John Martin "Jack" Shea and his wife, Marion, were the most informed and daring collectors of their generation in Orange County, California. They were part of an entrepreneurial generation that helped transfer an essentially agricultural county into one of the most dynamic suburban/exurban communities in the United States.
Jack Shea, a native Californian, began his business career in South Asia after the Second World War and returned to California in the early 1950s, working as an executive and entrepreneur in the oil business. His optimism about the future of Southern California and Orange County in particular led to the founding of Beacon Bay Enterprises, a real estate and retail oil services company. Marion was also a native Californian, who had developed her early interest in contemporary art (particularly late Picasso) during eight years abroad, before returning to California and falling in love with Jack.
As Southern California grew and prospered over the last several decades, so grew Beacon Bay's entrepreneurial success which helped finance the Shea's charitable interests in assisting the poor in Riverside County and their consistent support of the fledgling Newport Harbor Art Museum. He was a trustee of the museum, now part of the Orange County Museum of Art, for two decades, serving for two terms as president of the board.
As Jack developed his business interests, Marion represented them with full-time participation in the many charities they supported. Marion's support of the Newport Harbor Art Museum came through her tireless efforts for the many social events which provided fund raising support for the museum's programs. She was founder and president of Animal Samaritans, served on the Board of C.R.E.S. and was awarded Norwood's prestigious Distinguished Woman award for her many other charitable contributions.
The Shea's shared with a number of other trustees and professional staff a vision of the Newport Harbor Art Museum as a strong regional center for "cutting edge" exhibitions, and a regionally based collection that could adopt international standards and execute its plans on a local level-just the same way he viewed his business. During his tenure as president, the museum did some of its best and most influential work.
The Shea's collection grew and developed into a remarkable one, with the acquisition of major works by Brice Marden, Frank Stella, and Ellsworth Kelly two or three decades ago, that became the cornerstone of their collection. Never ones to be led, the Sheas added adventurous new works by Baselitz, Basquiat, Bolantski, Ruchreim, and Therrien, in tandem with their continuing commitment to American masters such as Diebenkorn, Kline, Mitchell, Motherwell, Rauschenberg, Rivers, Ruscha, Segal, and Twombly, well ahead of the curve of most other collectors.
Two sparks have been extinguished in the history of collecting in Southern California, one that may not have been as widely noticed as one might expect, given the quality and power of the collection. This was due to the reticence and modesty of the Sheas, their commitment to sharing their good fortune with unfashionable and low profile causes, and in particular, Jack's resistance to public recognition of his generosity and good work, almost out of fear someone might discover that beneath the facade of a tough businessman was an intellectual, caring, and sweet man. This was counterbalanced by Marion's vivacious and enthusiastic social activities. Although different in style, they were soul mates in their collecting efforts, in their support of the arts, their community, and each other.
Kevin. E. Consey
Chicago, Illinois
Property from the Estate of John M. and Marion A. Shea
Donald Judd (1928-1994)
Untitled (Progression)
細節
Donald Judd (1928-1994)
Untitled (Progression)
stainless steel
5 x 25½ x 8 7/8in. (12.7 x 64.7 x 22.7cm.)
Executed in 1967.
Untitled (Progression)
stainless steel
5 x 25½ x 8 7/8in. (12.7 x 64.7 x 22.7cm.)
Executed in 1967.
來源
Leo Castelli Gallery, New York.
出版
D. Del Balso, R. Smith and B. Smith, Donald Judd--Catalogue Raisonné of Paintings, Objects and Wood-Blocks 1964-1974, Ottawa 1975, p. 148, no. 97 (illustrated).