Product Description
Jean Marion Gates Hall, “Napa Valley” Oil on canvas 1940
JEAN MARION GATES HALL (1911-2001) USA
Napa Valley 1940
Oil on canvas, original wood frame
Signed: with her monogram initials JGH (lower right)
Marked on back: Jean Gates Hall, June 18, 1940, Napa Valley
Canvas: H: 14″ x W: 17 1/4″
Framed: H: 17 1/2″ x W: 20 1/2″
Price: $4,250
Born in Memphis, TN on May 19, 1911. Jean Gates studied at the Cummings School of Art in Des Moines. At age 14 she moved to Los Angeles with her family. There she continued at the Chouinard Art School while working for Warner Bros, Walt Disney, and Mintz Studios. Upon moving to San Francisco, she married writer James D. Hall in 1938. Her illustrations were used in her husband’s children’s books. She established a studio in the “Monkey Block” (now the Transamerica Pyramid) and was active in the local art scene. She later earned her B.A. degree at San Jose State University (1955) and M.A. degree at UC Davis (1966). Working in oil and watercolor, her painting style and subject matter evolved with the years from descriptive realism to linear pictures, and finally an entirely new medium called Magpage. Mrs. Hall was a resident of Oakland in the 1980s and died in Cedar Ridge, CA on June 23, 2001.
Exhibitions: Iowa State Fair, 1926; California State Fair, 1937; GGIE, 1939; Paul Elder Gallery (SF), 1939 (solo); NMAA, 1941; SFMA, 1942 (solo); De Young Museum, 1944 (solo); California WC Society, 1945-53; UC Davis, 1946, 1965 (solos); Kingsley Art Club (Sacramento), 1965.
Jean Marion Gates Hall, “Napa Valley” Oil on canvas 1940
TIM LIDDY
“Monopoly” (1936) A Parker Trading Game 2007
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1936” 2007, red circular ring
Provenance: Kidder-Smith Gallery (Boston, MA)
H: 7 5/8” x W: 6 ½” x D: 1 ½”
With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.