2 More
Fifty Years Female: 20th Century Abstraction from a Private Collection


signed and dated '©Remington '76' (lower right); signed again and dated again '©Remington 1976' (on the reverse)
oil on linen
20 x 18 in. (50.8 x 45.7 cm.)
Painted in 1976.
Pyramid Gallery, Washington, D.C.
Private collection, Washington, D.C.
Anon. sale; Weschler’s Auctioneers & Appraisers, 13 November 1999, lot 7
David Richard Gallery, New York
Pazo Fine Art, Kensington, Maryland
Acquired from the above by the present owner
B. Forgey, "Galleries: In the Image of Deborah Remington," The Washington Star, 19 September 1976, p. G20.
Washington, D.C., Pyramid Gallery, Deborah Remington, September-October 1976.

Brought to you by

Julian Ehrlich
Julian Ehrlich Associate Vice President, Specialist, Head of Post-War to Present Sale

Lot Essay

"I am going to paint. I'm going to devote my life to that, dedicate whatever I am to that and just went straight ahead with it from...childhood."
—Deborah Remington

Despite maturing in the Northeast, Deborah Remington (1930-2010) took after her ancestor Frederic Remington when she moved with her mother out west to see what sort of potential the California coast held. During her time as a student of Clyfford Still at the San Francisco Art Institute, Remington carved out her niche within the Beat scene, joining with five other painters and poets to set up the avant-garde 6 Gallery, before taking off for Japan and Southeast Asia for further study. Seeking to develop her unique visual vocabulary, Remington headed to New York in 1965, where she first showed amongst Brice Marden and Dorothea Rockburne at Bykert Gallery and later on with Jack Shainman. Refining her style throughout the 1970s and 1980s, Remington exhibited widely during the 1990s and early 2000s, a trend recently reignited with the Denver Art Museum's iconic Women of Abstract Expressionism group exhibition in 2016. Remington's distinctive combinations of machinery, corporeality and symbology are liberated from the consumerist conceits of Pop, while testaments to the expressive power of artistic production.

More from Post-War to Present

View All
View All