Sarah Van Doren Shaw (1844 – 1918) American

Sarah Van Doren Shaw

Born in New York in 1844 to a prominent Dutch family, Sarah Van Doren Shaw was a late nineteenth and early twentieth-century American artist who primarily worked in Chicago but traveled throughout the United States, Europe, and North Africa.

In the United States, Shaw depicted the country’s diverse landscapes and the changing of the seasons often with plein air painting. While in Europe, she visited the Netherlands and approached Dutch scenes with a tonalist palette. Shaw’s paintings of North Africa, however, focus on the abundance of light that bathes cities like Algiers, where the traditional white garb of locals seems to reflect the vividness of their surroundings. Unlike other American painters who perpetuated Orientalist views of the region, Shaw’s depictions of North Africa emphasize how its climate and natural environment inform everyday life—a theme she explored throughout her career in various settings.

Life as an Artist and Patron


Measures: 15×18 inches /  Oil on canvas / Titles: The Souk

Sarah Van Doren Shaw was the daughter of a Protestant minister who presided over congregations in the Bronx and Manhattan. Her great-grandfather, a Brooklyn politician, was the borough’s first mayor. In 1865, she married Theodore Andrews Shaw, a successful Chicago businessman who served on the planning committee of the World’s Columbian Exposition, also known as the 1893 Chicago World’s Fair. The Shaws were a part of the city’s cultural elite, and were regarded as having nurtured the career of their son, Howard Van Doren Shaw, an influential architect and a leader of the American Arts and Crafts movement. The Shaws lived in the Prairie-Avenue district of Chicago, a wealthy neighborhood where many of the city’s high-ranking residents built mansions.

Howard and his wife Frances, a poet and playwright, maintained a summer home in Lake Forest, Illinois, where artists and literary personalities regularly convened. Sarah often spent time there, painting its manicured gardens. A number of her watercolors still hang in the nineteenth-century house that Howard designed and built on the property. Today, the five-acre compound is home to the Ragdale Foundation, which offers residencies to artists, writers, and performers, and hosts a variety of cultural events throughout the year.Shaw 3

Measures 14×11 inches / watercolor on board / street in Algiers

Exhibition History

Sarah’s upbringing and social standing later in life afforded her artistic opportunities that were rare for American women at the time. In her adopted city, Shaw trained at the Art Institute of Chicago (AIC) and exhibited there over a dozen times in the span of her career. She was a follower of James McNeill Whistler, whose tonalist paintings she would have seen in Europe at institutions like the Royal Academy of Art in London.

Shaw was a founding member of Chicago’s Bohemian Art Club, which held its first exhibition at the AIC in 1883. She was also active with other artist-run organizations such as the Chicago Society of Artists and the Palette Club—where she was president—and exhibited in the Women’s Department of the 1893 World’s Fair. In the latter part of her career, Shaw exhibited in New York with the American Watercolor Society (1884, 1899), and in Philadelphia at the Pennsylvania Academy of Fine Arts (1905). She died in Chicago in 1918.

Recently, Shaw’s work has been highlighted in exhibitions of American art such as the Museum of Texas Tech’s 20th and 21st Century Art in Texas, New Mexico, and Arizona, an exhibition of works from its permanent collection that depict the South West.



Measures: 15×17 inches / Oil on canvas board / North Africa


Written by Maymanah Farhat





Artist: Peter Barrett Born: Boston, 1968 American

20637948_10155404845816224_4856917129363735358_nArtist: Peter Barrett Born: Boston, 1968 American

Titled: Departure
Signed & dated 2006 on reverse
Medium: oil on wood, measures 30×48 inches
Farhat Art Museum Collection

School of the Art Institute of Chicago, Chicago, Illinois
Master of Fine Arts, Painting
Rhode Island School of Design, Providence, Rhode Island
Bachelor of Fine Arts, Painting
RISD European Honors Program, Rome, Italy

WFG Gallery, Woodstock, NY: “Eppur Si Muove”
Salve Regina University Gallery, Newport, RI: “Objects”
Dorsch Gallery, Miami, FL: “Ergo Gnomic”
KMOCA, Kingston, NY “(in)Finities”
Salem Art Works, Salem, NY
Supreme Trading, Brooklyn, NY: “Morphologies”
Morgan/Lehman Lakeville, CT
Ingalls & Associates, Miami, FL: “Continuum”
Evos Arts, Lowell, MA: “Long Division”
Ingalls & Associates, Miami, FL: “Permutation”
Artcore Gallery, Toronto, Canada: “Retroflex”
Folin/Riva, New York: “Keys to the Realm”

Nuartlink, Westport, CT: “The White Show”
Nuartlink, Westport, CT: “Rhythms in Translation”
College of the Canyons, Valencia, CA: “Obsessive Reductive”

Aqua Art Fair, Miami, FL: Dorsch Gallery
Carroll and Sons, Boston, MA: “Boston Drawing Project 10th Anniversary”
Art Santa Fe, Santa Fe, NM: ; Thomas Robertello Gallery
Hogar Collection, Brooklyn, NY: “Obsessive Reductive” curated by Peter Barrett
Haim Chanin Fine Art, New York: “66 pieces of art on the wall”
Bernard Toale Gallery, Boston, MA: “The Boston Drawing Project” (Flat File)
Walsh Gallery, Seton Hall University, NJ: “Painting Process”
Aqua Art Fair, Miami: Eyewash gallery
Winkleman Gallery, New York: “Seed” curated by David Cohen
Eyewash at Supreme Trading, Brooklyn, NY: “Brooklyn Abstract” curated by Larry Walczak
Red Dot Art Fair, New York; Morgan/Lehman Gallery
DeCordova Museum, Lincoln, MA: “Big Bang” curated by Nick Capasso
PooL Art Fair, Miami, FL; Ingalls & Associates
Educational Alliance, NY: “Squared” curated by David Gibson
Philoctetes Center, New York: “Pattern Recognition”
Exit Art, New York: RISD Fine Arts Biennial, curated by Robert Storr
Supreme Trading, Brooklyn, NY: “BIG STUFF” curated by Larry Walczak
NADA Art Fair, Miami, FL; Ingalls & Associates
Fe Gallery, Pittsburgh, PA: “Toy”
Endless International Gallery, Shanghai, China: “How Close Are We?”
Boreas, Brooklyn, NY: “Foundation”
MoCADA, Brooklyn, NY: “Project Diversity”
Flash Art Show, Milan, Italy; Ingalls & Associates
DiVA Fair, New York; Ingalls & Associates
Art Miami 2005, Miami, FL; Ingalls & Associates
NIX Gallery, New York: “Circular Convergence”
Claire Oliver Fine Art, New York: RISD Fine Arts Biennial, curated by Shamim Momin
Bank Gallery, Kansas City; MO: “Alias”
-scope, Miami; Ingalls & Associates
-scope, Los Angeles, CA; Ingalls & Associates
ArteFiera 2003, Bologna, Italy; Artcore Gallery
Art Basel Miami Beach 2002, Artcore Gallery
Galerie Valerie Cueto, Paris, France: “Super Cellular”
Art Chicago 2002, Riva Gallery, Artcore Gallery
MiArt 2002, Milan, Italy; Artcore Gallery
Luxe, New York: “Peculiarly Pink”
Artefiera 2002, Bologna, Italy; Artcore Gallery
Artissima 8, Torino, Italy; Artcore Gallery
MAK, Austrian Museum of Contemporary Art,
Vienna; Kunst Wien 2001, Art Trend Gallery
Toronto International Art Fair, Riva Gallery
A to Z Gallery, Saint Paul, MN: “Artist’s Forum #14″ (Video Screening)
The Soap Factory, Minneapolis, MN: “Wall to Wall”
Art Chicago 2001, Folin/Riva Gallery
Art Miami 2001, Miami, FL; Folin/Riva Gallery
Bellwether, Brooklyn, NY: “Flat File”
San Francisco International Art Exposition; Nikolai Fine Art
Nikolai Fine Art, New York: “The Toy Show”
Jones Center for Contemporary Art,
Austin, TX: “New American Talent” David Pagel, curator
Dilmos, Miami, FL: “10,000 Reflections”
Galeria Sin Titulo, Monterrey, Mexico: “Tomorrow… Conceptual Nostalgia”
Gary Marks Gallery, Chicago, IL
Spago, Chicago, IL
Rainbo Club, Chicago, IL: “Abstract September”
Gallery 2, Chicago, IL: “1968 Now?”

Paul Smart, “It Still Moves,” The Woodstock Times, February 2, 2012
Molly Lindsay, “On The Cover: Peter Barrett’s Burner,” Chronogram, February 2012
Daniel Combs, “The Sum of its Parts,” The Newport Mercury, October 20-26, 2010
Onajide Shabaka, “Barrett… at Dorsch Gallery,” Miami Art Exchange, September 29, 2009
Elizabeth Tracy and Trong Nguyen, “Space Landscaping,”, September 20, 2009
Claudine IsÈ, “Peter Barrett and Sarah Hicks,” NewCity, June 22, 2009
Paul Smart, “A Mushrooming Oeuvre,” Ulster Almanac, November 13, 2008
Beth Dunlop, “The Art of Space,” Metropolitan Home, July-August 2008
James Kalm, “Brooklyn Dispatches,” The Brooklyn Rail, April 2007
Leah Oates, “Art Basel lives up to the hype,” NY Arts, March/April, 2007
Franklin Einspruch, “Big Bang! at the DeCordova,”, March 2, 2007
Ken Johnson, “Seeing a Pattern,” The Boston Globe, February 2, 2007
Jason Feifer, “DeCordova explodes with cosmic sci-fi stoner art,” Dig, January 24, 2007
Greg Cook, “Ah, Painting!” The Boston Phoenix, January 23, 2007
Science & The City, “Pattern Recognition,” November 2, 2006
Wagmag, “Big Stuff- Eyewash at supreme Trading,” June 6, 2006
K. Lee Sohn, “Continuum,” Miami New Times, February 2, 2006
Jen Renzi, “Bright Young Thing,” House & Garden, April, 2006
Onajide Shabaka, “Labyrinthine Manifestations,”, January 29, 2006
Dwayne Butcher, “Art That Catches The Eye,”, January 20, 2006
Franklin Einspruch, “Peter Barrett at Ingalls,”, January 19, 2006
Mark Kanny, “Island of Misfit Toys,” Pittsburgh Tribune-Review, November 24, 2005
“The Language of the Circle,” The Tribeca Trib, November 2004
Oz McGuire, “Disguises and Doppelgangers,” Review, March 2004
Robin Trafton, “Masked Artists,” The Kansas City Star, February 27, 2004
Theresa Bembnister, “Art Imitates Life,” The Pitch, February 5, 2004
Roni Feinstein, “Report From Miami,” Art in America, December 2003
Damrys Ocaña, “Art Seen,” Miami Street, October 17, 2003
Elisa Turner, “Technology plays starring role in eye-catching work,” Miami Herald, September 29, 2003
Alfredo Triff, “All in a Show,” Miami New Times, September 25, 2003 Jeffrey Kalstrom, “Wall to Wall,” The New Art Examiner, December 2001
Andrew Knighton, “Two Dimensional Man: Wall to Wall,” Object magazine #2, July 2001
Doug Hanson, “Art review: Soap Factory Show,” Minneapolis Star Tribune, July 27, 2001
John Judge, “Peter Barrett at Folin/Riva,” Zing magazine #15, Spring/Summer 2001
John Peter Brakewood, “Peter Barrett- Les Cles du Royaume,” Art Actuel Hors Serie #3, June 2001
Erica Snow, “Peter Barrett’s Rippling World,” NY Arts, March, 2001
The Village Voice, August 8, 2000: “The Toy Show”
Sergio Bosi, “10,000 Reflections,” The Brazilian Sun, Miami, FL, January 15, 2000
Bertha Wario, “Mueven Su GalerÌa,” El Norte, Monterrey, Mexico, September 29, 1999

Obsessive Reductive; Essay by Peter Barrett
Big Bang; Essay by Nick Capasso
“unAmbiguous,” Artworld Digest, March 2006
Peter Barrett: Continuum; Essay by David Gibson
Direct Art Vol. 12, Fall/Winter 2005
Milano Flash Art Show 2005
RISD Fine Arts Biennial 2004, essay by Shamim Momin
-scope Miami 2003
Peter Barrett: Permutation; Essays by Michael Rooks and Jennifer L. Gray
Art Cologne 2002
Art Chicago 2002
Toronto International Art Fair 2001
Art Chicago 2001
Art Miami 2001
San Francisco International Art Exposition 2000
Texas Fine Arts Association: New American Talent: The Fifteenth Exhibition; Essay by David Pagel


Salem Art Works, Salem, NY
Visiting Artist, College of the Canyons, Valencia, CA
Artist in Residence, Salem Art Works, Salem, NY
Visiting Artist, Brown University, Providence, RI
Visiting Artist, Ox-Bow, Saugatuck, Michigan
Professional Artist’s Residency, Ox-Bow, Saugatuck, Michigan
Artist in Residence, Ox-Bow, Saugatuck, Michigan

The Novell Corporation
Cricket and Marty Taplin, Miami Beach, FL
Vicky and Raffy Hovanessian, Englewood, NJ
Scott and Grace Offen, Newton, MA
Rick Angell and Julie Hopkins, Evanston, IL
Chand Gupta, Chicago, IL
David Parker and Marion Davis, Miami Beach, FL


Artist: Catharine Newell ( American }
Measures: 12×12 inches
Medium: Mixed Media glass wall
Signed & Dated 2001
Farhat Art Museum Collection
Catharine Newell is active/lives in Oregon. Catharine Newell is known for kiln-formed ground glass sculpture-figural, abstraction, teaching.
Catharine Newell, recognized for her distinctive figurative work using glass powders, exhibits her unique approach to kiln working internationally. An ardent educator, Newell’s teaching history includes Master classes at Pilchuck Glass School, North Lands Glass and Corning, as well as venues across Europe and the UK, Australia, China, and Norway. Juried four times into Corning Museum’s New Glass Review, her work has been acquired for the permanent collections of Swedish Hospital, Hotel Murano, Bullseye Glass Company, Hunter Museum of American Art, University of Miami Lowe Museum and Tsinghua University Museum in Beijing. Newell maintains a private studio in Portland, Oregon.
Catharine Newell
I had long assumed that we are the product of our past, informed and bound by personal history and attendant memory. I now find it more logical to presume that we stand only in the present, loosely composed of impressions of our past and future. If this is so, then every moment offers the promise of a shift, an opening, the edge of something. I have been working with oyster shells over the last several months, focusing only upon nuanced evidence of their origination and deterioration. In paying close attention to these generative and erosive details, I’ve discovered something else – access to complete immersion in the present.
Born Pasadena, California, 1947 Currently Portland, Oregon
2010 Residency, Pilchuck Glass School, Stanwood, Washington
2004 Participant, Janusz Walentynowicz class, Pilchuck Glass School, Stanwood, Washington 2003 Participant, Kirstie Rea class, North Lands Creative Glass, Lybster, Scotland
2000 Participant, Narcissus Quagliata class, Pilchuck Glass School, Stanwood, Washington 1969 B.A. Fine Arts, University of California, Santa Barbara (from 1965)
Selected Professional Experience
2015 Instructor, Bullseye Glass Co., Portland, Oregon; Emeryville, California; Santa Fe, New Mexico; Mamaroneck, New York (and 2014, 2013, 2011)
2014 Instructor, Anla Glas, Silkeborg, Denmark
2014 Instructor, The Studio, Corning Museum of Glass, New York (and 2009, 2007)
2014 Instructor, Borella Glass Design, Whanganui, New Zealand
2014 Instructor, Florida State University Master Craftsman Program, Tallahassee, Florida 2012 Instructor, Blue Dog Glass, Melbourne, Australia
2012 Instructor, OATKA School of Glass, Batavia, New York
2011 Instructor, Oregon College of Art and Craft, Portland
2010 Instructor, North Lands Glass School, Lybster, Scotland
2010 Instructor, Glass Forum, Averoy, Norway (and 2008)
2010 Lecturer, Alberta College of Art + Design, Calgary, Canada
2009 Lecturer, UK Artist Lecture Tour #2, Bullseye Glass Company
2008 Instructor, Creative Glass Workshops, Wels, Austria, and Zurich
2008 Lecturer, GAS Conference, Portland, Oregon
2008 Instructor, Pilchuck Glass School, Stanwood, Washington
2007 Instructor, UrbanGlass, Brooklyn
2006 Lecturer, Tsinghua University, Beijing and Xi’an Academy of Fine Arts, China
2006 Lecturer, Taipei National University of the Arts and National Taiwan University of Arts 2006 Lecturer/Instructor/Residency, University of South Australia, Adelaide

Selected Exhibitions
2016 Accumulations, Bullseye Resource Center New York Gallery, Mamaroneck 2014 Multiply, Bullseye Resource Center New York Gallery, Mamaroneck
2014 Retrospective, Bergstrom-Mahler Museum of Glass, Neenah, Wisconsin 2014 Retrospective, Bullseye Gallery, Portland, Oregon
2014 Unexpected Imagery, Rochester Institute of Technology, New York
2013 Living Legacies: The JSMA @ 80, Jordan Schnitzer Museum of Art, Eugene, Oregon 2013 Vanitas, Bullseye Gallery, Portland, Oregon
2013 Just Now, Davis & Cline Gallery, Ashland, Oregon
2012 Confabulation, Ken Saunders Gallery, Chicago, Illinois
2012 Chromatic Fusion, New Mexico Museum of Art, Santa Fe
2012 Evolve, Bullseye Gallery, Portland, Oregon
2012 50 Years of Studio Glass, Kentucky Museum of Art and Craft, Louisville
2011 Presence of Absence, Davis & Cline Gallery, Ashland, Oregon
2011 Jellies: Living Art, Hunter Museum of American Art, Chattanooga, Tennessee
2011 SOFA Chicago (Bullseye Gallery, Portland, Oregon)
2011 Act 2: The Next Track, Museum of Northwest Art, La Conner, Washington
2011 This Fragile Skin, Schack Art Center, Everett, Washington
2010 Art Miami, (Marx Saunders Gallery)
2009 Interstice, Bullseye Gallery, Portland, Oregon
2009 Colloquia, Davis & Cline Gallery, Ashland, Oregon
2008 As Is, Pacini Lubel Gallery, Seattle, Washington
2007 Being, Davis & Cline Gallery, Ashland, Oregon
2006 Alone Together, Bullseye Gallery, Portland, Oregon
2003 Thin Walls, Bullseye Gallery, Portland, Oregon
Montreal Museum of Fine Arts, Canada
Awards, Honors & Grants
2004 Scholarship recipient, Pilchuck Glass School, Stanwood, Washington 2003 CraftHouston Award of Merit
2003 Louis Comfort Tiffany Biennial Award Nominee
2002 First Place, WG@BE II, Bullseye Resource Center, Portland, Oregon 2002 NICHE Award, Buyers Market of American Craft, Philadelphia
2000 Corning Award Nominee, Pilchuck Glass School, Stanwood, Washington
Selected Publications
2014 New Glass Review 35, Corning Museum of Glass (and 2012, 2010, 2009, 2005). 2008 “Ones to Watch.” Western Art & Architecture, Fall 2008, 50–51.
2007 “Art Beat.” Oregon Public Broadcasting. Televised profile, March 2007.


Measures: 12×12 inches
Medium: Mixed Media glass wall
Signed & Dated 2001
Farhat Art Museum Collection


Measures: 12×12 inches
Medium: Mixed Media glass wall
Signed & Dated 2001
Farhat Art Museum Collection