"MUSICAL CHAIRS" -Mary Vickers -Lithograph -1978 -Signed & Numbered -1/275
Mary Vickers’ lithograph MUSICAL CHAIRS (1978), a signed and numbered 1/275 piece, dips gracefully into the whimsical blend of nostalgia and contemporary relevance that characterizes her oeuvre. With a size of 30x22”, this artwork was hidden away in a retired NYC Manhattan gallery for over five decades, waiting to re-emerge and delight art enthusiasts. Vickers, hailing from a quaint village near London, soaked up the rich influences of the Romantic Period during her studies at the St. Martin School of Art, mingling with the creative giants of her time and wandering through the hallowed halls of London’s renowned museums. Her unique ability to infuse love and joy into the sometimes drab realities of life shines through in her work — a quality so well articulated by that lovely line, “There is no beauty without love.” As Vickers ventured into original printmaking in 1969, she unlocked an exciting realm of self-expression that has continued to enchant audiences with its vibrant emotional resonance and technical mastery. With “MUSICAL CHAIRS,” every glance pulls you into a dance of joy and feeling, beckoning you to join in the playful rhythm of life that Mary so beautifully captures.
Mary Vickers’ lithograph MUSICAL CHAIRS (1978), a signed and numbered 1/275 piece, dips gracefully into the whimsical blend of nostalgia and contemporary relevance that characterizes her oeuvre. With a size of 30x22”, this artwork was hidden away in a retired NYC Manhattan gallery for over five decades, waiting to re-emerge and delight art enthusiasts. Vickers, hailing from a quaint village near London, soaked up the rich influences of the Romantic Period during her studies at the St. Martin School of Art, mingling with the creative giants of her time and wandering through the hallowed halls of London’s renowned museums. Her unique ability to infuse love and joy into the sometimes drab realities of life shines through in her work — a quality so well articulated by that lovely line, “There is no beauty without love.” As Vickers ventured into original printmaking in 1969, she unlocked an exciting realm of self-expression that has continued to enchant audiences with its vibrant emotional resonance and technical mastery. With “MUSICAL CHAIRS,” every glance pulls you into a dance of joy and feeling, beckoning you to join in the playful rhythm of life that Mary so beautifully captures.
Mary Vickers’ lithograph MUSICAL CHAIRS (1978), a signed and numbered 1/275 piece, dips gracefully into the whimsical blend of nostalgia and contemporary relevance that characterizes her oeuvre. With a size of 30x22”, this artwork was hidden away in a retired NYC Manhattan gallery for over five decades, waiting to re-emerge and delight art enthusiasts. Vickers, hailing from a quaint village near London, soaked up the rich influences of the Romantic Period during her studies at the St. Martin School of Art, mingling with the creative giants of her time and wandering through the hallowed halls of London’s renowned museums. Her unique ability to infuse love and joy into the sometimes drab realities of life shines through in her work — a quality so well articulated by that lovely line, “There is no beauty without love.” As Vickers ventured into original printmaking in 1969, she unlocked an exciting realm of self-expression that has continued to enchant audiences with its vibrant emotional resonance and technical mastery. With “MUSICAL CHAIRS,” every glance pulls you into a dance of joy and feeling, beckoning you to join in the playful rhythm of life that Mary so beautifully captures.
THE WORK OF MARY VICKERS AS SEEN THROUGH HER EYES
“One of the most important things to me is that people should feel and show love for each other. If I could embrace the world, I would. I am lucky though; I can reach many people through my work, and people tell me they feel love when they look at one of my paintings, and they are right, for I don’t feel that the painting is fully completed until it has been loved and owned by the person I really painted it for, even though I may never see the. I am not a person who can paint for myself alone; although I must paint something I like or feel is an extension of me. It gives me the ultimate pleasure when it has a loving owner, for in my mind, I feel that that person has accepted and loved me. It is almost like an actor who is stimulated by an approving audience. The public is a life-giving force essential for his work; so it is with mine.
I have painted many subjects during my career, appreciating all the beautiful things in life, and perhaps only seeing that side of them and ignoring the bad. My attitude is generally that way; for or bad depending on how one comes to look at it. I prefer to depict the beauty I see, maybe making it better than it really is, as in my way it works to combat the bad things that are a reality i life also.
My latest subject matter depicts the tender, loving side of a male-female relationship. My object is to show that this wonderful, natural relationship can be depicted in a tasteful, beautiful way—the way I feel we all would dream it should be—the way I know it is.
I have made many lovely friends from the people who admire my painting, for I feel they share my feelings on life, and it is encouraging to know that so many feel that way—with that attitude we have much going for us to achieve the ultimate we all must desire—“peace on earth.
EDUCATION
S.E. Essex School of Art
St. Martine School of Art
New York Art Student League
Pratt Institue Graphic Center, N.Y.
AS OF THE 1970’S
COLLECTIONS
Sarah Churchill, London, England
Duke & Duchess of Marlborough, London, England
T. Huxley Jones, London, England
Mr. & Mrs. F.E. Willatts, London, England
Johnny Ray, London, England
Max Bygraves, London, England
Mr. & Mrs. Robert Alda, Rome, Italy
Sr. & Sra. Leonardo Nierman, Mexico City
Miss Peggy Lipton, Los Angeles, California
Frankie Land, Los Angeles, California
Guy Mitchell, Los Angeles, California
Mr. & Mrs. Harry Skleros, Commack, N.Y.
David Holliday, New York, N.Y.
Mr. & Mrs. James Leeds, Lexington, Kentucky
Mr. & Mrs. Jack Krauss, Nyack, N.Y.
Mr. & Mrs. G. King, Palm Beach, Florida
AWARDS
1967 -Lake Art Ass’n, N.Y. -Two first prizes in oils
1968 -Mystic Art Festival, Conn. -Second prize in oils
ONE WOMAN SHOWS
1969- Mitch Morse Gallery, Lawerence, N.Y.
1969- Verily Gallery, Northport, N.Y.
1970 -Mitch Morse Gallery II, New Hope, PA
1970- Priscilla’s Gallery, Pt. Washing, N.Y.
1971- Mitch Morse Gallery, New York, N.Y.
1971 -Loradel Gallery, Huntington, N.Y.
1972 -Lafayette Gallery, Lexington, Kentucky
1973
Marina Gallery, Nycak, N.Y.
Merrill Chase Galleris, Chicago, Illinois
Main Street Gallery, Kingston, PA
Art deL’ile, Paris, France
PERMANENT EXHIBITIONS
Mitch More Gallery, New York, N.Y.
Merrill Chase Galleries, Chicago, Illinois
Lafayetter Gallery, Lexington, Kentucky
Marina Gallery, Nysack, N.Y.
Montmartre Gallery, St. Louis, MO
Main Streng Gallery, Kingston, PA
Gallery Francesca, San Juan, P.R.
Stars and Stripes, Memphis, Tenn
Galeria Veronese, New Orleans, LA
