Malcolm H. Myers (1917-2002), Rolling Sea, 1950. Oil on canvas, 32 x 36 in.
Malcolm H. Myers (1917-2002) Rolling Sea
Malcolm H. Myers studied at the University of Iowa, where he earned two Masters of Fine Arts in watercolor and printmaking. He worked with the Argentinean print master Mauricio Lasansky and became a master printmaker himself. Myers is most celebrated for his multicolor and experimental Intalgio prints, but he also was an accomplished painter. He worked as a professor at the University of Minnesota for more than 50 years.
His painting Rolling Sea was inspired by his time in the U.S. Merchant Marine Corps during World War II. Rubine Red Gallery owner Jason Howard says it “was likely painted in Paris during his Guggenheim fellowship there in 1950. All his life he returned to the subject of the ships and the sea. This painting is particularly interesting for its form, midcentury color choices and original artist frame.”
Rubine Red Gallery
668 N. Palm Canyon Drive, Suite 102 • Palm Springs, CA 92262
(760) 537-7665 • www.rubineredgallery.com
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Leslie Prince Thompson (1880-1963), Parasols and Perambulator on Beach, 1911. Oil on canvas board, 101/8 x 14¼ in., signed lower left: ‘Leslie P. Thompson 1911’.
Leslie Prince Thompson (1880-1963) Parasols and Perambulator on Beach
“Leslie Prince Thompson was one of the Boston School’s best-known painters and most well-respected teachers. When Edmund Tarbell and Frank Benson resigned from the School of the Museum of Fine Arts, Thompson and Frederick Bosley were appointed as their replacements, training a new era of students from 1913 to 1930 in the school’s defining styles,” says Catharine Holmes of Vose Galleries. “Thompson painted a number of portraits, interiors and still life pieces in the more formal, academic style in which he instructed. Conversely, his rare outdoor landscapes, such as Parasols and Perambulator on Beach, were more colorful and spontaneously executed, most likely completed in plein air on location. Painted in 1911, this fresh gem would be an exceptional addition to any collection, especially those focusing on important American impressionists.”
Vose Galleries
238 Newbury Street • Boston, MA 02116
(617) 536-6176 • www.vosegalleries.com
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Frank Weston Benson (1862–1951), Redheads Lighting, 1924. Oil on canvas, 44 x 36½ in., signed and dated lower left: ‘F. W. Benson ‘24’.
Frank Weston Benson (1862–1951) Redheads Lighting
An avid outdoorsman, Frank Weston Benson’s “interest in sporting subjects stemmed from his boyhood, when he began hunting wild ducks and observing shore birds in marshes along Boston’s North Shore,” says Eric Baumgartner, senior vice president at Hirschl & Adler Galleries. “As an adult, [he] went on fishing, camping and hunting excursions through northern Maine and the Canadian Maritimes. Benson recalled that during these excursions, he followed the Japanese practice of studying ‘some object in nature until [I could] draw it from memory by repeated practice.’”
Benson’s Redheads Lighting, in its original Arts and Crafts frame carved by Walfred Thulin, features a flock of redheads in a coastal marsh. The work has a palette of cool blues and purples, and the cropping “imbues the work with a vital sense of immediacy while his careful drawing of the ducks reveals their distinctive physiognomy,” Baumgartner explains. “The ducks’ dark forms, silhouetted against a lucent sky, imbues the painting with lively decorative patterning and a near-abstract quality that references Benson’s familiarity with the design principles of Japanese printmaking.”
Hirschl & Adler Galleries
41 E. 57th Street, 9th Floor • New York, NY 10021
(212) 535-8810 • www.hirschlandadler.com
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A. E. Gallatin (1881-1952), Untitled, 1940. Oil on canvasboard, 17¼ x 13 in., signed and dated verso.
A. E. Gallatin (1881-1952) Untitled
Through July 31, D. Wigmore Fine Art in New York City is hosting the exhibition The Birth of American Abstraction: The 1936 Concretionists Exhibition, which focuses on the five artists who were featured in the show that was held at Paul Reinhardt Galleries in March 1936. As a result of the exhibition, the gallery received new inventory of works by Concretionists artists including a 1940 untitled painting by A. E. Gallatin.
The gallery says, “A. E. Gallatin took up painting in 1936 after a 10-year break while he was building and running the Gallery of Living Art. He resumed painting around the time of the Five Concretionists exhibition and replaced Alexander Calder when the exhibition traveled to Paris and New York. Gallatin was a dedicated painter the rest of his life, but his work is still hard to come by. This work has been in a private collection since 1998 and we feel fortunate to have it available to offer.”
D. Wigmore Fine Art
152 W. 57th Street, 3rd Floor • New York, NY 10019
(212) 581-1657 • www.dwigmore.com
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Paul Howard Manship (1885–1966), YAWNING (also SPRING AWAKENING), 1912. Bronze, 12¾ x 9¾ x 12 in., signed top base: ‘Paul Manship / © Roma 1912’; marked rear edge: ‘Roman Bronze Works N.Y.’. (7050).
Paul Howard Manship (1885–1966) YAWNING (also SPRING AWAKENING)
“When Paul Manship was at the American Academy in Rome he modeled a number of works which helped cement his reputation as a rising star in the world of sculpture and YAWNING was among this group,” says Joel Rosenkranz, partner of Conner • Rosenkranz, LLC in New York City. “It is an interesting blend of his early naturalistic style giving way to the sleek stylization (in the hair, for example) that would later characterize his works. This image of a woman rousing herself from sleep—arms stretched, legs extended, mouth open in a full yawn—is a charming way for the artist to depict the arrival of a new season. Manship is being celebrated this year with a major exhibition on his early work at the Wadsworth Atheneum in Hartford, Connecticut.”
Conner • Rosenkranz LLC
PO Box 20483 • New York, NY 10021
(917) 301-8254 • jr@crsculpture.com • www.crsculpture.com
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