Stephen Mirich Art

Dividing Light II [2021] Please note that insitu images are purely an indication of how a piece may look Dividing Light II is an original painting by artist Sheryl Roberts. Sheryl has mastered the composition of dramatic light...

Plein air

Nocturnal landscape exudes a sense of calm and serenity, drawing you in with its Naïve Romanticism manner, captured in oils by an unknown artist in the late 19th century. In the fore...

The whaling ship, Essex, taking on provisions from shore before setting sail once more. Small boats can be seen alongside her piloted by crewmembers going...

Follower of Antonio Canal, known as Canaletto (19th century) - Venice, view of the Island of S. Giorgio from the Punta della Dogana. 30 x 40 cm without frame, 41.5 x 51.5 cm with fr...

Brass plate leads to Russian artist Pavel Pavlovich Dzhogin (1834 - 1885). This 19th century oil painting beautifully captures a serene rural scene with travelers on a cart traveling...

Pietro Sansalvadore was active during the early to middle of the 20th century. He painted in an Impressionist manner and on a small scale. Acquiring a late 19th-century Impressionist painting of Hammersmith Bridge by the Italian painter Pietro Sansalvadore is an opportunity to own a captivating piece of art that transcends both time and cultural boundaries. Sansalvadore's unique perspective, influenced by the Impressionist movement, infuses this painting with a luminous quality that captures the atmospheric essence of Hammersmith Bridge in a way that only a skilled artist with an international perspective could achieve. This masterpiece not only showcases the artist's mastery in capturing light and movement but also represents a harmonious fusion of Italian artistic sensibilities with the iconic English landmark. The play of colors and the subtle brushstrokes transport the viewer to the late 19th century, offering a glimpse into the allure and dynamism of that period. Owning this painting is not just acquiring a visual delight; it's investing in a historical and cultural artifact...

Pietro Sansalvadore was active during the early to middle of the 20th century. He painted in an Impressionist manner and on a small scale. Acquiring a late 19th-century Impressionist painting of Hammersmith Bridge by the Italian painter Pietro Sansalvadore is an opportunity to own a captivating piece of art that transcends both time and cultural boundaries. Sansalvadore's unique perspective, influenced by the Impressionist movement, infuses this painting with a luminous quality that captures the atmospheric essence of Hammersmith Bridge in a way that only a skilled artist with an international perspective could achieve. This masterpiece not only showcases the artist's mastery in capturing light and movement but also represents a harmonious fusion of Italian artistic sensibilities with the iconic English landmark. The play of colors and the subtle brushstrokes transport the viewer to the late 19th century, offering a glimpse into the allure and dynamism of that period. Owning this painting is not just acquiring a visual delight; it's investing in a historical and cultural artifact...

Choosing a contemporary English Impressionist figure painting inspired by Philip Wilson Steer, specifically capturing the Henley Regatta ...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Johann Berthelsen (1883 – 1972). Born in 1883 in Denmark to artistically inclined parents, Johann Berthelsen would become a widely successful singer, teacher, and painter. After his parents divorced, his mother brought Berthelsen and his siblings with her to the United States in 1890, eventually settling in Wisconsin. At eighteen, Berthelsen moved to Chicago in the hope of becoming an actor, but a friend at the Chicago Musical College convinced him to audition at his school. Berthelsen received a full scholarship and enrolled at the college, where he was awarded the Gold Medal twice. After graduating, he had an active career traveling across the United States and Canada performing in operas and concerts, before joining the voice faculty at his alma mater in 1910. In 1913, Berthelsen became the voice department director at the Indianapolis Conservatory of Music. While in Chicago, Berthelsen met the landscape painter, Svend Svendsen...

Antique American painting of chicks by Mary Russell Smith (1842 - 1878). Oil on canvas, circa 1860. Signed. Image size 14L x 20H. Housed in a giltwoo...

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...