Peter Bücken (1831-1915)

Landscape with farms and people - Peter Bücken (1831-1915) - Oil paint on panel

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...

Suzanne Chamlin’s paintings are records of her observations and imagination. Painting on site Chamlin explores her expressions of light and color. Suzanne’s process centers on exper...

"After the Thunderstorm" made in 2025 by Regina Quinn encaustic and oil on panel 12 x 12 inches Custom framed in walnut floater frame, 14 x 14 x 2 inches framed. " Beginning with w...

In this contemporary landscape painting in oil on panel, a peaceful autumn scene is set, beautifully capturing the idyllic feel of a tree with golden fall foliage hanging over a fiel...

Acquired by the gallery directly from the artist UNFRAMED: 12" x 16" FRAMED: 17.75" x 21.75" x 1.25" Signed "K Dempwolf" on lower left Artist Statement "When heading north on Hwy...

Karl Hartman’s Homesteaders (2024) captures a vivid moment in the forest where two Pileated Woodpeckers industriously carve a home into an old pine. Painted in oil on aluminum, the w...

View from the Train, 2019 24" X 40" x 1", oil on canvas This contemporary oil painting depicting a metropolitan view is the work of realist painter Patty Neal. The painting offers an intimate view of the city, as seen from a window, as it peeks from behind two metal structures. The dark browns and bright golds beautifully compliment the dusty blue, gray sky. Neal works highlight everyday city scenes, utilitarian infrastructure, and industrial or electrical apparatus. Artist statement: A life is an accumulation of experiences: visual, emotional and mental. By compartmentalizing these snippets of life we create boundaries. The focus of my work for many years has been the exploration of these various life aspects and how they are bound together or bound from each other. My process is often literally composed of boundaries. I make a painting by putting together multiple panels, or I segment a single panel into separate visual spaces. The works are made up of pieces or elements of city and landscape. While exploring the concepts of boundaries I play with visual “reality.” Sometimes I combine images that are upside down with those that are not and juxtapose images from different contexts. Literal boundaries, such as walls fences, expanses of water and highway median strips are also used. My intent is to invite viewers to look beyond these boundaries to see the possibilities of a connected whole. About the artist: Solo Exhibitions 2011 "Interior/Exterior", Carrie Haddad Gallery, Hudson, New York 2008 ”Landscape Revisited”, 1870 Gallery, Belmont 2005 Nomad Rug Gallery, San Francisco 2004 "Landscapes"@Klein's, San Francisco 2004 "Landscape Renewed," Space 743, San Francisco 2003 Exploding Head...

"True North - Orientation" is a worms-eye view of a jumbled sky bursting with both fireworks and a rainbow. The surreal quality of the imagery makes the viewer question reality. The ellipsed edges confirm the scene as an inner vision rather than a window on the world. The foreground billboards add another dimensional question to the landscape. The painting itself is painted on a handmade wooden panel with beautifully finished edges so no frame is needed. Mark Bowers True North - Orientation oil on panel 9h x 12w in 22.86h x 30.48w cm MJB012 TRUE NORTH PAINTINGS Unconscious systemic biases may guide our actions or direct us---similar to the human construct of “True North”, which holds to coordinate systems. The Earth’s “Magnetic North” moves over time according to polar shifts; flux and correction is enabled by polarity. In these paintings (Privilege, Orientation, Belief, Identity, Equity), I use compositional elements referencing nautical com- passes to suggest that society must navigate not within systems, but naturally through positive relationships and change. I hope that my art represents our present day - but also imparts a dreamful glimpse of hope and faith within. Explanation: A magnetic compass does not point toward the true North Pole of the Earth. Rather, it more closely points toward the North Magnetic Pole of the Earth. The North Magnetic Pole is currently located in northern Canada. It wanders in an elliptical path each day, and moves, on the average, more than forty meters northward each day. Evidence indicates that the North Magnetic Pole has wandered over much of the Earth's surface in the 4.5 billion years since the Earth formed. Mark Bowers- Artist Statement With the depiction of landscape playing such a central role in the history of North American art, it seemed to offer many of the critical possibilities I was looking for, and it felt more and more like something I have always known. Something I could easily apply, stage, and manipulate as a diary. My work consists of small-scale highly detailed landscape paintings. They are inspired by the comfort, trepidation, and beauty found in the mundane Chicago Suburbs. I combine nature, decorative house wares...

The densely lush forest of artist Gregory Hennen's Wyatt Mountain, Virginia home is the subject of this rich, highly detailed landscape painting in oil on panel. A bed of verdant gre...

An oil painting by American Painter Kelly Carmody. A bouquet of flowers are the focal point of this small scale composition, white and red blossoms with green leaves feel abundant be...