Daniel Garber Art

Original Graphite Sketch on Paper 1953 / Signed 1959 Inscribed “Sketch for Robe Feature” 10 5/8″ x 13 1/2″ Viewable 25″ x 29 1/2″ Framed The Robe, a fictional Biblical epic film was ...

Figurative landscape of four infantrymen in formation with their long arquebus guns by Adolphe Ancker (Dutch, 19th Century), after Marchetti. Signed and dated "Adolph Ancker 1888" lo...

John Singer Sargent Study off Newport, Rhode Island, 1876 Signed in pencil "JS265A" lower left Pencil on paper 5 x 10 inches Provenance: Estate of the artist Grand Central Art Galleries, New York, 1959 Mr. William H. Bender Jr Sotheby's New York, September 19, 1987 Private Collection 1987-2000 Mark Borghi Fine Art Inc., circa 2002 Private Collection (acquired from the above), New York Recognized as the leading portraitist in England and the United States at the turn of the century, John Singer Sargent was acclaimed for his elegant and very stylish depictions of high society. Known for his technical precocity, he shunned traditional academic precepts in favor of a modern approach towards technique, color and form, thereby making his own special contribution to the history of grand manner portraiture. A true cosmopolite, he was also a painter of plein air landscapes and genre scenes, drawing his subjects from such diverse locales as England, France, Italy and Switzerland. In so doing, Sargent also played a vital role in the history of British and American Impressionism. Sargent was born in Florence in 1856. He was the first child of Dr. Fitzwilliam Sargent, a surgeon from an old New England family, and Mary Newbold Singer, the daughter of a Philadelphia merchant. His parents were among the many prosperous Americans who adopted an expatriate lifestyle during the later nineteenth century. Indeed, Sargent's family traveled constantly throughout the Continent and in England, a mode of living that enriched Sargent both culturally and socially. He ultimately became fluent in French, Italian and German, in addition to English. Having developed an interest in drawing as a boy, Sargent received his earliest formal instruction in Rome in 1869, where he was taught by the German-American landscape painter Carl Welsch. Following this, he attended the Accademia di Belle Arti in Florence during 1873-74. In the spring of 1874, Sargent's family moved to Paris, enabling him to continue his training there. He soon entered the studio of Charles-Emile-Auguste Carolus-Duran. In contrast to most French academic painters, Carolus-Duran taught his students to paint directly on the canvas, capturing the essence of his subject through relaxed brushwork, a tonal palette and strong chiaroscuro. Although Sargent also spent four years studying drawing under Léon Bonnat at the Ecole des Beaux-Arts, it was Carolus-Duran's approach that would form the aesthetic basis of his style. Upon his teacher's advice, Sargent also traveled to Spain and Holland to study the work of old master painters such as Diego Velázquez and Frans Hals, both of whom also employed deft, fluid techniques. In 1876, Sargent made his first visit to the United States, claiming his American citizenship and visiting the Philadelphia Centennial Exposition. One year later, he spent the summer in Cancale, in France's Brittany region, where he painted outdoors, applying Carolus-Duran's strategies to portrayals of fishing folk on sunlit beaches. His reputation in Paris was established in 1878 when his Oyster Gatherers of Cancale (1878; Corcoran Gallery of Art, Washington, D.C.) won an Honorable Mention at that year's Salon. During the early 1880s, Sargent began making painting trips abroad, working in Venice in 1880 and 1882, where he painted street scenes and interiors notable for their brilliant play of light and shadow. He also embarked on what would be a lucrative career as a portraitist, producing such well known works as The Daughters of Edward Darley Boit (1882; Museum of Fine Arts, Boston). His early commissions also included an image of Madame Pierre Gautreau. A renowned beauty and member of Parisian society, Madame Gautreau was known for her bold, unorthodox approach towards fashion. In her portrait, entitled "Madame X" (1884; Metropolitan Museum of Art, New York), Sargent effectively captured her distinctive aura. However, his daring realism, coupled with fact that he portrayed a diamond shoulder strap falling off one of her shoulders, caused such an uproar that his career in France was seriously compromised. As a result of the controversy surrounding "Madame X,"Sargent left Paris in 1886, settling permanently in London. He subsequently flourished in the English capital, becoming the leading portrait painter to the upper classes. Those who shared Sargent's sense of refinement and sophistication, as well as his international viewpoint, were especially drawn to his fashionable French style. In addition to patronage from such prominent British families as the Wertheimers and the Marlboroughs, Sargent received an equal number of American commissions, many of them secured by artists and architects he had met during his student days in Paris, among them painters J. Carroll Beckwith and Julian Alden Weir and architect Stanford White. On a painting tour to America during 1887-1888, he portrayed members of notable families from Boston and New York, including Mrs. Jacob Wendell and Elizabeth Allen...

Antique American impressionist landscape oil painting. Oil on canvas. Framed. Signed. Artist bio; Lawrence, William Hurd (1866-1938) "Invincible!" By Charles B. Driscoll So...

Image dimensions: 5 ½ x 3 ½ inches Framed dimensions: 12 ⅛ x 10 ⅜ inches Inscribed at lower left: JS 220 Our drawing is also referred to as Young Boy Adjusting His Sandal, and is illustrated in the catalogue for Sargent's 1928 exhibition of drawings at Grand Central Art Galleries in New York. It is an example of an early study from life executed c. 1874-8.* Sargent drew continuously from an early age and had benefited from the emphasis on drawing at the Accademia delle Belle Arti in Florence where he entered the life class in 1870. He arrived in Paris on May 16th, 1874, with a large portfolio of drawings...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

JOSEPH PENNELL (1857 - 1926) NEW FISH MARKET - (NEW YORK) 1921 (W 797) Etching, Signed in pencil, edition probably 50. 9 7/8 x 6 7/8 inches. Full sheet, ...

Image dimensions: 7 ¼ x 10 ½ inches Framed dimensions: 16 ½ x 20 inches To produce his murals, Sargent painted monumental canvases in his studios in London and Boston, adhering them...

Henry Charles Hannig (1883 - 1948) The Green Parasol Oil on canvas mounted on board 6 x 7 3/4 inches Provenance: R.H. Love Galleries, Chicago, Illinois Private Collection, Lake Orion, Michigan Hannig, born in Hirschberg, Germany on 27 February 1883, came to America with his parents at the age of seven. He attended school in the southwest suburbs before the family settled in Chicago. Young Henry enrolled in the Chicago Academy of Fine Arts where Lawton Parker became his mentor. He made ends meet by working in industrial design and illustration. By 1908 he was a pupil in the School of the Art Institute of Chicago where students followed the traditional European drawing curriculum, beginning with the copying of master engravings and drawing after plaster casts, then concentrating on the nude figure. Students worked toward the goal of winning various academic prizes. One of Hannig's fellow students was Louis Ritman...

Artist: Harold Altman (American, 1924-2003) Title: Five Pigeons (Jardin du Luxembourg, Paris) Year: 1981 Medium: Original color etching with aquatint Edition: Numbered 75/200 in pencil Paper: Arches Image (plate mark) size: 11.75 x 8.25 inches Framed size: 24.5 x 17.65 inches Signature: Hand signed and titled in pencil by the artist Condition: It is in very good condition, the matting have some marks, see picture #1 Frame: Custom framed in a wooden silver frame frame, with fabric matting and brownish green fillet. About the artist. Printmaker Harold Altman was an etcher, painter, and teacher, who was born in New York City in 1924. He attended the Art Students League, 1941-42 and Cooper Union, (Graduate in Fine Arts), 1941-47, both in New York City. In 1946, he attended Black Mountain College, North Carolina and then went on to The New School, New York City 1947-49. Finishing his extensive art education at the L'Academie de la Grande Chaumiere in Paris 1949-52. Altman settled in the central Pennsylvanian village of Lemont in 1962, where a nineteenth-century frame church serves as his studio. Approximately four months out of the year are spent working in Paris where his lithographs are printed at Atelier DesJobert. In previous years, his etchings were printed at Atelier George LeBlanc. Altman's landscapes and figurative works have been exhibited at numerous galleries and museums, both in the United States and abroad. He is represented in nearly every significant collection in the world. New York's Museum of Modern Art owns over forty Altmans while the Whitney Museum of American Art and Brooklyn Museums each have over fifty of his works in their permanent collections. His work is to be found in many significant museum collections outside of the United States, several of which are the Victoria and Albert Museum of London, the Stedelijk Museum of Amsterdam, the Kunst Museum of Basel, the Royal Museum of Fine Arts of Copenhagen and the Bibliotheque Nationale of Paris. OVER 300 ONE-MAN EXHIBITIONS (PARTIAL LISTING) Galerie Huit - Paris (1951) The Art Institute of Chicago - (1960) The Escuela Nacional de Artes Plasticas - Mexico City (1961) The San Francisco Museum of Art - (1961) The Santa Barbara Museum of Art - (1961) Oklahoma Art Center - (1966, 1976) The Southeastern Center for Contemporary Art - Winston-Salem, NC (1976) Milwaukee Art Center - (1969) The Print Cabinet...

Fine Art Aquatint Etching of Gordes, in Provence, France - "Legendary Provence" by Ronald Stephen Riddick Beautiful aquatint etching of a sunset over iconic Provence French town, Go...

6.5" x 8" pencil on paper. Crows in a landscape. In custom mat from Kennedy Galleries, approx 14" x 20"Born in New York City, Albert Lorey Groll became a much admired, successful western desert...