Marshall Gallery Circa 2007

The was the Marshall Gallery's official website before it acquired and merged with the LeKAE Gallery of Main Street  in Scottsdale, Arizona in 2009. The content below is from the site's 2007 archived pages. Visit the current website of the ​Marshall Gallery' at:​. Their current loacation is at 7106 East Main Street Scottsdale, AZ 85251


Circa 2007

Marshall Gallery
4168 N. Marshall Way
Scottsdale AZ 85251

The Marshall Gallery is renowned for inimitable quality, where you may buy timeless fine art with utmost confidence.

The Marshall Gallery specializes in original Abstract Art, Antique Art, Bronzes, Contemporary Art, Drawings, Etchings, Figurative Art, Fine Art, Hand-made Clocks, Intaglios, Landscapes, Modern Art, Oils, Oil Paintings, Original Art, Pen-and-Ink, Realism, Representational Art, Sculpture, Still Life, Stone, Symbolist Art, Urban Art, Watercolors and Wood.

Please review our modern art section for a sophisticated array of modern masters to grace your modern home.

  • Contemporary symbolism features landscapes of the mind.
  • English antique art of renowned masters, including Pre-Raphaelite associate J. W. Waterhouse, Italianate realism and delightful watercolors of European ecclesiastical architecture are in our classical art section.
  • Beautiful abstract art will complement your designer’s plan.
  • Exotic African native, exotic animals and other renderings may be seen in our figurative room.
  • Our representational art section is our larest selection of work shown by our gallery.
  • The sculpture sections links classic to contemporary.
  • Contemporary classical section includes superb landscapes.



Artists In the News 

Many of our artists are nationally recognized for their artistic skills and numerous publications and magazines have written articles of their work and exhibits. Below are a just few of these articles. Click on the name of the artist to see what is written about them and their art.

Keith Milow's sculptures were featured in the Chicago Tribune in June of 1994.

Chicago Tribune, Friday, June 3, 1994 - Art Section

Milow’s sculptures reflect on architecture, archeology

By Alan G. Artner   Tribune Art Critic

Keith Milow’s Sculpture are a remarkable blend of art and architecture with the past and the present.

All of the pieces are wall mounted and look like ruins of a civilization that could be ancient Roman, Aztec or British contemporary.

The large and apparently heavy forms range from discs to less regularly shaped fragments that seem to come from architecture with names engraved or embossed, as if part of a catalogue, history or memorial.

The circular pieces recall Aztec “sun” discs, with names replacing a history told through symbols. The names, on concentric projecting rings, are of visual artists in the 20th Century.

Milow’s less regularly shaped reliefs seem to be from some edifice that memorialized British painters and sculptors from a number of time periods. Some names are in groups; others, more imperial looking, in pairs.

The groups frequently appear stamped into the rusted metal, and we read their catalogue in reverse, sometimes through additional (distracting) pattern of concave or convex dots.

The pairs present their names enlarged, always in a Roman style that we read easily though the names may wrap around the pieces curved edges.

In each case, the choice of names seems arbitrary, as if the pieces on which they appear are all that remains of a larger context that might make sense of the juxtapositions.

We’re never quite sure what the relationships are but miss them whenever a disc or a fragment is blank. Then we feel judgments were suspended, laurels were not bestowed. And it’s an oddly disquieting feeling, as if we had come into contact with a culture that had produced nothing significant to honor or remember.

A lot of celebrated art today uses words. Few contemporary visual artists use them as evocatively and touchingly as Milow. This is brilliant work.


Ron Richmond - Featured in The Arizona Republic, February 10, 2002.

Cecil Touchon published Ron Richmond’s most recent book 'The Fusion Series' in the spring of 2007.

IMAGE: ron-richmond-rise-fall.jpg

Emptiness Fills Artist’s Canvases

John Carlos Villani

The Arizona Republic

Feb. 10, 2002

Isolated in his central Utah Studio, painter Ron Richmond thrives on its serenity.

“I always wanted to be in a quiet, peaceful place,” he says, “the kind of environment that gets me into a certain mood.”

As reflected in his paintings of spaces and places, Richmond’s mood seeks to transport viewers to peculiar places.

“Maybe it makes them think of a sense of being lost,” he says, “or of looking to replace something that’s been lost. To me, they’re about that feeling of what comes next.”

One of the most acclaimed contemporary artists to have graduated from Brigham Young University’s arts program, Richmond is displaying his latest body of work at Marshall Arts Gallery. The show features 12 of his large-format oil on canvas and wood-panel works.

Richmond paints with a subdued palette, masterfully employing geometric relationships within his images. To quickly walk past a Richmond painting is practically impossible, in part because it radiates a sense of compositional incompleteness. This powerful vacancy grabs the eye and translates as both disturbing and serene.

“What I like about these paintings is their apparent contradiction,” the soft-spoken artist says. “The idea of rebirth and rejuvenation in a hostile environment, for instance, and the idea of transferring those ideas to a life.”

Some of Richmond’s most compelling images are also his simplest. He acknowledges an ongoing fascination with the concept of the desert oasis, repeatedly painting this as a series of water-filled pools with symmetrical steps descending into their midst.

“They just come from my mind,” he says of these images, “but evolved from my earlier series of site-specific paintings in southern Utah. Eight or nine years ago, I began playing with the idea of finding pools out in that landscape, and that’s become these places without specific location.”

A more recent Richmond exploration has resulted in the beginning of a series of empty-chair paintings. In some of these paintings, the artist hangs a single piece of folded cloth.

“I think the chair and cloth effectively implies a touch of human element,” he says. “The cloth practically invites viewers to think about entering the painting to rearrange the cloth, straighten it out or pick it up off the chair.

“I leave my backgrounds in an ambiguous state, which creates a sense that the viewer may not completely understand what’s going on out there. Altogether, they communicate this idea about change, about how life lets us leave behind parts of ourselves that we don’t necessarily like or need, and lets us move on to the parts of us we want to preserve.”

Marshall Arts Gallery - Ron Richmond’s Rise & Fall (No.2) is one of the subdued pieces that the Utah artist is exhibiting in Scottsdale.