Henry Glintenkamp (1887-1946) Pencil
Drawing Two Children And Cat
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We offer to you an American modernist drawing by Henry Glintenkamp (American,1887- 1946) Pencil drawing on paper. Mat size: 7.75 inches H x 10.5 inches W. Signed lower left "Glint" and dated: 1922 . Framed in 1 inch W gold painted wood molding. Outer dimensions: 15 inches H x 16.75 inches W.
Provenance: Parke-Bernet Auction. Inscribed verso: Lot X25/3 also inscribed verso: "From P.B.: H.B. Steinberg Coll. Mr. & Mrs. T.E. Hanley Coll." ( In hand of Tullah Hanley)
T. Edward and Tullah Hanley resided in Bradford, PA and New York City. T. Edward Hanley graduated Harvard University in 1913 and as he was an heir to Brick Manufacturing and Oil & Gas fortunes, he pursued art, antique and rare book collecting until his death in 1969. After his death his widow Tullah donated the finest works in the collection to the Denver Art Museum and the De Young Museum in San Francisco. The Hanleys were patrons of many living artists. We purchased the drawing from Tullah Hanley prior to her death in 1992. Biographical Note:
Background: Henry Glintenkamp ( 1887-1946)
From 4/10/1981 NY Times Review of show at the Graham Gallery: "ART: HENRY GLINTENKAMP, STUDENT OF ROBERT HENRI PAINTINGS and drawings by Henry Glintenkamp make up the latest in a series of revivals at the Graham Gallery (1014 Madison Avenue at East 78th Street). Glintenkamp, who died in 1946 at the age of 58, was a student of Robert Henri from 1906 to 1908, which places him at the very heart of the New York scene of those days. The Henri School, as one of its most distinguished alumni, Stuart Davis, remarked, was ''radical and revolutionary.'' Commenting that the lectures of the school's head ''constituted a liberal education,'' Davis noted ''enthusiasm for running around and drawing things in the raw ran high.'' And, like today's models in soft-drink commercials, the early 20th-century realists played as hard as they worked. Davis mentions frequent visits, with Glintenkamp and Glenn Coleman, to the saloons of Newark and Harlem, where, ''for the cost of a 5-cent beer,'' black pianists could be heard turning ''the blues or Tin Pan Alley tunes into real music.'' The Whitmanism of the time certainly left its mark on Glintenkamp, who, unlike Davis, remained a representational painter. His 1911 portrait of a newsboy is very much in the Henri style, with the head and shoulders emerging from glossy blackness and the lips, nose and protruding ears heightened theatrically with red. City-scapes of roughly the same time, like those depicting the waterfront in winter and on a wet night, are also pretty robust. Even so, Glintenkamp managed to develop a personal style with a palette knife, particularly in his views of snowy fields. The technique makes him seem more advanced than he was, as Sandra Leff indicates in her catalogue to the show. Not that the artist, a participant in the Armory Show, was immune to modernism; there is evidence of his having glanced at Matisse and, in the faceted, overlife-size head of Muriel Hope Eddy (1925), he is experimenting with Cubism. But this is an atypical and embarrassing picture with a background filled with vignettes of a man and a woman at home and out on the town. Much better - probably the best work in the show - is the study of a woman in a black hat and coat that is classically simple but at the same time quite expressionistic. Glintenkamp produced many prints - woodcuts and etchings, mainly - but none are included in the exhibition. Still, there are drawings, some of them humorous, that give an inkling of his graphic style. The artist was a newspaper cartoonist for a while, and like Davis and others contributed drawings to The Masses." Serious Buyers Only Please.
TERMS: PayPal. BUY WITH CONFIDENCE. Buyer pays handling, insurance and priority mail or UPS for this item. PayPal accepted.
Purchaser is expected to respond via email within two days and payment received within 3 days.
Provenance: Parke-Bernet Auction. Inscribed verso: Lot X25/3 also inscribed verso: "From P.B.: H.B. Steinberg Coll. Mr. & Mrs. T.E. Hanley Coll." ( In hand of Tullah Hanley)
T. Edward and Tullah Hanley resided in Bradford, PA and New York City. T. Edward Hanley graduated Harvard University in 1913 and as he was an heir to Brick Manufacturing and Oil & Gas fortunes, he pursued art, antique and rare book collecting until his death in 1969. After his death his widow Tullah donated the finest works in the collection to the Denver Art Museum and the De Young Museum in San Francisco. The Hanleys were patrons of many living artists. We purchased the drawing from Tullah Hanley prior to her death in 1992. Biographical Note:
Background: Henry Glintenkamp ( 1887-1946)
From 4/10/1981 NY Times Review of show at the Graham Gallery: "ART: HENRY GLINTENKAMP, STUDENT OF ROBERT HENRI PAINTINGS and drawings by Henry Glintenkamp make up the latest in a series of revivals at the Graham Gallery (1014 Madison Avenue at East 78th Street). Glintenkamp, who died in 1946 at the age of 58, was a student of Robert Henri from 1906 to 1908, which places him at the very heart of the New York scene of those days. The Henri School, as one of its most distinguished alumni, Stuart Davis, remarked, was ''radical and revolutionary.'' Commenting that the lectures of the school's head ''constituted a liberal education,'' Davis noted ''enthusiasm for running around and drawing things in the raw ran high.'' And, like today's models in soft-drink commercials, the early 20th-century realists played as hard as they worked. Davis mentions frequent visits, with Glintenkamp and Glenn Coleman, to the saloons of Newark and Harlem, where, ''for the cost of a 5-cent beer,'' black pianists could be heard turning ''the blues or Tin Pan Alley tunes into real music.'' The Whitmanism of the time certainly left its mark on Glintenkamp, who, unlike Davis, remained a representational painter. His 1911 portrait of a newsboy is very much in the Henri style, with the head and shoulders emerging from glossy blackness and the lips, nose and protruding ears heightened theatrically with red. City-scapes of roughly the same time, like those depicting the waterfront in winter and on a wet night, are also pretty robust. Even so, Glintenkamp managed to develop a personal style with a palette knife, particularly in his views of snowy fields. The technique makes him seem more advanced than he was, as Sandra Leff indicates in her catalogue to the show. Not that the artist, a participant in the Armory Show, was immune to modernism; there is evidence of his having glanced at Matisse and, in the faceted, overlife-size head of Muriel Hope Eddy (1925), he is experimenting with Cubism. But this is an atypical and embarrassing picture with a background filled with vignettes of a man and a woman at home and out on the town. Much better - probably the best work in the show - is the study of a woman in a black hat and coat that is classically simple but at the same time quite expressionistic. Glintenkamp produced many prints - woodcuts and etchings, mainly - but none are included in the exhibition. Still, there are drawings, some of them humorous, that give an inkling of his graphic style. The artist was a newspaper cartoonist for a while, and like Davis and others contributed drawings to The Masses." Serious Buyers Only Please.
TERMS: PayPal. BUY WITH CONFIDENCE. Buyer pays handling, insurance and priority mail or UPS for this item. PayPal accepted.
Purchaser is expected to respond via email within two days and payment received within 3 days.
Returns Accepted for this item if it's within 14 Days
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