Jim Jacobs

'Nankaweep', Lopoukhine Gallery, Boston, American Abstraction

1983

Signed lower right, 'DMc', for Douglas McCellan (American, 1921-2016) and painted circa 1975. Additionally signed, verso, titled, 'Still Life' and bearing old rental reference label....

Signed lower right, 'Charles Seligman' (American, 20th century) and created circa 2000. Texas abstract artist Charles Seligman boldly interweaves poi...

Signed lower right 'G. Pisani', (Italian, born 1935), titled verso 'Paesaggio con Valigia' (Landscape with Luggage) and dated 1963. Provenance: Galleria El Centro, Naples, Italy 1963. (from original label, copied verso). A very substantial, mid-century abstracted landscape comprising an assembled group of Fendi shopping bags in the fashion designer's signature tones of cream, bistre and scarlet, shown contrasted against a lyrical, sunset-coral background. This powerful and lyrical oil was awarded the 1963 Michetti Painting Prize. Gianni Pisani studied at the Accademia de Bella Arti in Naples under Emilio Notte. Much of his career in the 1960s and 70s involved reinvigorating the Neapolitan art scene with assemblages, ‘object art’ and performance art, an approach that was critically described and acclaimed by poet and writer, Edoardo Sanguineti. The recipient of numerous medals, prizes and juried awards, including the Prize City Cesenatico (1955). Pisani exhibited widely and with success from the early 1950's including at the 8th Biennale of San Benedetto del Tronto (1969), Palazzo Dugnani (1983) and at the Non-Existent Gallery. Other solo and group exhibitions include a three-time participation in the National Quadrennial Art Shows (VIII, Rome, 1960; IX, Palazzo dei Esposizione, 1965/66; XI, Palazzo dei Congressi, 1986) and the 1995 Venice Biennale. An ardent exponent, and influential teacher, of Modernism, Pisani taught at the Academy of Fine Arts of Brera in Milan and, for many years, at the Academy of Fine Arts in Naples, of which he was later appointed director. Gianni Pisani’s works are held in the permanent collections of numerous museums including the Museum of Capodimonte, the Museum of Contemporary Art Donna Regina (MADRE), Museum of Contemporary Religious Art...

Signed lower right, 'K. Sanzenbach' for Keith Sanzenbach (American, 1931-1964) and dated 1956. Additionally signed, verso, and with the artist's Lagunitas, California address. The ...

Signed lower right, 'Savo' for Joan Savo (American, 1918-1992) and dated 1960. Additionally signed, verso, on old label and titled, 'City Lights'. Accompanied by a letter from the ar...

Signed lower right, 'Paul England' (American, 1918-1988) and painted circa 1965. With old label, verso, bearing title, 'Gutenburg'. Framed in a period wh...

Laddie John Dill Untitled Mixed Media painting, 2011 Cement, polymer, wood, mixed media on board 12 × 18 × 1 1/2 inches Signed and dated on the back Unique work This exquisite unique...

An abstract acrylic piece by Murray Reich completed in 1969.

Susan English Waiting, 2020 tinted polymer on panel 94 x 82 in. (eng105ap) At the core of Susan English's work are the ideas of space, boundaries, and perception. The periphery is d...

Ronald Davis (American, b. 1937) Pitch, 1983 cel-vinyl copolymer on canvas Hand signed verso and further inscribed with title, date, size and PTG 751 67 x 110 1/2in. Framed 69 x 112in. Bears remnants of old gallery label to reverse. Ronald Ron Davis (born 1937) is an American painter whose work is associated with geometric abstraction, abstract illusionism, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions. Born in Santa Monica, California, he was raised in Cheyenne, Wyoming. In 1955–56 he attended the University of Wyoming. In 1959 at the age of 22 he became interested in painting. In 1960–64 he attended the San Francisco Art Institute. Abstract expressionism, the prevailing artistic movement of the time, would have an influence on many of his future works. In 1962 he was a Yale-Norfolk Summer School Grantee. In 1963 his paintings became hard-edged, geometric and optical in style, and by 1964 his works were shown in important museums and galleries. He lived and worked in Los Angeles, 1965–71, and in Malibu, California, 1972–90. Since 1991 he has lived and worked in Arroyo Hondo on the outskirts of Taos, New Mexico. Ronald Davis from the earliest days of his career had a significant impact on contemporary abstract painting of the mid-1960s. According to art critic Michael Fried: Ron Davis is a young California artist whose new paintings, recently shown at the Tibor de Nagy Gallery in New York, are among the most significant produced anywhere during the past few years, and place him, along with Frank Stella and Walter Darby Bannard, at the forefront of his generation. He had his first one-person exhibition at the Nicholas Wilder Gallery in Los Angeles in 1965. Barbara Rose wrote an in depth essay about Davis' paintings of the 1960s in the catalogue accompanying an exhibition of his Dodecagon Series in 1989 in Los Angeles. Among other observations she wrote: Davis saw a way to use Marcel Duchamp's perspective studies and transparent plane in The Large Glass for pictorial purposes. Instead of glass, he used fiberglass to create a surface that was equally transparent and detached from any illusion of reality. Because his colored pigments are mixed into a fluid resin and harden quickly, multiple layers of color may be applied without becoming muddy. his is essentially an inversion of Old Master layering and glazing except that color is applied behind rather than on top of the surface. Alone among his contemporaries, Davis was equally concerned with traditional problems of painting: space, scale, detail, color relationships and illusions as he was with the California emphasis on hi-tech craft and industrial materials. His work has some connection to the Light and Space art movement related to op art and minimalism. He was a contemporary of Peter Alexander, Larry Bell, Robert Irwin, Ron Cooper...

Acrylic and oil stick on acrylic panels Danielle Frankenthal’s paintings focus on light, as she describes, “the most humanly perceivable form of pure energy which allows us sight; a...

Untitled (Self Portrait #3)