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Last updated: 1/25/2017
Home / Gallery Tour 1 / Gallery News / Gallery Tour 2 / Artists

Pierre Alechinsky (b. 1927): Margin and Center

The Dog King / Boxes / Central Park / Critters / Drawings / Faces / Grandes Marges / Hors Texte
Labyrinths / Landscapes / Margin and Center / Maps / Mark-Making / Screamers / Snakes / Transformations / Venice / Volcanoes
In 1987, the Guggenheim Museum presented a retrospective of Alechinsky's paintings and prints (not to mention a painted harpsichord). In the preface to the exhibition catalogue, Thomas M. Messer, director of the Solomon R. Guggenheim Foundation, observed that after the end of World War II, opposing tendencies to Parisian modernism arose, most conspicuously the examples "set by Jean Dubuffet in France and the Cobra artist in Denmarkm Belgium, and the Netherlands were the most conspicuous. PIerre Alechinsky, surely one of the youngest participants in the shortlived but influential Cobra movement, was even then recognizable as standard bearing for the Belgians, marked as he was by extraordinary talent and early achievment" (and by early, one might ponder the fact that he was 19 at the time he began particiapting in planning of the group). Cobra has long since been recognized as a meaningful chapter in the history of modern art, and while happily, a few of its original adherents are still working vigorously, many others have left the scene [including, most recently Karel Appel, one of Aechinsky's closest friends and sometimes collaborators, in 2006]." Messer goes on to single out (of many possible formal traits, "the pervassive formal and iconographic presence of the two components that comprise the exhibition's title," Pierre Alechinsky: Margin and Center, while reminding us that "this conspicuous device applies only to a small fraction of the artist's total oeuvre and therefore appears magnified by its isolation" (pages 8-9). One of the central works in this show is Alechinsky's painting Central Park (1965), in which the central images is surrounded on the sides by a row of smaller drawings and at top and bottom by two rows of drawings (see p. 35 of the Guggenheim catalogue or the cover of Jean-Clarence Lambert's Central Park (Paris: Yves Rivière, 1976) or on p. 139 of PIerre Alechinsky: Paintings and Writings (with a forward by Eugene Ionesco) published by the Museum of Art: Carnegie Institute in 1977 for the exhibition to commemorate his being awarded the first Andrew W. Mellon Prize in 1977 or in Alechinsky (Valencia: IVAM Centre Julio GOnzalez, 2000), p. 55, or in, I'm sure, many other books and exhibition catalogues about the artist. It was also memeorialized in 4 large etchings (which we no longer have), a small etching (that we sold) and a lithograph (which we do still have—see immediately below).
Central Park. Original color lithograph, 1975. 175 impressions on Arches plus 50 on japon. There are also 25 impressions H.C. Central Park is also the subject of Alechinsky's most important painting, which depicts Central Park as a monster devouring everyone that enters its domain. Image Size: 495x657mm. Price: $3250.
Illusion d'optique / Optical illusion (A. 345). Original color lithograph, 1967. 150 signed & numbered impressions on Arches plus xv artist's proofs, of which this is xv/xv. This is one of his earliest prints organized around the motif of margin and center. One of the founding members of the COBRA group (along with Appel, Jorn, Dotrement, among others), Alechinsky was the first winner of the Andrew W. Mellon Prize for Painting (1977) and the French Grand Prix National for Painting in 1984. Image size: 480x640mm. Price: $$4000.
Six leçons / Six Lessons. (A. 339). Original etching on biege hand-made Japonese rice paper, each sheet of which is unique, 1967. 30 signed & numbered impressions, of which we have numbers 5/30 and 2/30. One of Alechinsky's rarest and most beautiful prints. The six tightly-packed images sit in the center of a much larger sized sheet of hand-made Japanese rice paper, and the tension of the contrast between the black and beige etchings and the lush and luxurious rice paper give the work a tension it might not have had on plain white paper. We have another impression of this work on another sheet of paper. Because the paper is different, the overall look and feel of each impression differs as well. Image size:180x240mm. Price: $3250.
Lino-Litho VI (A. 468). Original color linogravure and lithograph, 1970. Part of a set of 10 works on Arches paper, of which this is 67/99. There were also xii trial proofs and 15 impressions in black and white. Printed by Clot, Bramsen and Georges in Paris and published by London Art Gallery in London. This is one of the most interesting of the 10 works in the series. Included in the 1975 Pompidou show that then toured to museums through Northern Europe. Image size: 240x310mm. Mat size: 20x24 inches. Price: $3250.
Lettre ouvert / Open letter. Original color lithograph, 1975. 400 signed & numbered impressions on Arches wove paper; our impression is an artist proof annotated e.a. xix/xxx. The central figure is holding a paper down and drawing on it to "open" it up. Image size: 760x535mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: $3250.
Voilée comme ma marriée / Veiled like my bride. Original lithograph and color etching, 1975. 90 signed & numbered impressions on Arches of which ours is n. 77/90. Published by Yves Rivière, Paris. The work was included in a show of Alechinsky's prints at the Centre Pompidou in Paris. It then toured to 10 museums in France as well as museums in Germany, Denmark, Norway, Sweden, and Finland. Image size: 610x766mm. Mat size: 32x40 inches. Price: $5000.
Chemin de ronde / The watchman's path. Original lithograph and linocut, 1977. 150 signed & numbered impressions, of which ours is n. 134/150. This work was one of only 26 prints included in the major Alechinsky retrospective exhibited at the Guggenheim Museum in 1987. The show then travelled to the Musées Royeaux des beaux Arts in Brussels and the Musée d'Art Moderne de la Ville de Paris. Illustrated in Margin and Center, the catalogue for the Guggenheim show. Image size: 635x930mm. Mat size: 30x42 inches. Price: $5000.
Oeil fixé / Fixed eye. Original color lithograph, 1977. 100 signed & numbered impressions on BFK RIves paper of which ours is n. 95/100. An interesting night scene: in the smaller insert we see a planetary body floating in a moonless night sky; in the larger scene, we can see the reflection of the light from the night sky in the water below. Evidently not all Alechinsky landscapes are filled with strange creatures. Here nature is all we need. Image size: 660x495mm (matted in a 32x24 inch sheet of archival acid-free museum board). Price: $3250.
Papiers Traités: Restaurant de l'Union. Original color lithograph, 1978. 99 signed & numbered impressions on Arches wove paper. Published by Maeght Editeur. For the works in this series, Alechinsky begain with a lithograph after a receipt from a 19th-century business. He decorated these with ink, added some appropriate background, and a border drawn on the stone with a lithograph crayon. This is one of only 26 prints to be included in Alechinsky's 1987 Exhibnition at the Guggenheim Museum. The show then travelled to the Musées Royeaux des beaux Arts in Brussels and the Musée d'Art Moderne de la Ville de Paris. Image size: 660x520mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: $3750.
Papiers Traités: Rousseau Freres. Original color lithograph, 1978. 99 signed & numbered impressions on Arches wove paper. Published by Maeght Editeur. For the works in this series, Alechinsky begain with a lithograph after a receipt from a 19th-century business. He decorated these with ink, added some appropriate background, and a border drawn on the stone with a lithograph crayon. This is one of only 26 prints to be included in Alechinsky's 1987 Exhibnition at the Guggenheim Museum. The show then travelled to the Musées Royeaux des beaux Arts in Brussels and the Musée d'Art Moderne de la Ville de Paris. Image size: 660x520mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: SOLD.
Papiers Traités: D. Juin et Fils. Original color lithograph, 1978. 99 signed & numbered impressions on Arches wove paper. Published by Maeght Editeur. For the works in this series, Alechinsky begain with a lithograph after a receipt from a 19th-century business. He decorated these with ink, added some appropriate background, and a border drawn on the stone with a lithograph crayon. This is one of only 26 prints to be included in Alechinsky's 1987 Exhibnition at the Guggenheim Museum. The show then travelled to the Musées Royeaux des beaux Arts in Brussels and the Musée d'Art Moderne de la Ville de Paris. Image size: 660x520mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: $3750.
Papiers Traités: Rodrigues et Cie. Original color lithograph, 1978. 99 signed & numbered impressions on Arches wove paper. Published by Maeght Editeur. For the works in this series, Alechinsky begain with a lithograph after a receipt from a 19th-century business. He decorated these with ink, added some appropriate background, and a border drawn on the stone with a lithograph crayon. This is one of only 26 prints to be included in Alechinsky's 1987 Exhibnition at the Guggenheim Museum. The show then travelled to the Musées Royeaux des beaux Arts in Brussels and the Musée d'Art Moderne de la Ville de Paris. Image size: 660x520mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: $3750.
En votre aimable dérèglement / In your aimaiable disorder. Original color lithograph, 1986. 150 signed & numbered impressions on Arches paper, of which ours is n. 88/150. The painter at his easel is one of Picasso and Chagall's favorite themes. However, instead of presenting the artist as a heroic figure, Alechinsky shows the artist working hard at this easel painting on a canvas, imposing his vision not on a blank slate, but on an invoice for things already bought. Image size: 545x355mm (matted in a 32x24 inch mat of archival acid-free museum board). Price: $3250.
Pierre Alechinsky-Claude Simon, Placard. Original color lithograph, 1986. 500 signed and numbered impressions of which ours is n. 181/500. Simon, winner of the Nobel Prize for Literature, and Alechinsky, winner of the first Andrew W. Mellon Prize for Painting, the Nobel Prize for artists, collaborated on this piece in which Alechinsky gives us a speaking picture of Simon's text. Since Simon's Nobel was awarded him, this piece has become quite scarce. Image size: 586x776mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: $1750.

The blank paper outside the black lines that forms the border is actually white. Athough I don't know very much about Claude Simon, I know that in addition to Alechinsky, he was friendly with other artists, including Claude Garache, who was staying with us in Madison WI when the news that Simon had been awarded the Nobel Prize in literature was broadcast. Garache immediately called the other Claude to congratulate him, suggesting how easily artists and writers get along, at least in France.
Encrier de voyage / Inkwell travel. Original color lithograph, 1984. 75 signed & numbered impressions on Arches wove paper; our impression is n. 59/75. In this work, from an open ink bottle, a swirl of ink arise like a genie from Aladdin's lamp and the map behind the white square (a blank sheet of paper?) a whole universe of images arises to cover the map upon which the design is imposed. Image size: 725x518mm (matted in a 36x28 inch sheet of archival acid-free museum board). Price: $3250.

For additional works that are based upon maps, please click here.
Louisiana I. Original color etching, 1983. 150 signed & numbered impressions on Arches paper, of which ours is n. 88/150. 99 signed & numbered impressions on Arches, of which this is n. 85/99. In 1975, the Louisiana Museum of Modern Art in Humlebaek, Denmark, established a permanent Alechinsky Room. This etching is a tribute to the museum done on the occasion of Alechinsky's donation of a number of drawings to the museum. Maek-making in its purist form! Image size: 560x450mm (matted in a 30x24 inch mat of archival acid-free museum board). Price: $4000.
Louisiana II. Original color etching, 1983. 150 signed & numbered impressions on Arches paper, of which ours is n. 88/150. 99 signed & numbered impressions on Arches, of which this is n. 83/99. In 1975, the Louisiana Museum of Modern Art in Humlebaek, Denmark, established a permanent Alechinsky Room. This etching is a tribute to the museum done on the occasion of Alechinsky's donation of a number of drawings to the museum. Maek-making in its purist form! Image size: 560x450mm (matted in a 30x24 inch mat of archival acid-free museum board). Price: $4000.
Louisiana III. Original color etching, 1983. 150 signed & numbered impressions on Arches paper, of which ours is n. 90/150. 99 signed & numbered impressions on Arches, of which this is n. 83/99. In 1975, the Louisiana Museum of Modern Art in Humlebaek, Denmark, established a permanent Alechinsky Room. This etching is a tribute to the museum done on the occasion of Alechinsky's donation of a number of drawings to the museum. Maek-making in its purist form! Image size: 560x450mm (matted in a 30x24 inch mat of archival acid-free museum board). Price: $4000.
Premier Acte / Act One. Original color lithograph, 1976. 120 signed and numbered impressions on Arches, of which ours is n. 106/120. Images size: 1000x620mm. Mat size: 48x36 inches. Price: $7500.

Bottom left: Seoul '88. Original color lithograph, 1988. Commissioned for the 1988 Seoul Olympics, the work was never published: the publisher of the Olympic Art Portfolio went into bankruptcy and the works were tied up in court. A mock-up of the cover of a book on Contemporary Art & The Olympics (Seoul, Lloyd Shin Gallery, 1988) showed Alechinsky's work on the dust jacket (Art Gallera International, July/August 1989, p. 12), but I know only a review of the book and not the book itself. We acquired some impressions from one of the creditors who, on his last visit, told us that the remainder of the pieces had been damaged by water from a leaky roof in the warehouse where they were in storage and had been destroyed. The original edition was for 300 signed and numbered impressions for public release plus CCC for the Olympic Art Committee, of which ours is CXLVI/CCC; the actual number that survived was much smaller than that. Image size: 760x560mm. Mat size: 36x28. Price: $3750.

Spirale I. Original woodcut, c. 1975. 300 signed and numbered impressions on Arches paper (of which ours is n. 98/300) measuring 655x505mm. Woodcuts are rare in Alechinsky's print oeuvre, but the spiral or labyrinthine or serpent form is one of Alechinsky's favorites. Image size: 495x362mm. Mat sizze: 30x24 ibches. Price $3250.
Deuxième Acte / Act Two. Original color lithograph, 1976. 120 signed and numbered impressions on Arches, of which ours is n. 106/120. Images size: 1000x620mm. Mat size: 48x36 inches. Price: $7500
Troisième Acte / Act Three. Original color lithograph, 1976. 120 signed and numbered impressions on Arches, of which ours is n. 106/120. Images size: 1000x620mm. Mat size: 48x36 inches. Price: $7500
The Year of the Snake. Original color serigraph with etching, 1977. 150 signed & numbered impressions. In 1977, which was the Year of the Snake in the Chinese calendar, Alechinsky was awarded the Andrew W. Mellon Prize, then roughly the fiscal equivalent of the Nobel Prize. This work was made to commemorate that event and to serve to introduce a retrospective of Alechinsky's works at the Carnegie Institute in Pittsburgh. Image size: 964x634mm (38x25 inches). Frame size: Mat size: 48x36 inches. Price: $4500.

During the show (until 5/4/14), we will see the first impression of this work for half price ($2250). Our last impression will then be priced at $4500..
Chicago. Original color etching and lithograph, 1991. 99 signed & numbered impressions on Arches of which this is n. 55/99. This was the official featured print at the 1991 Chicago International Art Exposition. Image size: 1013x750mm. Mat size: 48x36 inches. Price: $8500.

There was also an unsigned offset lithograh with poater text available at the Expo as a souvenir.
The winner of the first Andrew W. Mellon Prize for Painting (1977) and the French Grand Prix National for painting in 1984, Alechinsky has been recognized in recent years as one of the most significant living artists. (The art market has also noticed his stature: one of his paintings sold at auction about 15 years ago for over $2,000,000.)

Alechinsky was just barely out of his teens when he burst onto the art scene as one of the original members of the COBRA group, and over the years he has emerged as one of the most imaginative and witty artists of our times. Alechinsky fans are everywhere. John Russell, who in 1986-87 devoted three separate columns in The New York Times to Alechinsky, sees him as "a man of strange blameless passions. Decorated invoices, worthless stock certificates, obsolete air-force navigational charts and ancient hand-written archival materials spark his imagination. . . . He has a taste for nature’s upheavals." Carlos Fuentes, the Mexican novelist for whom "the garden is the center of the world," has described Alechinsky as a man who "paints gardens. . . . He knows that the history of gardens is the history of all of us. . . . Alechinsky . . . chooses any of the forked paths of the manicured gardens at Blois or Hampton Court and then transforms them, ferociously, into the savage gardens of the primitive mind, the original unity of dream and awareness, reason and imagination, desire and reality." Indeed, it may be that it is his dream of recovering that lost unity that makes him, as The Times called him, "a poet of entanglement, [who] resolutely turns the emphasis away from himself, preferring to act rather as historian and referee than as autobiographer. . . . His touch is light, his thought rapid, his view of the world as sharp as it is benign. There is no better companion, and not many who keep us so consistently amused and are so generous with their findings."

Alechinsky has had major retrospectives at the Museum of Modern Art and The Guggenheim Museum in NY, The Museum of Arts, Carnegie Museum in Pittsburgh (in 1977, the Year of the Snake), The Palais des Beaux-Arts and the Musées Royeaux des Beaux Arts in Brussels, the Musée d'Art Moderne de la Vile de Paris and the Musée National d'Art Moderne, Centre Pompidou in Paris, the Boymans-von-Beuningen in Rotterdam, the Louisiana Museum in Humlebaek, and museums in Aalborg, Brême, Copenhagen, Darmstadt, Des Moines, Düsseldorf, Gordes, Hanover, Marseille, Metz, Mexico City, Munich, St. Paul de Vence, Toronto, and Zurich.

Select Bibliography: General works: Daniel Abadie and Willy Van Den Bussche, Pierre Alechinsky (Ostend: PMMK, 2000); Pierre Alechinsky, Cent vingt dessins, donation de l'artiste (Brussels: Musees Royaux des Beaux-Arts de Belgique, Brussels 1973); Pierre Alechinsky, Divers faits (Vevey: Musee Janisch, 2000); Pierre Alechinsky, Au Pays de l'encre (Paris: Centre Pompidou, 1998), Pierre Alechinsky, Dotremont et Cobra-foret (Paris: Galilee, 1988); Pierre Alechinsky, Drawings and Prints (Jerusalem: Musee d'Israel, 1970); Pierre Alechinsky, Hoirie Cobra (Caen: L'Échoppe, 1990); Pierre Alechinsky, Ideotraces (Paris: Editions Denoel, 1966); Pierre Alechinsky, Le bureau de titre (Paris: Fata Morgana, 1983); Pierre Alechinsky, Le test du titre: 6 planches et 61 titreurs d'elite (Paris: Yves Riviere Editeur, 1974); Pierre Alechinsky, Margin and Center (NY: Solomon R. Guggenheim Foundation, 1987); Pierre Alechinsky, New Work: Pains de terre émaillé, Flora Danica drawings, Revalorisations (NY: Andre Emmerich Gallery, 1991); Pierre Alechinsky, Notes sur Orsay (Caen: L'Échoppe, 1989); Pierre Alechinsky, Paintings and Writings (Pittsburgh: Museum of Art, Carnegie Institute, 1977); Pierre Alechinsky, Pierre Alechinsky: Werke 1958-1968 (Düsseldorf. Kunstverein fur die Rheinlande und Westfalen, 1969); Pierre Alechinsky, Reponses a un questionnaire (Caen: L'Echoppe, 1987); Pierre Alechinsky, The Future of Property. Fourteen Specimens re-evaluated by Pierre Alechinsky (NY: Lefebre Gallery, 1970); Pierre Alechinsky and Georges Duby, Alechinsky (Zurich: Maeght Zurich, 1980); Pierre Alechinsky, and Amos Kenan, Les Tireurs de Langue (Paris: Yves Riviere Editeur, 1974); Pierre Alechinsky and Karel Appel, Two-brush paintings. Their Poems by Hugo Claus. Foreword by Christian Dotrement (Paris: Yves Riviere Editeur, 1980); Karel Appel & Pierre Alechinsky, Encres a deux pinceaux (Paris: Yves Riviere Editeur, 1978); Alain Bosquet, Alechinsky (Paris: Le musee de poche 1971); Jacques Busse, Pierre Alechinsky (Chicago: Arts Club Of Chicago, 1965); Pierre Descargues, Alechinsky Bouches et Grilles (Paris: Galerie Maeght Lelong 1986); Christian Dotrement et al., Appel et Alechinsky: Encres à deux pinceaux, peintures, etc. (Saint Paul De Vence: Fondation Maeght, 1982); Georges Duby, Alechinsky (Zurich: Maeght Zurich 1980); Jacques Dupin, Alechinsky: Laves Emaillees (Paris: Galerie Lelong, 1988); Petit journal: Made in France 1947-1997 (Paris: Centre Pompidou, 1997); Jacques Putnam, Alechinsky (Paris: Celiv, 1990); Alain Robbe-Grillet, Pierre Daix et al., Pierre Alechinsky (Valencia: IVAM Centre Julio Gonzalez, 2000); Alain Robbe-Grillet, John Yau, Daniel Abadie and Pierre Daix, Pierre Alechinsky (Paris: Jeu de Paume, 1998); Michel Sicard, Alechinsky Sur Rhone (Paris: Galerie Lelong, 1990); Michel Sicard, ed. Pierre Alechinsky: Extraits pour traits (Paris: Galilée, 1989); Giorgio Soavi, Alechinsky: XXXVI Biennale de Venise, Pavillon Belge (Venice: Venice Biennale, 1972).

Prints: Pierre Alechinsky, Alechinsky a l'imprimerie: 150 estampes (Paris: le Musee national d'art moderne, 1975, 1977); Pierre Alechinsky, Alechinsky. (Rome: Edizioni 2RC, 1988); Pierre Alechinsky, Aux petits soins (Paris: Atelier Clot, 1989); Pierre Alechinsky, Ces robes qui m'evoquaient Venise. (Montpellier: Fata Morgana, 1988); Pierre Alechinsky, L'avenir de la propriéte (Montpellier: Fata Morgana, 1992); Pierre Alechinsky, Communication: 16 Manifestations d'Hypertrophie Calligraphique (Vouvière (Belgique): Editions du Daily-Bul, 1967); Pierre Alechinsky et al., The Complete Books: A Reasonable Catalogue (Antwerpen: Ceuleers & Van de Velde, 2002); Pierre Alechinsky and Michel Butor, Le Chien Roi (Paris: Daniel Lelong Editeur, 1984); Franck Bordas et al, Les Impressions de Pierre Alechinsky (Paris: Bibliothèque nationale de France, 2005); Michel Butor et Michel Sicard, Pierre Alechinsky: Frontières et Bordures (Paris: Editions Galilee, 1984); Michel Butor et Michel Sicard, Alechinsky: Travaux d'Impression (Paris: Editions Galilee, 1992); Michel Draguet et al., Alechinsky from A to Y (Tielt, Belgium: Lannoo, 2007); Rainer Michael Mason et al, Pierre Alechinsky: Noir sur blanc (Geneva: Caninet des Estampes du Musee D'Art et D'Histoire, 1998); Yves Riviere, Pierre Alechinsky: Les estampes de 1946 a 1972 (Paris: Yves Riviere Editeur, 1973).
Pierre Alechinsky, Paintings and Writings (Pittsburgh: Carnegie Museum, 1977). Published on the occasion of the award of the first Mellon Prize to Alechinsky, the deluxe edition of 100 is signed by Alechinsky. The book contains essays by Alechinsky on artists like Joan Miró and Bram van Velde, stories by Alechinsky, a photoducmentation of COBRA, and a good selection of Alechinsky's most important early paintings. The work is decorated by reproductions of drawings done especially for the volume. Although unsigned copies are presently selling for as much as $125 in the used book market, we are pleased to be able to offer several used copies for $50.00 each.

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