¾ x 21½”

16. Peach 10, 2013, Pencil on paper, 31¾ x 21½”
Peach 26,, 2013, Pencil on paper, 15¾ x 15¾”

17. Riding Alone for Thousands of Miles #10, 2012, Oil and acrylic on canvas, 23½ x 19”
Gama
b. 1977
Gama was born in Mongolia grew up in the nomadic tradition which
shamanism still plays an important role. In 2002, he enrolled in the
Karlsruhe Academy of Art to study oil painting under Gustav Kluge.
During this period he was exposed to the figurative painting of New
Leipzig School and found an unexpected convergence between the folk-
lore and rituals of his own country of birth and the imaginative
traditions of Germany. Memories of shamanism coexist with figures
that seem to have stepped out of Grimm’s fairy tales. As an outsider he
was exposed to the extraordinary richness of contemporary German
Art which ranges from the conceptual rigor of Gerhard Richter to the
expressionist style of George Baselitz, eventually the matter-of-fact
depiction of recognizable events and objects and wild flights of the
imagination.

18. Riding Alone for Thousands of Miles #7, 2012, Oil and acrylic on canvas, 23½ x 19” Zucht (Thriving), 2016, Mixed media, 23½ x 19¾”

19. Elizabeth Sadoff Art Advisory
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