Daniel Garber

Barn Ramp

1950

Jim’s of Lambertville is proud to offer this artwork. Signed and dated lower right. Hayley Lever (1876-1958) Hayley Lever's exceptional career path took him from the shores of ...

Jim’s of Lambertville is proud to offer this artwork by: Peter Sculthorpe (born 1948) Peter Sculthorpe was born in Ontario, Canada, in 1948. His talent was evident even as a chi...

In an original Harer frame. Illustrated in "Daniel Garber Catalogue Raisonne" Vol. II, pg. 271, and in book titled "Blue Chips", pg. 33 Jim’s of Lambertville is proud to offer this artwork by: Daniel Garber (1880-1958) One of the two most important and, so far, the most valuable of the New Hope School Painters, Daniel Garber was born on April 11, 1880, in North Manchester, Indiana. At the age of seventeen, he studied at the Art Academy of Cincinnati with Vincent Nowottny. Moving to Philadelphia in 1899, he first attended classes at the "Darby School," near Fort Washington; a summer school run by Academy instructors Anshutz and Breckenridge. Later that year, he enrolled at the Pennsylvania Academy of the Fine Arts. His instructors at the Academy included Thomas Anshutz, William Merritt Chase and Cecilia Beaux. There Garber met fellow artist Mary Franklin while she was posing as a model for the portrait class of Hugh Breckenridge. After a two year courtship, Garber married Mary Franklin on June 21, 1901. In May 1905, Garber was awarded the William Emlen Cresson Scholarship from the Pennsylvania Academy, which enabled him to spend two years for independent studies in England, Italy and France. He painted frequently while in Europe, creating a powerful body of colorful impressionist landscapes depicting various rural villages and farms scenes; exhibiting several of these works in the Paris Salon. Upon his return, Garber began to teach Life and Antique Drawing classes at the Philadelphia School of Design for Women in 1907. In the summer of that same year, Garber and family settled in Lumbertville, Pennsylvania, a small town just north of New Hope. Their new home would come to be known as the "Cuttalossa," named after the creek which occupied part of the land. The family would divide the year, living six months in Philadelphia at the Green Street townhouse while he taught, and the rest of the time in Lambertville. Soon Garber’s career would take off as he began to receive a multitude of prestigious awards for his masterful Pennsylvania landscapes. During the fall of 1909, he was offered a position to teach at the Pennsylvania Academy as an assistant to Thomas Anshutz. Garber became an important instructor at the Academy, where he taught for forty-one years. Daniel Garber painted masterful landscapes depicting the Pennsylvania and New Jersey countryside surrounding New Hope. Unlike his contemporary, Edward Redfield, Garber painted with a delicate technique using a thin application of paint. His paintings are filled with color and light projecting a feeling of endless depth. Although Like Redfield, Garber painted large exhibition size canvases with the intent of winning medals, and was extremely successful doing so, he was also very adept at painting small gem like paintings. He was also a fine draftsman creating a relatively large body of works on paper, mostly in charcoal, and a rare few works in pastel. Another of Garber’s many talents was etching. He created a series of approximately fifty different scenes, most of which are run in editions of fifty or less etchings per plate. Throughout his distinguished career, Daniel Garber was awarded some of the highest honors bestowed upon an American artist. Some of his accolades include the First Hallgarten Prize from the National Academy in 1909, the Bronze Medal at the International Exposition in Buenos Aires in 1910, the Walter Lippincott Prize from the Pennsylvania Academy and the Potter Gold Medal at the Art Institute of Chicago in 1911, the Second Clark Prize and the Silver Medal from the Corcoran Gallery of Art for “Wilderness” in 1912, the Gold Medal from the Panama-Pacific Exposition in San Francisco of 1915, the Second Altman Prize in1915, the Shaw prize in 1916, the First Altman Prize in 1917, the Edward Stotesbury Prize in1918, the Temple Gold Medal, in 1919, the First William A...

Jim’s of Lambertville is proud to offer this artwork. Signed lower center. Complemented by hand carved frame. John R. Grabach (1886 - 1981) John Grabach was a high...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Evelyn Faherty (1919-2015) Evelyn Faherty was born in the early 20th century and made her home in Yardley, Pennsylvania. She is a Bucks County Impressionist...

Jim’s of Lambertville is proud to offer this artwork. Signed Lower Right George W. Sotter (1879-1953) George W. Sotter is remembered for painting the scenic towns, farms, mills a...

George Lambert (1863-1946) * Alternate title for painting is "Stonington Lighthouse". Signed lower right. Beautiful example of Lambert's best work. Painted very much in the style and...

French shepherdess at twilight by Jean Beauduin (1851-1916). Oil on canvas mounted on board. Original Barbizon frame. I believe the dog is a bergere Pic...

Oil Painting on Wood panel - Water lilies, Nature Work Title : Nelumbo nucifera 2 Artist : Raphaël Renaud (French artist, Born in 1974, lives and works in France and Berlin (Germany)...

Gustave Karcher (French, 1831-1908) Herbstliche Bachlandschaft (Autumnal landscape with a small stream) • Oil on panel, ca. 23.5 x 32.5 cm • Frame, ca. 34.5 x 43.5 cm • Signed & da...

Pauline Vallayer - Moutet (French, Act. 19th/20thC) Meule de foin (Haystack ) • Oil on panel ca. 25 x 35 cm • Later Frame ca. 52 x 61 cm • Bottom right: Signed, dated & dedicated : '1898 , A Madame Doisneau, Souvenir de la Villeneuve , sa bien afféctionée , P. Valayer - Moutet ' Worldwide shipping is complimentary - There are no additional charges for handling & delivery. Pauline Vallayer – Moutet is best known for her feminine, soft, figurative interior genre scenes with women pursuing daily chores such as cooking, cleaning or sewing. Here, however a magnificent impressionist outdoor landscape of a haystack, reminiscent of what Claude Monet sensationally painted just a few years earlier. Inspired, but in clearly in keeping with that feminine Pauline Vallayer-Moutet ‘feel’. I don’t know who Mrs. Doisneau was but feel there might be a story to be uncovered here. Other than that Pauline Vallayer-Moutet’s work turns up regulary on the market and that her paintings command good prices, not much is known about this artiste - alas as it is often the case concerning the biographies of 19th century female artistes. This valuable and art historically relevant painting is yet in untouched 'as found' condition, with numerous little scars and soils, but no structural issues whatsoever - It will be the future owner’s privilege and responsibility to decide if the object receives some restoration or not. The dramatic gold paint plaster frame...

Gary Bowling's oil paintings have a modern impressionistic feeling. Bowling favors depicting the beauty of the Midwest landscape he is surrounded by. The ...