1940s Prints and Multiples

Jim’s of Lambertville Fine Art Gallery is proud to present this piece 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...

It is very rare in WWII posters to know the identity of the exact soldier being depicted. This scarce and highly sought after poster by Betsy Graves Reyneau (1888 - 1964) is one such...

A highly-evocative original 1940s Peter László Péri etching in a museum-grade frame. Framed size: 45 x 52.5cm Mounting: Raised-float mounted using ...

Colour Lithograph "Théière grise" (Gray Tea Pot) by Georges Braque from 1947. The total edition comprises approx. 80 copies. The present copy is signed and numbered below the ima...

Etching "Théogonie II" by Georges Braque from 1949. The edition comprises 90 copies. The present copy is numbered in pencil below the platemark on the left, signed on the right, ...

Etching in Brown and Black "Théogonie I" by Georges Braque from 1949. The edition comprises approx. 30 copies. The present copy is numbered in pencil below the platemark on the l...

Untitled (Youth With Kite) 1941 Signed, titled, and numbered, recto Etching (Edition of 75) 10.375 x 5.375 inches (26.4 x 13.7 cm) Contact gallery for price. Literature: Lincoln...

Casablanca Bill Gold, American (1921–2018) Date: of Original: 1942 Reproduction Three Sheets Poster, numbered in pencil bottom left Edition of 199 Size: 86 x 46.5 in. (218.44 x 118.1...

Untitled (Youth With Kite) 1941 Signed, titled, and numbered, recto Etching (Edition of 75) 10.375 x 5.375 inches (26.4 x 13.7 cm) Contact gallery for price. This work is offere...

Pochoir printed in colours, 1947. From: Jazz, Plate VI. From the book edition of 270. Printed on Arches paper by Edmond Vairel, Paris. Published by Teriade, Paris. (Duthuit Livre...

Kelly Fearing (American, 1918 - 2011) Title: Three Virgins and a Devil, 1944 Medium: Prints and multiples, etching Edition: 40 / 50 Size: 7.75 x 5 ...

Kelly Fearing (American, 1918 - 2011) Title: Boy Returning Water to the Sea, 1949 Medium: Prints and multiples, lithograph Size: 11.5 x 14 in. (29.2 x 35....