"THERE HAS TO BE A WAY" -Mary Vickers -Original Hand Drawings [2] -1976 -Signed
"THERE HAS TO BE A WAY" & ‘‘TENNIS ANYONE” -Mary Vickers -Original Hand Drawing -1976 -Signed
Nestled among the forgotten treasures of the retired Manhattan gallery, a whimsical 7x7” satirical drawing by Mary Vickers emerges from its half-century slumber, like a quirky time capsule brimming with sass and charm. This playful piece, presumably created during the swinging '70s, seems to mock the very conventions that once shackled the arts with its cheeky depictions of Victorian elegance intertwined with a dash of irreverence. Vickers, with her renowned talent for capturing beauty amidst life’s drab moments, adds a layer of irony that can only come from an artist who knows how to dance on the tightrope between delight and absurdity. The drawing, with its cheek-in-tongue humor, winks at the viewers as if to say, "See, even beauty has its quirks!" It invites observers to reflect on the thin line between sincerity and satire, offering a fresh perspective that feels both nostalgic and contemporary—a true testament to Vickers' enduring spirit.
"THERE HAS TO BE A WAY" & ‘‘TENNIS ANYONE” -Mary Vickers -Original Hand Drawing -1976 -Signed
Nestled among the forgotten treasures of the retired Manhattan gallery, a whimsical 7x7” satirical drawing by Mary Vickers emerges from its half-century slumber, like a quirky time capsule brimming with sass and charm. This playful piece, presumably created during the swinging '70s, seems to mock the very conventions that once shackled the arts with its cheeky depictions of Victorian elegance intertwined with a dash of irreverence. Vickers, with her renowned talent for capturing beauty amidst life’s drab moments, adds a layer of irony that can only come from an artist who knows how to dance on the tightrope between delight and absurdity. The drawing, with its cheek-in-tongue humor, winks at the viewers as if to say, "See, even beauty has its quirks!" It invites observers to reflect on the thin line between sincerity and satire, offering a fresh perspective that feels both nostalgic and contemporary—a true testament to Vickers' enduring spirit.
"THERE HAS TO BE A WAY" & ‘‘TENNIS ANYONE” -Mary Vickers -Original Hand Drawing -1976 -Signed
Nestled among the forgotten treasures of the retired Manhattan gallery, a whimsical 7x7” satirical drawing by Mary Vickers emerges from its half-century slumber, like a quirky time capsule brimming with sass and charm. This playful piece, presumably created during the swinging '70s, seems to mock the very conventions that once shackled the arts with its cheeky depictions of Victorian elegance intertwined with a dash of irreverence. Vickers, with her renowned talent for capturing beauty amidst life’s drab moments, adds a layer of irony that can only come from an artist who knows how to dance on the tightrope between delight and absurdity. The drawing, with its cheek-in-tongue humor, winks at the viewers as if to say, "See, even beauty has its quirks!" It invites observers to reflect on the thin line between sincerity and satire, offering a fresh perspective that feels both nostalgic and contemporary—a true testament to Vickers' enduring spirit.
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
