Alfred Henry Maurer

Still Life (double-sided)

circa 1920's

KONRAD CRAMER (1888-1963) Prickly Pears and Pomegranates, 1929 Oil on board 19 ¾ x 23 ¾ inches Signed and dated at lower right: KONRAD CRAMER / 192...

BENJAMIN CHAMPNEY Pink Rose in a Vase, 1905 Oil on canvas 12 x 7 inches Signed and dated at lower right: 1905 / B. Champney Period "Jordan Marsh" oak frame PROVENANCE Private Collection, Rhode Island BROCK & CO., Concord, Massachusetts Champney (1817-1907) began as an apprentice to a lithographer in Boston. Reportedly, the American old master Washington Allston advised Champney to study in Paris, then the young artist departed in 1841. He must have been a success, since his landscape views of the outskirts of Paris appeared at the Salons of 1843 and 1844. In the Louvre Champney made copies of landscapes by Claude Lorrain, Joseph Vernet and Ruysdael. He said that he fell in love with the landscapes of Diaz de la Peña, the Barbizon painter, and he also appreciated the progressive techniques of Constant Troyon: "the green tones of which were marvellously rich and juicy," while some critics called the French painter's landscapes "plates of spinach." Often Champney would dine with his roommate John Kensett and John Casilear (1811-1893). In addition, he met John Vanderlyn and William M. Thackeray. When Kensett went off to London to claim an inheritance, Champney got his own studio near the Eglise de la Madeleine. After Kensett returned, the two went off to explore Italy (Champney was in Rome with Worthington Whittredge and Kensett in 1845-46), Germany and Switzerland. At Basel, he discovered the art of Hans Holbein. Champney would return to Europe later to execute a panorama of the Rhine but returned to America upon the Revolution of 1848. Champney was rejoined by his old friends Casilear and Kensett in North Conway, New Hampshire where he was one of the first to work at what became an artists' colony at the White Mountains. Many consider him to be the founder of the White Mountain School...

HENRIETTE AMIARD OBERTEUFFER (1878-1962) Still Life with Fruit and Flowers, n.d. Oil on canvas 29 x 24 inches Signed at lower right: H. Amiard. Oberteuffer Period frame Henriette Amiard was born in Le Havre, France, in 1878. She studied at the Academie Julian in Paris under Benjamin Jean-Joseph Constant and Jules-Joseph Lefebvre. While attending the Academie she met her future husband, American artist George Oberteuffer...

JOHN F. ENSER (1898-1968) Hermann Dudley Murphy's Garden, Lexington, Massachusetts, c. 1930 Oil on panel 12 x 16 inches Signed at lower right: John F. Enser Inscribed verso with tit...

MERVIN JULES (1912-1994) The Jury, c.1940’s Oil on board 14 x 15 1/8 inches Signed at lower left: JULES PROVENANCE ACA Galleries, New York, NY EXHIBITED Cahoon Museum...

WILLIAM COTTON (1880-1958) Secretary Hull, 1934 Pastel on paperboard 12 x 9 inches (sight) Signed at upper right: W. COTTON PROVENANCE Private Dealer, Massachusetts BROCK & CO., Concord, Massachusetts, 2017 EXHIBITED The Art Institute of Chicago, 16th International Exhibition of Water Colors – 1937, no. 216, as Secretary Hull. Note: This pastel depicts Secretary of State Cordell Hull, who was FDR's Secretary of State from 1933-1944 (the longest serving Secretary of State in U.S. history) and winner of the Nobel Peace Prize for his role in creating the United Nations. The portrait was reproduced on a March 1934 Vanity Fair cover...

In “Still Life with Daffodils,” bright yellow blossoms stand in a white jug against a subdued background. The light and impressionistic detailing, particularly on the jug and in the folds of the tablecloth, indicate the influence of European modernism on the artist’s mature style. This is the first work by John Mann...

"Red Chair," though an interior scene, is arranged like a still-life with the furniture and objects slightly off-kilter in the creative manner of Marc Chagall's interiors, the Russian-French artist of Belarusian Jewish origin. These non-fixed objects lend a floating energetic atmosphere and the brilliant colors contribute to the liveliness of this warm inviting interior. Richard Jerzy was a well-known watercolor artist from the Detroit, Michigan area. His signature works were figures and still lives, and many famous Michigan families are collectors. "He was probably the most promising, successful, exciting artist in the state of Michigan," said Miriam Parel, a fellow artist and friend for more than 30 years. He grew up on Detroit's east side and developed an interest in painting as a teenager. He attended Detroit's Center (now College) for Creative Studies. Other well- known CCS faculty and graduates are Susan Aaron-Taylor, Harry Bertoia, Doug Chaing, Stephen Dinehart, Tyree Guyton...

"Squares and Things" painted by the eminent artist, Charles McGee, literally breaths his African American heritage and his extraordinary vibrant use of colors. This early painting of McGee's shows his mastery in creating a painting in the style of the French Impressionist Edouard Manet, "Still Life with Melon and Peaches" located in the National Gallery of Art, Washington, DC, and in the style of Fauvist/Expressionist painter Henry Matisse, "Still Life with Blue Tablecloth", located in the Hermitage Museum, Saint Petersburg, Russia. McGee makes the well-known genre of still life his own creating an exciting marvelous work incorporating the homely quilt - the powerful symbol of the African American road to safety from slavery - as his main focus. Quilts symbolize warmth, comfort, and as shown by the collection of quilts gathered by the artists in Gee's Bend the designs on the quilts hung outdoors at locations along the Underground Railroad showed fugitives the road north and to safety. "Squares and Things" was first shown at The Arwin Galleries, Inc., Detroit, Michigan, one of the stops along the Underground Railroad. This piece is signed by the artist, Charles McGee, and is an extraordinary example of his early work before he moved into Abstract Expressionism and his many sculptural works now located throughout Michigan. Several of these works are: "Noah's Ark: Genesis, 1984," on display at the Detroit Institute of Arts, his brilliant 2005 "Progression" a 45-foot wide aluminum sculpture at Beaumont Hospital, Royal Oak, Michigan, and his stunning 2016 "United We Stand" sculpture at the Charles H. Wright Museum of African American History . His genius can be seen in sculpture installments throughout the city of Detroit. . He was born into a family of sharecroppers. While helping his grandfather tend the land, "he observed firsthand the order and harmony that exists within nature." He had no formal schooling until moving to Detroit at age 10, where he found that "everything was on the move and it hasn’t slowed down yet." in 2017 he observed, "I learned something not being in school — because life is school . . .I learn something every time I move. Every time I go around a corner, something new is revealed to me.” McGee took advantage of the GI Bill to attend classes at the Society of Arts and Crafts, now the College for Creative Studies, Detroit, MI. Other College for Creative Studies (formerly Center for Creative Studies) faculty and graduates include Richard Jerzy, Harry Bertoia, Doug Chaing (currently director of Lucas Film), Stephen Dinehart (game maker, writer, designer connected with The David Lynch Foundation), Tyree Guyton (international artist), Herb Babcock, Jerome Feretti, Kevin Siembieda (writer, designer and publisher of role-playing games), Renee Radell, and Philip Pearlstein. After retiring from the Corps of Engineers, McGee spent 1968 studying art in Barcelona. Despite not knowing the language at the outset, he immersed himself in the culture and opened himself to a whole new range of experience that would play out in his artwork. "If you free yourself, you have this kind of opportunity to have those experiences, horizons, and new vistas." (per interview with Nick Sousanis author of a book on Charles McGee.) He returned to Detroit and curated "Seven Black Artists" at the Detroit Artists Market in 1969, which along with McGee himself, included Lester Johnson, Henri Umbaji King, Robert Murray, James Lee, Allie McGhee...

Artist: Chuck Close Title: Tavern Year of Work: 1960 Medium: Oil on Canvas Signature: Signed & Dated Upper Left Dimensions: framed 31 x 25 unframed 30 x 24 Provenance: Chuck Close, Marjorie Dalton (Dear friend of Chuck), Private Collection. Tavern, is truly a rare find, an original oil on canvas, in compelling blues and grays with a touch of gold and orange. This work reveals more imagery and detail the longer one enjoys it. This painting was created during his years studying in Yale Art School, and draws different qualities to each new viewer similar to a Rorschach. Close's work is in the collections of most of the great international museums of contemporary art, including the Centre Georges Pompidou in Paris, the Metropolitan Museum of Art New York City. and the Tate Modern in London. Artist Bio: Chuck Close – (1940-2021) an American painter, artist and photographer born in Monroe, Washington. Early childhood illnesses including a neuromuscular condition, nephritis and dyslexia were compounded later in life by a condition known as prosopagnosia (face blindness), which may have inspired him to do portraits. Most of his early, large-format portraits are based on photographs, using photorealism or hyperrealism, of family and friends, often other artists. Close often painted abstract portraits of himself and others, which hang in collections internationally. Even though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he continued to paint inspired by artists like Jackson Pollock and Willem de Kooning. Close's first solo exhibition, held in 1967 at the University of Massachusetts Art Gallery, Amherst, featured paintings, painted reliefs, and drawings based on photographs of record covers. Being much in the mainstream of pop art, a fragment of Close's portrait of singer-songwriter Paul Simon...

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...

Henri Matisse La Persane 1929 Lithograph on Arches Velin paper, Edition of 50 Paper size: 63 x 44.5 cms (24 3/4 x 17 1/2 ins) Image size: 44.8 x 29 cms...

Signed and dated 1958 lower right. Vaclav Vytlacil (1892-1984) He was born to Czechoslovakian parents in 1892 in New York City. Living in Chicago as a youth, he took classes at the School of the Art Institute of Chicago, returning to New York when he was 20. From 1913 to 1916, he enjoyed a scholarship from the Art Students League, and worked with John C. Johansen (a portraitist whose expressive style resembled that of John Singer Sargent), and Anders Zorn. He accepted a teaching position at the Minneapolis School of Art in 1916, remaining there until 1921. This enabled him to travel to Europe to study Cézanne’s paintings and works of the Old Masters. He traveled to Paris, Prague, Dresden, Berlin, and Munich seeking the works of Titian, Cranach, Rembrandt, Veronese, and Holbein, which gave him new perspective. Vytlacil studied at the Royal Academy of Art in Munich, settling there in 1921. Fellow students were Ernest Thurn and Worth Ryder, who introduced him to famous abstractionist Hans Hofmann. He worked with Hofmann from about 1922 to 1926, as a student and teaching assistant. During the summer of 1928, after returning to the United States, Vytlacil gave lectures at the University of California, Berkeley, on modern European art. Soon thereafter, he became a member of the Art Students League faculty. After one year, he returned to Europe and successfully persuaded Hofmann to teach at the League as well. He spent about six years in Europe, studying the works of Matisse, Picasso, and Dufy. In 1935, he returned to New York and became a co-founder of the American Abstract Artists group in 1936. He later had teaching posts at Queens College in New York; the College of Arts and Crafts in Oakland, California; Black Mountain College in North Carolina; and the Art Students League. His paintings exhibit a clear inclination toward modernism. His still lives and interiors from the 1920s indicate an understanding of the art of Cézanne. In the 1930s, his works displayed two very different kinds of art at the same time. His cityscapes and landscapes combine Cubist-inspired spatial concerns with an expressionistic approach to line and color. Vytlacil also used old wood, metal, cork, and string in constructions, influenced by his friend and former student, Rupert Turnbull. He eventually ceased creating constructions as he considered them too limiting. The spatial challenges of painting were still his preference. During the 1940s and 1950s, his works indicated a sense of spontaneity not felt in his earlier work. He married Elizabeth Foster in Florence, Italy, in 1927 and they lived and worked in Positano, Italy for extended periods of time. Later on, they divided their time between homes in Sparkill, New York and Chilmark, Massachusetts, where Vyt, as he was affectionately called, taught at the Martha's Vineyard Art...

Two Women and a Child on the Beach at Provincetown Unsigned. Watercolor on paper, c. 1934 A beautiful Provincetown beach scene, included in the catalogue raisonne. Please see Babcock Gallery's scholarship (included in photos) This watercolor show's the artist's mature precisionist technique and artful omission of detail. Condition: excellent Image size: 8 1/2 x 10 1/2 inches Frame size: 16 x 18 inches Housed in a 22K White Gold frame with conservation glass Provenance: James Maroney, Inc. (label) Sid Deutsch Gallery (label) Hirschl & Adler Galleries (label) Babcock Galleries (label) Zabriskie Gallery (label) Exhibitions: Little Rock, AR, Arkansas Art Center, December 3, 2004 - February 6, 2005: "2004 Collector's Show and Sale," "When he was asked to provide a brief autobiography, Demuth responded, “I was born November 8th 1883, studied at the Pennsylvania Academy of the Fine Arts under William M. Chase and Thomas Ancheus. I went to Paris in 1907 for the first time and afterwards returned to it in 1912 and 1921, living there and in London during these visits—about four years in all. I have exhibited at the Pennsylvania Academy and the Daniel Gallery in New York City. I think that is the limit of my knowledge about myself. I suppose you will reply, “Know thyself, young man.” Demuth has an almost Forrest-Gump-like quality of being in the right place at the right time. He was in Paris before the war, in Gertrude Stein’s salon with Picasso and later with Hemingway. He was in New York as a member of Alfred Stieglitz’s circle as the early modernist movement is taking place and the Stieglitz group struggles with creating a market for modern art in America and, at the same time, defining an American style of art. He was close with Marcel Duchamp, Marsden Hartley, Georgia O’Keeffe, and Alfred Stieglitz. Georgia would visit him in Lancaster and the two would paint in his mother’s garden. " Demuth web site "While he was in Paris he met Marsden Hartley by walking up to a table of American artists and asking if he could join them. He had a great sense of humor, rich in double entendres, and they asked him to be a regular member of their group. Through Hartley, he met Alfred Stieglitz and became a member of the Stieglitz group. In 1926, he had a one-man show at the Anderson Galleries and another at Intimate Gallery, the New York gallery run by Stieglitz. Demuth was introduced to modernism during trips to Europe between 1907 and 1921. On frequent trips to New York City, he encountered avant-garde styles and ideas, most notably Cubism, the influence of which is reflected in many of his works. In Vaudeville (Dancer with Chorus), 1918, in the Philadelphia Museum of Art His most famous painting, I Saw the Figure 5 in Gold...

Signed lower left: EH Barnard

the most important American Impressionists of his age. While many of his contemporaries focused on the landscape, Frieseke gained his inspiration from the figural, and in particular the theme of femininity. His works capture female figures engaging in traditionally feminine roles — strolling in the garden or posed in a domestic interior. At the Mirror...

Signed lower right: A.H. Maurer

In “Still Life with Daffodils,” bright yellow blossoms stand in a white jug against a subdued background. The light and impressionistic detailing, particularly on the jug and in the folds of the tablecloth, indicate the influence of European modernism on the artist’s mature style. This is the first work by John Mann...

"Red Chair," though an interior scene, is arranged like a still-life with the furniture and objects slightly off-kilter in the creative manner of Marc Chagall's interiors, the Russian-French artist of Belarusian Jewish origin. These non-fixed objects lend a floating energetic atmosphere and the brilliant colors contribute to the liveliness of this warm inviting interior. Richard Jerzy was a well-known watercolor artist from the Detroit, Michigan area. His signature works were figures and still lives, and many famous Michigan families are collectors. "He was probably the most promising, successful, exciting artist in the state of Michigan," said Miriam Parel, a fellow artist and friend for more than 30 years. He grew up on Detroit's east side and developed an interest in painting as a teenager. He attended Detroit's Center (now College) for Creative Studies. Other well- known CCS faculty and graduates are Susan Aaron-Taylor, Harry Bertoia, Doug Chaing, Stephen Dinehart, Tyree Guyton...

Modern Abstracted Still-Life with Antique Coffee Grinder by Anthony Rappa Modern textural still-life by California artist Anthony Rappa (Amer...

Modernist still life of flowers. Oil on board 16 x 20 in., 22.25 x 26.25 inches framed. signed lower right. Frank Stanley Herring (1894 - 1966) Frank Stanley Herring was active/lived in Georgia, New York. American artist Frank Herring is known for portrait, cotton genre and figure painting particularly of African-American southern scenes and as a portrait painter. Herring was born in Pennsylvania, and established himself as a painter in New York City after having studied art in Chicago. Shortly after marrying in the early 1920’s, Herring began teaching at the Grand School of Art in NYC in the winters while spending summers in North Carolina. It was here that he met Paul Whitener in 1934, being introduced by Mickey who was at the time being tutored by Herring. As Paul's interest in and talent for painting emerged and grew, Herring supported Mickey's idea that Paul take lessons at the well-respected Ringling School of Art's summer program at Wildacres in Little Switzerland...

Genre: Modern Subject: Kitchen still life with pineapple, sourdough bread and lemons Medium: oil paint, done in a sgraffito, impasto somewhat brutalist technique Surface: board Country: United States Dimensions: 18 X 24 Being sold unframed Enid Munroe re-establishes the aesthetic worth of ordinary manufactured objects within the basic form language of Cubism. In her painting the artist uses trompe-l'oeil to render her composition, involving realistic imagery in order to create the optical illusion that the depicted objects exist in three dimensions. Enid Munroe is an artist and teacher who is well known regionally for her paintings, works on paper and Gold leaf, silver leaf, trompe l’oeil collage and assemblage series. She has been included in numerous invitational and juried exhibitions both nationally and regionally. Her works are in leading public, corporate and private collections including the Brooklyn Museum and the National Museum of American Art. Munroe cites painter Georgia O’Keeffe as one her influences and sources of inspiration. “Georgia O’Keeffe really helped lift the concept of women as artists,” stated Munroe. Munroe lived and worked in Mexico, Japan and Italy before settling in Connecticut. She is the author of An Artist in the Garden: A Guide to Creative and Natural Gardening (Henry Holt & Co, 1994) and has been active in regional art events including the founding of the annual Pequot Library...