F I N E E U R O P E A N A N D A M E R I C A N P A I N T I N G S McNAUGHT FINE ART

Antiques Council

MEMBER

HENRY GOLDEN DEARTH

(American, 1864-1918)

SPRINGTIME

Oil on Canvas

16 x 30 Inches

Signed Lower Right "H. Dearth" and Dated 1892

 

The scion of a distinguished military family, Henry Golden Dearth first studied in New York with the academic painter, Horace Johnson. In 1884, he moved to Paris where he spent four years furthering his studies at the L'Ecole des Beaux Arts and in the atelier of Aime Morot. In 1887, he returned to New York where he opened his first American studio and was soon invited to become a member of the Society of American Artists. In 1888, he began to exhibit regularly at the National Academy of Design to which he was elected full Academician in 1906. In 1889, Dearth exhibited for the first time with the more progressive Society of American Artists and, in 1893, was awarded the prestigious Webb prize for the best work by an American artist under the age of 40.

 

In 1902, Dearth moved his studio to 18 E. 40th Street in New York and began to spend his summers in Normandy, the region that had first drawn him to landscape painting. For many years, he maintained both house and studio at Montreuil-sur-Mer, in the Pas-de-Calais, where he worked for several months during each season. Over the course of a distinguished career, Dearth exhibited internationally with success and was the recipient of numerous prizes, medals and juried awards including a bronze medal at the Exposition Universal in Paris (1900) and silver medals at two Pan-American Expositions, in Buffalo (1901) and Buenos Aires (1907). Dearth's works are held in private and public collections world-wide including the permanent collections of the Detroit Institute of Arts (In the Gloaming), the National Gallery of Art, Washington. DC (Flecks of Foam), the Smithsonian American Art Museum (An Old Church at Montreuil) and New York's Metropolitan Museum of Art (Boulogne, Cornelia), among others. Henry Golden Dearth is well-listed in all art reference works including Benezit, Thieme Becker and Who Was Who in American Art which provides a signature sample. We are pleased to offer an exceptional work from Dearth's Barbizon period, painted when the artist was twenty-eight years old.

 

Displayed in the original and period, carved gilt-wood frame.

Framed dimensions: 22½ H x 1¾ D x 36 W inches.

 

Partial List of Exhibitions:

1888 American Academy in New York

1889 National Academy of Design

1901 Exhibition of the Fine Arts, Buffalo, NY

1902 Union League Club

1903 International Exhibition, Berlin, Germany

1904 Lotos Club, New York

1907 Oehme Gallery

1907 Lotos Club, New York

1909 Pennsylvania Academy of the Fine Arts, Philadelphia

1910 Detroit Museum of Art

1911 Buffalo Fine Arts Academy

1912 Albright Art Gallery, Buffalo

1912 Pennsylvania Academy of the Fine Arts, Philadelphia

1912 Knoedler Galleries, New York

1913 Pennsylvania Academy of the Fine Arts, Philadelphia

1913 Montross Gallery, New York

1916 Milwaukee Art Institute

1916 Arts Club of Chicago, Chicago

1918 Milch Galleries, New York

 

Reference:

Who Was Who in American Art 1564-1975: 400 Years of Artists in America, Peter Hastings Falk, Sound View Press 1999, Vol. 1, p. 856; E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 4, p. 314; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 7/8, p. 500; Mallett’s Index of Artists, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1935, p. 104; Biographical Encyclopedia of American Painters, Sculptors & Engravers of the U.S.: Colonial to 2002, Bob Creps, Dealer’s Choice Books, Inc. 2002, Vol. 1, p. 353; Mantle Fielding’s Dictionary of American Painters, Sculptors and Engravers, Glen B. Opitz, Apollo Press 1983, p. 223; The Annual Exhibition Record of the National Academy of Design 1901-1950, Peter Hastings Falk, Sound View Press 1990, p. 164; 300 Years of American Art, Zellman, Vol. 2, p. 576; et al.

 

 

 

 

 

 

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