Douglas Mcclellan

'Still Life', Bay Area Abstraction, Metropolitan Museum, SFMOMA, LACMA, Abstract

Circa 1975

Oil and paper assemblage abstracted seascape comprised of layers of cut and torn paper with printed patterns, images, and text, overlapped by dynamic fields of sea-foam green, coral,...

Signed, lower right, 'E.R. Larrain' for Emilio Rodríguez Larraín (Peruvian, 1928-2015), and inscribed 'Roma, Nov 1963, Enero 1964'. (Rome, Nov 1963-January 1964). Verso titled, "L'Homme C'est Sujet à Errer" (Man Tends to Wander), and bearing the artist's self-portrait in india ink and wash. Exhibited: XXXII Venice Biennale, 1964. (original exhibition label verso) Previously with Staempfli Galleries, New York. This painting is registered in the Archives of American Art as 'Staempfli Gallery, inventory #775'. A monumental and historically distinguished work by this groundbreaking Peruvian Modernist who drew inspiration from Peruvian indigenous and pre-colonial culture. The paintings of Emilio Rodríguez Larraín are held in the permanent collections of museums worldwide including the Musée de la Ville de Paris, Peru's Museo de Arte de Lima and the Museum of Modern Art in New York. This painting was selected by the Peruvian Government for exhibition at the XXXII Venice Biennale in 1964 and is the largest single recorded work by the artist. Emilio Rodríguez Larraín received his Bachelors of Architecture in 1949 from Peru's Universidad Nacional de Ingeniería and held his first solo exhibition in Lima after visiting Europe in 1950. In 1951, he returned to Europe in the company of the artists Alfredo Ruiz Rosas and Joaquín Roca Rey...

Oil abstract comprising interconnected organic shapes in variegated shades of turquoise, vermilion, coral, and lime, outlined in deep ebony. Signed with monogram lower right, 'P.T.'...

Signed lower left, 'Thall V' for Victor Thall (American, 1902-1983) and painted circa 1950. A mid-century, American abstract oil comprising complex, contiguous and superimposed, linear and ovoid forms painted with an energetic and painterly brush in primary and secondary colors in both pure and pastel tints. Born in New York in 1902, Victor Thall first attended the Art Students League in New York City where he studied under Arthur B. Davies, George Bellows, John Sloan and Robert Henri. He furthered his studies at the Pennsylvania Academy of Fine Arts before leaving for Paris, in 1924, to attend the Ecole des Beaux Arts and the Academie Julien. He remained in France for six formative years before returning to the United States in the early 1930's. Back in New York, he became friendly with Willem de Kooning and Arshile Gorky and was both influenced and inspired by the ferment of ideas that developed around the New York School during the late 1940's and early 1950's. Thall was also an active participant in the WPA New Deal Art Project of New York City between 1935 and 1939 and returned to the Art Students League as a teacher from 1947-9. He exhibited widely and with success including at the Whitney Museum Annuals of 1949 and 1950 and the Leicester Gallery, London, in 1961. Victor Thall's paintings are held in numerous private and public collections including the permanent collections of the Brooklyn Museum and the Newark Museum and the artist is listed in all relevant reference works including Who Was Who in American Art. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 3, p. 3273; Falk, Peter Hastings , ed. The Annual and Biennial Exhibition Record of the Whitney Museum of Art 1918-1989. (New York): Sound View Press, 1991; Levick, L.E., "A Guide to the Art Galleries," New York Journal American, May 23, 1964. Review of one-man show at Southampton Gallery; 1950 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1950; Coates, Robert M., "The Art Galleries: Paul Klee, The Whitney Annual, and John Marin, The New Yorker, December 31, 1949, pp. 42-43; 1949 Annual Exhibition of Contemporary American Painting. New York: Whitney; Museum of American Art, 1949; Lansford, Alonzo, "Thall at Binet," The Art Digest' December 15, 1947, ill; Upton, Melville, "George Binet Gallery," Sun, December 13, 1947; Devree, Howard, "Victor Thall at the Binet Gallery," New York Times, December 10, 1947; "Victor Thall at Binet Gallery," Art News, December 1947, p. 59; Oil Paintings by Victor Thall, New York: George Binet Gallery, 1947; et al. Select Exhibitions: 1968 DePoliolo Gallery, Palm Springs 1965 Studio Gallery, Naples, Florida 1964 L’lnstitute Francais d’Haiti 1964 Summit Gallery, New York City 1964 Southampton Gallery, New York City 1963 Guildhall Gallery, Chicago 1961 Leicester Gallery, London 1950 Whitney Museum , New York City 1949 Whitney Museum, New York City 1947 Binet Gallery, New York City 1946 Chinese...

Signed lower right, 'Thall V' for Victor Thall (American, 1902-1983) and painted circa 1950. A mid-century, abstract oil comprising a centrally placed and expansive star-shaped form accompanied by jagged, linear elements and superimposed on a background of ivory and midnight-blue; a dynamic and elegant New York School work showcasing the artist's characteristic, energetic and painterly brushwork. Born in New York in 1902, Victor Thall first attended the Art Students League in New York City where he studied under Arthur B. Davies, George Bellows, John Sloan and Robert Henri. He furthered his studies at the Pennsylvania Academy of Fine Arts before leaving for Paris, in 1924, to attend the Ecole des Beaux Arts and the Academie Julien. He remained in France for six formative years before returning to the United States in the early 1930's. Back in New York, he became friendly with Willem de Kooning and Arshile Gorky and was both influenced and inspired by the ferment of ideas that developed around the New York School during the late 1940's and early 1950's. Thall was also an active participant in the WPA New Deal Art Project of New York City between 1935 and 1939 and returned to the Art Students League as a teacher from 1947-9. He exhibited widely and with success including at the Whitney Museum Annuals of 1949 and 1950 and the Leicester Gallery, London, in 1961. Victor Thall's paintings are held in numerous private and public collections including the permanent collections of the Brooklyn Museum and the Newark Museum and the artist is listed in all relevant reference works including Who Was Who in American Art. Reference: Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 3, p. 3273; Falk, Peter Hastings , ed. The Annual and Biennial Exhibition Record of the Whitney Museum of Art 1918-1989. (New York): Sound View Press, 1991; Levick, L.E., "A Guide to the Art Galleries," New York Journal American, May 23, 1964. Review of one-man show at Southampton Gallery; 1950 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1950; Coates, Robert M., "The Art Galleries: Paul Klee, The Whitney Annual, and John Marin, The New Yorker, December 31, 1949, pp. 42-43; 1949 Annual Exhibition of Contemporary American Painting. New York: Whitney; Museum of American Art, 1949; Lansford, Alonzo, "Thall at Binet," The Art Digest' December 15, 1947, ill; Upton, Melville, "George Binet Gallery," Sun, December 13, 1947; Devree, Howard, "Victor Thall at the Binet Gallery," New York Times, December 10, 1947; "Victor Thall at Binet Gallery," Art News, December 1947, p. 59; Oil Paintings by Victor Thall, New York: George Binet Gallery, 1947; et al. Select Exhibitions: 1968 DePoliolo Gallery, Palm Springs 1965 Studio Gallery, Naples, Florida 1964 L’lnstitute Francais d’Haiti 1964 Summit Gallery, New York City 1964 Southampton Gallery, New York City 1963 Guildhall Gallery, Chicago 1961 Leicester Gallery, London 1950 Whitney Museum , New York City 1949 Whitney Museum, New York City 1947 Binet Gallery, New York City 1946 Chinese...

Initialed lower right, "D.B.", signed verso, "Duane Bousfield" (American, born 1960) and inscribed "Unchartered Lesson". Oil abstract comprised of fields of violet, teal, rust, and ochre overlapped by dynamic linear and geometric forms. Duane Bousfield is a fifth-generation Californian living in New York City since 1995. In 2001 Duane accepted the directorship of Wally Findlay Gallery in East Hampton, NY, and continued working with the gallery on 57th Street, NYC, for more five years. Wanting to work with more contemporary art, Duane accepted a position as Senior Art Consultant at Franklin Bowles Gallery, in SoHo, NY, where he continues to help people build art collections for their homes and estates. During the years of art consulting, Duane has continued making his own art and exploring the relationship of meaning and abstraction. Selected Solo Exhibits: 2009 Mud, Sweat & Tears New York, NY 2002-2005 The Duplex New York, NY 2000 Merican New York, NY 2000 Big Genius Art Williamsburg, NY 1999 & 2000 Pegasus New York, NY 1998 Town House Club Room New York, NY 1996 Esalen Institute visiting artist Big Sur, CA 1995 Esalen Institute visiting artist Big Sur, CA 1994 Center for Psychological Studies Albany, CA 1994 Citadel Gallery San Jose, CA 1992 Montgomery Theatre San Jose, CA 1992 Objectivity Gallery...

Heavy impasto abstract work from British artist Paul Wadsworth

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