Daphne Mumford

"Tulips" Daphne Mumford, Bright and Colorful Floral Diptych

Marsden Hartley Lemons and Pear, circa 1922-23 Oil on canvas 9 x 10 3/4 inches Provenance: Adelaide Shaffer Kuntz, Bronxville (Hartley’s friend and patron) Bertha Schaefer Gallery, New York (acquired from the above) Private Collection, Stamford, Connecticut (acquired from the above) Barridoff Galleries, Portland, Maine, April 7, 1984, Lot 29 (as Still Life with Pear and Lemons) Richard Ward Foster (acquired at above sale) Sotheby's New York, American Art, October 6, 2017, Lot 32 Private Collection (acquired from the above) Exhibited: (possibly) Kantstrasse, Berlin, Private showing in artist’s studio, 1923. (possibly) New York, Bertha Schaefer Gallery, Still Life Painting by European and American Painters, 1944. Born in Lewiston, Maine, Marsden Hartley became one of the most famous early modernist artists of twentieth-century American art, known for landscapes, still lifes, and some portraits. His painting showed a focus on monumental shapes, especially clouds and landscape forms, and his unique style has been described by critic Sadakichi Hartmann as "an extreme and up-to-date impressionism" and "emerging modernism that evolved through Impressionism". (Gerdts 291) He had a lonely, insecure childhood because his mother died when he was eight years old, and he was raised by an older sister when his father left to remarry. He studied art in Cleveland, Ohio and then in 1898 went to the Chase School in New York and at the National Academy of Design. He continued to spend much time in Maine painting landscapes, and by 1909 had his first exhibition, which was held at New York Gallery 291, run by Alfred Stieglitz. There he became involved with a social circle of modernists that included Georgia O'Keeffe, Arthur Dove, and John Marin. In 1912, he first went to Europe where he had further exposure to modernism, and from 1913 to 1915 he was in Germany. In Paris, he experimented with Cezanne-like still lifes and was befriended by Gertrude Stein. In Germany, he was influenced by Expressionism, and especially by military pageantry. It is said that his greatest contribution to early 20th-century American modernism has been his brilliant synthetic military icons known as German Officer Portraits. He developed a close homosexual relationship with a handsome young Prussian officer who was killed in World War I. Being encouraged by Stieglitz to explore American subjects, Hartley turned to American Indian objects...

Suzanne Lalique The Tailor Shop, 1929 Signed and dated upper left Oil on canvas 13 x 16 inches Suzanne Lalique was born in 1892, the daughter of René Lalique and Alice Ledru. She wa...

Georgina Klitgaard Apples and Pears Still Life Signed lower right Oil on canvas 8 x 10 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign artists to membership in one school or another. Unfortunately for her posthumous reputation, Klitgaard defied easy characterization. She was a U.S. modernist, working in both oil and watercolors, but never abandoned figurative painting. She made her reputation in landscape but also excelled in portraits, flower studies, and even cityscapes. Yet despite Klitgaard’s ambiguous status in art history, her paintings continue to fascinate viewers attracted to the unsteady ground between twentieth-century realism and expressionism. Georgina Klitgaard (née Berrian) was born in Spuyten Duyvil, New York (now part of the Bronx); the Berrians had lived in the area since at least the U.S. Revolution. After graduating from Barnard College, she studied art at the National Academy of Design. In 1919 she married Kay Klitgaard, a Danish artist and writer. The next year, her life took a decisive turn when the couple visited friends in Woodstock, NY—about 120 miles north of New York City--and fell in love with the area. In 1906, L. Birge Harrison helped found the Art Students League Summer School in Woodstock and the area became a magnet for landscape painters. The Klitgaards bought a house in 1922 on a steep ledge at the end of Cricket Ridge, high above Bearsville, which provided panoramic vistas overlooking the Catskill Mountains and the Hudson Valley. Klitgaard joined the artists’ colony in the area, which at the time included artists Ernest Fiene and Katherine Schmidt. Klitgaard exhibited widely and her career slowly developed momentum. She was a regular contributor at Whitney Museum shows from 1927 to 1944. In 1929, she exhibited a painting entitled “Carousel” in the Whitney Studio Club’s famous exhibition “Circus in Paint.” Gertrude Vanderbilt Whitney acquired five paintings by Klitgaard in the early 1930s and served as a significant patron for the artist. Klitgaard s New York dealer, Frank Rehn...

Frederick Arthur Jessup Still Life Arrangement Signed lower left Oil on canvas 18 1/2 x 22 inches Provenance: Findlay Galleries, New York Private Collection, New York

William S. Schwartz Still Life with Yellow Mums, circa 1950 Signed lower right Oil on canvas 20 x 16 inches Provenance: Private Collection, Massachusetts William Schwartz was born in Smorgon, Russia, in 1896, one of nine children in a poor family. He studied art at an early age, earning a scholarship at the Vilna Art School in Russia, 1908–12. He immigrated to the United States at age 17 in 1913, living in New York with his sister for eight months and then moving to Omaha, Nebraska, to live with his brother in 1915. Working as a house painter, he turned his attention to art, studying briefly with J. Laurie Wallace at the Kellom School in Omaha before moving to Chicago. He entered the School of the Art Institute of Chicago (SAIC) in 1916, studying with Ivan Trutnev and Karl A. Buehr, and graduating with honors in life drawing, portraiture, and painting in 1917. He supported himself as a tenor singer in vaudeville, concerts, and opera and received favorable reviews, but he chose to pursue painting instead of singing. His circle of artist friends included important Chicago modernists Aaron Bohrod, Malvin and Ivan Albright, Archibald Motley Jr., and Anthony Angarola...

Nicholas Alden Brooks Still Life with Pink Ewer and Sheet Music, 1891 Signed and dated lower right Oil on canvas 20 1/8 x 16 inches Considerable mystery surrounds the name Nicholas Alden Brooks. Other than having been active in New York City between 1880 and 1904, very little is known about the artist. There are no records of any art societies showing him as a member or his having participated in any exhibits. The name Brooks, in fact, could possibly be a pseudonym for Robert Fullington, whose name appears on theatrical memorabilia in Brookss trompe loeil still-life paintings. William Harnett...

Manes has had an extensive career since studying at the Graduate School of Fine Arts, Hunter College (New York) in 1983. Domestically he has shown cross-country, in museums and galle...

Series: Bowls Paul Manes was born May 4, 1948 in Austin, Texas. He began his professional career in New York City in the early 1980s. His art has been widely exhibited in America and...

Oil on canvas painting by Jill Davenport (American, 20th Century) still life titled "Banjo Player" from the Attic series. Signed and dated on bottom lef...

Early substantial, expressionist abstract still life by Lee Lippman (American 1926-2020). Bursting with color and movement titled "Still life with onions" ...

In Chemistry Lab This artwork were painted from nature. Painting is on stretched canvas and are ready to hang. This is the “hidden frame” behind a mounted canvas, meaning y...

The work "Farewell to winter. Hello spring!" tells us about the cherry blossom season. This time is the triumph of the sun and warmth after a long, lingering winter. Ahead of everyon...