Provenance:

The Artist.

The Estate of the Artist.

The Artist’s wife, Mary Franklin Garber.

The Estate of the Artist’s wife, Mary Franklin Garber.

The Artist’s son, John Franklin Garber.

Richard Stuart Gallery, Pipersville, Pennsylvania.

John H. Surovek Gallery, Palm Beach, Florida.

Collection of Mr. and Mrs. Raymond Holland, Allentown, Pennsylvania.

Acquired from the above, 1989.

Jim’s of Lambertville, Lambertville, New Jersey.

Acquired from the above, 2005.

Exhibited:

New York, Milch Galleries, Exhibition of Paintings by Daniel Garber, W.L. Lathrop, Joseph T. Pearson, Jr., Robert Spencer, January 31 – February 12, 1921, no. 3.

Washington, DC, The Corcoran Gallery of Art, Exhibition of Paintings by Daniel Garber, Robert Henri, Frederick J. Waugh, October 12 – November 2, 1922, no. 9 (and traveling to Art Club of Philadelphia, Philadelphia, November 18 – December 10, 1922, no. 39).

New York, Macbeth Gallery, Paintings by Daniel Garber, N.A, March 24 – April 13, 1925, no. 5 (only reproduced in the catalogue).

Rockford, Illinois, Rockford Art Association, Daniel Garber: Oil Paintings and Etchings, January 2 – 24, 1929, no. II.

Fort Lauderdale, Florida, The Museum of Art, American Impressionism: The New Hope Circle (exhibition organized by Richard Stuart Gallery, Pipersville, Pennsylvania), December 5, 1984 – January 27, 1985, no. 24.

Doylestown, Pennsylvania, Heritage Towers, Byer's Annual Bucks Fever Art Exhibition, Bucks County in Art: 22 Renowned Bucks Artists of Yesterday and Today, April 29 – May 13, 1990, no. 17.

Orlando, Florida, Orlando Museum of Art, Hidden Treasures: American Paintings from Florida Private Collections, January 4 – February 23, 1992, no. 19.

New York, Beacon Hill Fine Art, An American Tradition: The Pennsylvania Impressionists, November 24, 1995 – February 3, 1996 (and traveling to Westmoreland Museum of American Art, Greensburg, Pennsylvania, April 13 – July 13, 1997; Florence Griswold Museum, Old Lyme, Connecticut, October 5 – November 30, 1997; Dixon Gallery and Gardens, Memphis, Tennessee, December 14, 1997 – February 22,1998; Gibbes Museum of Art, Charleston, South Carolina, March 28 – May 10, 1998; Woodmere Art

Gallery (now Woodmere Art Museum), Philadelphia, June 6 – August 15, 1998).

Princeton, New Jersey, The Gallery at Bristol-Myers Squibb, Up the River: The Pennsylvania Impressionists and Modernists, Princeton, New Jersey, October 1 – November 25, 2001.

Literature:

Brian H. Peterson, Up the River: The Pennsylvania Impressionists and Modernists, Princeton, 2001, p. 20, illustrated, also illustrated on the cover.

Brian H. Peterson, Pennsylvania Impressionism, Philadelphia, 2002, p. 134, no. 46, illustrated.

James M. Alterman, New Hope for American Art, Lambertville, 2005, p. 165, illustrated.

Lance Humphries, Daniel Garber: Catalogue Raisonné, New York, 2006, vol. II, p. 148, no. P412, illustrated.

Lot Note:

From a terraced vantage on the Delaware, Daniel Garber looks across the river to the village of Stockton, New Jersey, with the unhurried authority of an artist wholly at home in his subject. In the foreground, a handful of figures in summer whites drift across a sunlit lawn, their croquet game casting long shadows over the grass. Beyond them the river shimmers in bands of lavender and silvered blue, and on the far bank the village rises in a patchwork of tile roofs, whitewashed gables, and a single slender spire. The landscape then climbs in tiers of meadow and woodland to a pearly, cloud-laden sky. It is a composition of calibrated recession, in which Garber leads the eye from the deep greens of the near foliage to the cool distant ridgeline. The figures are tiny and incidental, yet they animate the scene with an easy sociability, a reminder that this is a landscape inhabited and enjoyed as well as observed.

Painted at the height of Garber's maturity, Stockton combines the dappled, broken touch of French Impressionism with the structural rigor he absorbed as a student, and later taught for four decades, at the Pennsylvania Academy of the Fine Arts. Houses and trees are built up from patches of pure, luminous color without ever dissolving into mere atmosphere, so that the view feels both observed and composed, shimmering yet secure. Garber's Delaware River Valley pictures are widely regarded as the pinnacle of his achievement, and Stockton is among the most poised and resolved of them. Nothing here is overstated; the painting's authority lies in the confidence with which Garber lets a quiet summer afternoon stand for an entire way of life along the river.

Framed: 39 1/4 x 47 1/4 x 2 in.

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