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Abstract Composition: Franz Kline
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American:
Pre 1960 item# 1171356 (stock# 2591)
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King Art
414-276-6779
Price on Request
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Franz Josef Kline, 1910-1962. Oil on Paper, signed lower right, 30"h by 23"w. Excellant provenance. Authenticated by Mr Foster. Born in Wilkes-Barre, Pennsylvania, Franz Kline became one of the most prominent 20th-century American artists working in abstract and non objective styles. His name is most associated with large-scale black and white paintings, and these linear abstractions brought his first notable public attention in 1950 when they were shown in New York City. Of these paintings with no coloration, Kline said: "People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important." (Herskovic 186)
Franz Kline began his career as a figure and landscape painter, and studied in the Art Department of Boston University from 1931 to 1935 and Heatherley School of Art in London from 1937 to 1938. He then settled in Greenwich Village of New York where he painted in realist style the local scenery including street scenes and Bohemian night clubs. Some of these in 1940 included Bleeker Street murals of jazz musicians but were not focused on social conditions but on American scenes, which was the prevalent style of that time.
In 1946, he did his first abstract work and in 1949, became committed to Abstract Expressionism when a friend put several of his small sketches into a projector, magnifying the bold linear strokes and making obvious his talent for that style. From that time, he often used a "Bell-Opticon enlarger to project forms on a wall as a means to abandon representation." (Baigell 196). Much of Kline's early abstraction was black and white with boldly geometric lines cut with asymmetry and opening edges. Later his lines became much thicker and his forms slablike. He used brushes up to eight inches in width.
Abstract Expressionist Willem de Kooning was especially encouraging to Franz Kline. who by 1950, was producing large-scale Abstract Expressionist works with calligraphic images in black on white ground. From 1958, his gestural paintings had bold coloration. It was written that "his use of color had the effect of slowing down the velocities of his great bars and color sections." (Baigell 196).
Many of his works were done with wide house-painter brushes, heavily loaded with paint across large canvases.
Although primarily a painter, Franz Kline taught briefly at Black Mountain College in 1952; Pratt Institute in 1953; and the Philadelphia Museum School in 1954. From the late 1950s until his death, Kline was also active in Provincetown, Massachusetts. He died in New York City in 1962.
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Cubist Landscape: Albert Gleizes
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Pre 1920 item# 1171347 (stock# 2590)
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414-276-6779
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Albert Gleizes, French, 1881-1953. Paysage Cubiste is oil on canvas, signed and dated 1914, 28.7"h by 35.4"w. Authenticated by Anne Verichon, author of the Catalogue Raisonne Albert Gleizes. His paintings sell for up to $2,709,303. This French painter and writer born Albert Leon Gleizes was raised in Paris and was the son of a fabric designer who ran a large industrial design workshop. After finishing secondary school, he worked with his father and then while serving in the army from 1902 to 1905 he began to paint seriously. Initially influenced by the Impressionists, at twenty-one his work La Seine a Asnieres was exhibited at the Societe Nationale des Beaux-Arts in 1902. With several friends in 1906 he founded the Abbaye de Creteil outside Paris. This commune of artists and writers scorned bourgeois society and sought to create nonallegorical, epic art based on modern themes. The commune closed in 1908 due to financial restraints and in 1909 he came under the influence of Fernand Leger, Robert Delauney, Jean Metzinger and later to Henri Faucconnier who led Gleizes to his cubist style. In 1910 he exhibited at the Salon des Independents, Paris and the Jack of Diamonds in Moscow.In 1914 Gleizes re-entered the military service. His paintings had become abstract by 1915. Galeries Daimau, Barcelona held his first one man show in 1916. Then beginning 1918 while in America, Gleizes developed an interest in spiritual values and as a result the theme of religious thought entered many of his subsequent writings. He founded Moly-Sabata, another untopian community of artists and craftsmen in Sablons. Later in his career he was commissioned for murals for the Paris Worlds Fair of 1937. In 1947, a major Gleizes retrospective occurred in Lyons at the Chapelle du Lycee Ampere. From 1949 to 1950 Gleizes painted illustrations for Pascal’s Pensees and in 1952 he painted a fresco, Eucharist, for the chapel Les Fontaines at Chantilly. Gleizes died in Avignon on June 23, 1953.
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Impressionist Landscape: Daniel Garber
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Pre 1950 item# 1169728 (stock# 2587)
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King Art
414-276-6779
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Daniel Garber, Penn, 1880-1958. This lovely impressionist painting is oil on board, 11"h by 14.5"w, signed clearly lower right and from a private collection. Daniel Garber was born in 1880 to a Mennonite farm family near North Manchester, Indiana. In 1897 he left to study art with Vincent Nowottny at the Art Academy of Cincinnati, Ohio. He went on to study with High Breckenridge at the Darby School in Fort Washington, Pennsylvania, in the summers of 1899 and 1900. Between 1899 and 1905 Garber enrolled at the Pennsylvania Academy of Fine Arts in Philadelphia, Pennsylvania, where he studied with William Merritt Chase, Julian Alden Weir and Cecilia Beaux.
He was awarded a Cresson Traveling Fellowship to England, France, and Italy between 1905-1907. In 1909 he returned to the Pennsylvanian Academy of Fine Arts as a member of the faculty. He taught painting and drawing there for the next 41 years, and was notorious for his high expectations of his students.
Garber illustrated books and magazines, including the collected works of Theodore Roosevelt. He was also a printmaker and was awarded several solo exhibitions of his drawings, etchings and prints. He began to receive national prominence for his paintings after winning the Hallgarten Prize from the National Academy of Design in 1909. He was elected Academician of the National Academy in 1913.
Known as one of the most original of the Pennsylvania Impressionists, Garber depicted the quarries, woods and Delaware River valley of Bucks County, Pennsylvania, and the Lambertville and Lumberville areas of New Jersey. He painted large plein-air landscapes conceived in two quite different but overlapping modes that appear to have evolved simultaneously. The first is depicted realistically, showing evidence of human occupation on the land. Concern for the subtle nuances of shape and detail emanate from the painting with an almost radiant glow. It is with his other mode however, that he formed his signature style: highly decorative, with trees constructed in a stitch-like pattern and woven throughout the composition. In these paintings the artist often departs from the traditional, panoramic format of the landscape painting, employing square, or nearly square, painting dimensions. Art historian William Gerdts believes that Garber's two modes exemplify the primary directions that American Post-Impressionist painting took in the second decade of the 20th century, making the artist's position quite significant in the development of Modernism. Garber was granted 29 major prizes and medals for his painting during his lifetime. He was a member of the American Institute of Arts and Letters and was elected to both the Salmagundi Club and the National Arts Club. He died in 1958 at his home, "Cuttalossa," along the banks of the Delaware River in Lumberville, New Jersey. His paintings sell at auction for up to $1,128,000.
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"TEMPTATION": John George Brown
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Pre 1910 item# 1166570 (stock# 2582)
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King Art
414-276-6779
SOLD
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JOHN GEORGE BROWN (1831-1913)
John George Brown's sentimentalized portrayals of street urchins, reproduced by the thousands, made him the richest and most celebrated genre painter in turn-of-the-century America. Born in Durham, England in 1831, Brown studied art in England and Scotland before coming to America in 1853.
He was a glassblower in Brooklyn, and a student at the National Academy of Design in New York City. He opened a studio there in 1860, when his painting "His First Cigar" launched his national reputation. Brown exploited his considerable talent to supply the Victorian taste for his specialty-adept (copyrighted) pictures of young white shoeshiners, vendors and servants.
From the 1860s on, his reputation as "the boot-black Raphael" never flagged. Toward the end of his life, his yearly income averaged $40,000. Originals sold for $500 to $700. Royalties from just one lithograph, distributed with packaged tea, totaled $25,000.Though he claimed the successful formula of "contemporary truth" for his pictures, none gave doting collectors or wealthy patrons cause for social alarm. He falsified his subjects, who were in reality minority immigrants whose lives were often wretched struggles for survival.
Brown's street juveniles are invariably cheerful, spunky tykes-never sick, sad, emaciated, hungry or noticeably foreign. Their ragged clothing is picturesque, their grime cosmetic. They are undeniably appealing. Even the most uneven of Brown's popularized works show painterly skill and sound training.
Brown realized he was pressured by his buying public into subjects and techniques below his true ability; the pictures he painted for pleasure, using his full range of artistry, are straightforward and distinguished. Most are of country scenes and outdoor pastimes, with none of the contrived look of his commercialized "trademark" paintings.
Brown's "View of the Palisades" (1867, private collection) is a delightful and unaccustomed departure from his genre work. Showing boats on a calm, open bend of the Hudson, it is broadly painted, expansive in feeling, with crisp detail and care in every brushstroke.Brown died in 1913 in New York City. MEMBERSHIPS
National Academy of Design
American Water Color Society
PUBLIC COLLECTIONS
Corcoran Art Gallery, Washington, D.C.
Metropolitan Museum of Art, New York City
Museum of Fine Arts, Boston
Peabody institute of the City of Baltimore
G.W.V. Smith Art Gallery, Springfield, Massachusetts
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Young Girls and Dolls: Charles Bird King
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Pre 1837 VR item# 1166568 (stock# 2586)
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King Art
414-276-6779
"$25,000"
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Charles Bird King,1785-1862, Washington, District of Columbia. Born in Newport, Rhode Island, Charles Bird King became famous for his portraits of distinguished Native Americans. He studied with Samuel King, colonial painter, and then at age 15, ran away to New York City where he worked in the studio of Edward Savage. From 1805 to 1812, he lived in London, studying with Benjamin West and sharing a studio with Thomas Sully. In 1816, he settled in Washington D.C., becoming the city's first significant resident artist. He did portraits of politicians and then spent 16 years on a commission to paint members of a five-tribe Indian delegation, which came to the city in 1821. The results became the basis of the National Indian Portrait Gallery. The originals burned, but lithography copies remain. He did an occasional still life, some of them in trompe l'oeil style including The Vanity of an Artist's Dream, which shows dusty, dilapidated books, stale food, and debris from an artist's studio. Another work, Still Life Game, has dark tones and melancholy mood and highly realistic rendering. His painting have sold at auctions for up to $1.300,000 and his paintings are in many important museums including National Portrait Gallery, National Gallery of Art, Smithsonian American Art Museum, Museum of Fine Arts, Boston, Fogg Art Museum: Harvard University Art Museums, Corcoran Gallery of Art.
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Horse Drawn Wagon in Storm: Adolf Schreyer
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Pre 1900 item# 1159582 (stock# 2588)
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414-276-6779
"$3800."
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Adolf Schreyer,German, 1829-1899, Horse Drawn Cart in Snow Storm, oil on wood panel, 8" h by 18 3/4" w in a beautiful 3.5" gold leaf
frame ( 15" h by 25 3/4" w ), signed lower right A Schreyer.
Christian Adolf Schreyer was a German painter. He was born at Frankfurt-am-Main. He first studied at the Städel Institute in his native town, and then in Stuttgart and Munich. Schreyer first accompanied Prince Thurn and Taxis through Hungary, Wallachia, Russia and Turkey. Then, in 1854, he followed the Austrian army across the Wallachian frontier. In 1856 he went to Egypt and Syria, and in 1861 to Algiers. In 1862 Schreyer settled in Paris but he returned to Germany in 1870 and settled in Cronberg, near Frankfurt, where he died.
Schreyer was especially esteemed as a painter of horses, peasant life in Wallachia and Moldavia and of battles. His work is particularly remarkable for its excellent equine draughtsmanship and for the artist’s power of observation and forceful statement. Schreyer was highly appreciated by French and American collectors. Schreyer is represented in the following collections: the Raven Gallery, Berlin; the Metropolitan Museum, New York; Kunsthalle, Hamburg.
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French Trees in Forest: Guy Bardone
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Pre 1980 item# 1159548 (stock# 2585)
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King Art
414-276-6779
"$2000"
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Guy Bardone was born in 1927 in Saint-Claude, on of the most beautiful old towns in France. His vocation as a painter was confirmed after admission to the Ecole National Supérieure des Arts Decoratifs in Paris. Here he trained under Brianchon, Cavailles and Desnoyer. He was awarded the prestigious Prix Félix Fénéon in 1952 which set wider horizons and allowed him entry into the Paris arena.
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Impressionist French River in Vetheuil: Claude
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Pre 1930 item# 1159547 (stock# 2583)
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King Art
414-276-6779
"$20,000"
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Claude, French, 19th C. This beautiful impressionist painting is from the late 19th to very early 20th C. It is a view of the river in Vetheuil in France. It is from a private collection of a french family that brought the painting from France where is was purchased in the late 19th C. this is the time that Claude Monet
was actively painting in the village. It is likely that this is a painting by an artist in the entourage of Claude Monet. It is in good condition and signed lower left CLAUDE.
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French Couple in Bed: Honore Daumier
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Pre 1900 item# 1159521 (stock# 2581)
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King Art
414-276-6779
"$385,000"
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Honore Daumier, French, 1808-1879. This charming oil on panel is Daumier at his best. It shows his amazing sense of humor about the daily life of the French people. It is in excellent condition, signed clearly lower right in the beautiful original frame. the panel is 20.5cm h by 26.8cm w and framed dimensions are 38cm by 44cm. Approximately 8" by 10.5" framed 15" by 17.5". His paintings are in many museums and sell for up to $2.4 Million USD. Honore Daumier was born in Marseilles, France on February 26, 1808. He was the son of a Marseille glazier who wrote a little poetry on the side and who thought so much of his own talent that in 1816 he decided to move himself and his family to Paris. Over the next dozen years, the family lived in eight different apartments in Paris. There was never enough money, and the experience of hard times would mark Daumier for life. At the age of twelve, Honore became a messenger boy for a process server's office and then a clerk for a bookstore - jobs that opened up to him every corner of Paris. He sketched everything he saw and finally started studying art with an academician whose idea of instruction was to have his pupils copy plaster casts hour after hour. "This is not life," said Daumier, and he struck out on his own.A year later, the boy enrolled in the Academy Suisse, an informal school where students could draw from the model in the mornings and still hold down jobs. Though Daumier was never a flamboyant bohemian, he was soon part of a group of young artists from the school, some of whom became lifelong friends. If the teenager didn't have the money for oils or canvas (presumably why so little of his student work survives), in studios and cafes he drew the way other people talked. Daumier was on his way to becoming one of the greatest draftsman who ever lived.
The lithograph was a comparatively new art in those days, but it quickly became Daumier's bread and butter. He began turning out political cartoons for an ardently antiroyalist magazine called La Caricature. One cartoon portrayed King Louis Philippe as Gargantua gobbling up every last sou in France. For such indiscretions Daumier spent six months in prison. He was the first French artist to get to the hall of fame because the people liked his little drawings, instead of the aristocracy liking his big salon paintings.
No sooner was he out again than he started producing more cartoons for another magazine. In 1846, at the age of thirty-eight, he married a young seamstress called Didine and settled down in an apartment on the Quai d'Anjou. There, in a bare attic studio, using crayons until they were so worn he could no longer hold them, and whistling the latest music-hall tunes, Daumier turned out lithographs of arrogant aristocrats, greedy landlords, sour-faced men and nagging wives, sinister lawyers and pompous judges. Sometimes his humor was gentle; occasionally it was savage; it was always perceptive.Daumier made lithographs, 3958 in all, until he went blind at sixty-five. But all along he was painting, though no more than a handful of his canvases were shown in public before the last year of his life. Compared with the more spectacular romantics, he seemed rough and unfinished. Nor did he understand the work of the new impressionists. He was a superlative draftsman whose brush drew spare and strong, and whose preoccupation was people. No matter how ordinary their acts, Daumier gave drama and dignity to their lives. He was ruthless in his candor, but his candor was born of concern.The painter Daumier was a rotund gentle person who cared far more for others than for himself. There were never any extras for Daumier. A year before he died at seventy, a group of friends, led by Victor Hugo, arranged a show of his paintings. It closed dismally with a deficit of 4000 francs.
Daumier's most celebrated work was a series of 'Robert Macaire' published in the 'Charivari'. His graphic works are unsurpassed for clarity, expressiveness, truth to type and nervously rhythmic life. He did not draw directly from nature, but from human nature, and this he did as fully as any artist who ever lived. But he was thought for years unworthy to occupy a single foot of space at the official Salon's shows. One Saturday night at Theodore Rousseau's barn in the village of Barbizon, a gathering that included Corot, Millet,Daubigny, Diaz and Bayre, along with Daumier himself, voted to form their own anti-Salon Independent Artists' Society.
No one ever represented with greater truth the varied type of Parisian character. He became blind in 1877, then died suddenly in 1879 of a stroke at Valmondois (Seine-et-Oise) in a house given him by Corot, the landscape painter.
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