Anthony Michael Autorino

"High Water, New Hope"

c. 2006

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Joseph Barrett (b. 1936) Joseph Barrett was born in Midland, North Carolina, in 1936 and studied at the...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Complemented by a hand carved and gilt frame. Henry Bayley Snell (1858 - 1943) Henry Bayley Snell was born in Richmond, England, on September 29, 1858 and immigrated to the United States at the age of seventeen. He studied at the Art Students League in New York while working for an etching and engraving company where he began a lifelong friendship with fellow artists, William Langson Lathrop. While in New York Snell met another artist, named Florence Francis, also of English descent, whom he would eventually marry in 1888. It is believed that they first came to Bucks County in 1898 to visit the Lathrops at Phillips Mill. Snell was a beloved teacher at the Philadelphia School of Design for Women from 1899 to 1943, and often took his art classes abroad during the summer. He would frequently visit his native England, spending time at the art colony of St. Ives on the coast of Cornwall. Snell would summer in Gloucester, Massachusetts, and Boothbay Harbor, Maine, where he also held painting classes. Almost all the women who exhibited with “The Philadelphia Ten” had studied with Snell either in Philadelphia or New England. Snell also taught on Saturdays at the Grand Central Galleries in New York City. The Snells made many trips to New Hope before settling there permanently in 1925. They lived on the top floor of the Solebury National Bank Building where Henry also maintained a studio. This was located at the foot of the New Hope-Lambertville Bridge and many of Snell’s New Hope scenes were painted from this location. In 1943, Snell passed away in New Hope at the age of eighty-four. Henry Snell earned an international reputation as an artist for his paintings of Cornwall...

Jim’s of Lambertville is proud to offer this artwork. Signed lower right. Complemented by a hand carved and gilt frame. Alexander Farnham (b.1926) Alexander Farnham studied with Anne Steele Marsh, Van Deering Perrine, and at the Art Students League with George Bridgman...

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...

Lake Street, c. 1920 -30s, oil on board, 12 x 9 inches, signed lower right and verso, titled verso About the Painting At the center of Oscar Daniel Soellner’s Lake Street, we see the stairway leading to an elevated railway station on what is now Chicago’s Green Line route. When its first section opened in 1893 as the second permanent elevated rapid transit line in Chicago, this route was known as the Lake Street Elevated Railroad. Chicago’s “L,” like the New York subway and rapid transit system, played an instrumental role in the development of the urban economy and the overall look and feel of the city. The formal aspects of urban railroads and the role they played in efficiently moving large number of everyday citizens across America’s growing metropolises were catnip for many American Scene painters during the first half of the 20th Century. Here, Soellner uses the techniques of the impressionists and the palette of the Ash Can School, to convincingly depict a classic Chicago scene...

Walt Kuhn (1877-1949)was associated with the art group known as "The Eight" and with Arthur B. Davies, was a the key figure in forming the American Association of painters and Sculp...

Charles Caryl Coleman (Buffalo 1840 – Capri 1928), Peasant woman at work in the fields of Capri (1901) Oil painting on canvas 35 x 49 cm, signed, located and dated Capri 1901 lower ...

This is a 'Plein Air" landscape Painting by Jane Chapin as seen in the viewing room exhibition on Silas VON MORISSE GALLERY. “Plein-Air” is the French expression to describe the act of painting in situ within the landscape, capturing the ever changing weather and light with tonal qualities, colour, loose brushwork and softness of form... The practice of “Plein Air Painting” goes back for centuries but was truly made into an art form by the French Impressionists such as Claude Monet, Camille Pissarro, Alfred Sisley, and Pierre-Auguste Renoir who were advocating of plein air painting. Much of their work was done outdoors in the diffuse light of a large white umbrella. Another major proponent of Plein Air was Jean Baptiste Camille Corot whom Claude Monet considered as “The only One Master here”. Corot provides a transition from the sharp academic style that ruled in his day with focus on the natural world and the lyrical expressiveness of one's work. With her "Plein Air Paintings", Jane Chapin is part of one of the largest art movements in history. Her paintings carry human emotions. We can read her moods and feelings with places that carry deep remembrances for the artist that go beyond the descriptive. "My paintings grow from observing and interpretating light as it emerges from, surrounds and reflects on everyday people and scenes. They seek to remind us of the beauty of our common surroundings, regardless of where we are." - Jane Chapin Jane Chapin Painting the Land of the Free...