Recent Acquistions

Stuart Walker, Composition No. 112, 1938

Oil on canvas
31.5 x 27.5 inches

80.0 x 69.9 cm

signed, titled and dated verso

Exhibited:  1982 – The Albuquerque Museum,
The Transcendental Painting Group

Walker was the youngest member of the Transcendental Painting Group,  arriving in Albuquerque in 1925 and dying of rheumatic fever nearly 15 years later.  
During this time he produced only twenty-four abstract paintings which are arguably some of the best of this period by any artist working in abstraction.  
The Art Deco age was a big influence on Walker, and his best works are distinguished by this sensibility.

This work was exhibited at the seminal
TPG exhibition in Albuquerque in 1982.  We are pleased to acquire this work on the eve of the first major exhibition of the Group since this show.  The author and curator, Michael Duncan, along with the Crocker Museum, Sacramento, is mounting this exhibition of the Transcendental Painting Group which will open in early 2021 and travel to five venues including the Los Angeles County Museum of Art, and will include a return to Albuquerque.  
For more images of Walker’s works, please visit our Archive.

Raymond Jonson, Untitled, 1937

Watercolor & casein on paper
20h x 29w in
50.80h x 73.66w cm

This is a very rare example of Jonson’s work on the eve of forming the Transcendental Painting Group in 1938.  Jonson only completed 8 watercolors in 1937.  While some of his later abstractions would be more geometric and hard-edged, this work reflects the artist’s connection to more organic forms and the colors remind us of his earlier Earth Rhythms series of the late 1920s.

 

Judy Chicago, Creation of the World PP1 (Petit Point 1), 1984

Petit point
10.50h x 15w in
26.67h x 38.10w cm

This is one of the most engaging works from The Birth Project. The Birth Project (1980–1985), which grew directly out of her research for The Dinner Party, was Chicago’s direct response to the absence of imagery related to birthing as one of the most foundational female experiences. As with The Dinner Party, she relied on the help of collaborators, creating the 80+ works in this series with the help of female volunteers all over the United States, Canada, and New Zealand. 

Andrew Dasburg, Untitled (New Mexico Church, Near Abiquiu), ca. 1922

Oil on canvas on board
13h x 16.25w in
33.02h x 41.28w cm


With all of the classic elements found in Dasburg’s paintings: the road, the church, the fields, mountains and New Mexico sky…and even the Pedernal, this painting is one of the most complete works by the artist and is made even more powerful by its intimate size.

“Andrew Dasburg’s first decade in New Mexico coincided with his maturation as an artist, as he distilled his knowledge of European modernism into a personal style,  with Cézanne’s influence always remaining in the fore…”
“Few artists had as great a role in the spread of Cézanne’s innovations and European modernism in the Southwest as Dasburg….”.  (excerpted from essay by Jerry N. Smith in Cézanne and American Modernism)

Edward Corbett, Untitled No. 7, 1948

Edward Corbett, Untitled No. 7, 1948
Casein & crayon on board
22 x 27.5 inches
55.88 x 69.85 cm

This work was created while Ed Corbett was teaching at the California School of Fine Arts, San Francisco. During these years he taught alongside Clyfford Still, Mark Rothko and Richard Diebenkorn, who was a dear friend. Corbett’s work from this early San Francisco period is very rare, and this has the added cachet of having been exhibited at the San Francisco Museum of Art in 1949. It is a symphony of form and color.

FLORENCE PIERCE (two works) Untitled # 652, 2004 (left) Untitled, # 149, 1996 (right)

Resin on Plexiglas mirror
16 x 16 inches (each)
40.64 x 40.64 cm
both signed, titled, and dated verso
The origin of the resin works, which Pierce would go on to explore, refine, and create for the rest of her artistic life, is well known. In 1969 while working on a foam piece Pierce accidentally spilled some resin onto a piece of aluminum foil. She held the foil to the light and the effect of the mirror surface reflecting light up through the resin entranced her. In the beginning, Pierce poured the resin onto mirrored glass however the resin did not bond well with the surface. Eventually she began to use Plexiglas mirrors (Mirrorplex) which allowed the resin to stick. Art critic Julie Sasse writes of these pieces,
“Whereas her earlier easel paintings relied on color and light, these new works created their own emanating glow …”

It is hard to imagine bluer blues or more skull-piercing oranges or more mysterious reds than those Pierce achieved.

“My works are contemplative. They’re about stilling the mind.”

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