Offering of the Day: The Artist's Palette of John Haberle, a 19th century master of Still Life Painting
John Haberle (American, 1856-1933)
The Artist’s Palette, c. 1890 - 95
Oil on panel with collage elements including paint brushes
and palette knife
The panel decorated with pyrography, depicting a fanciful
night scene with putti, shooting stars, mermaid and animals
18 1/2 x 27 7/8 inches
$45,000
Provenance: Private Collection; Berry-Hill, New York;
Property of a New York Family; Arader Galleries
Illustrated:
Kennedy Galleries, Inc., Catalog exhibition, American Still
lifes 19th & 20th c., Kennedy Quarterly, v. XI, no.2, Nov 1971, p. 109,
(84)
Sill, Gertrude Grace. John Haberle Master of Illusion.
Museum of Fine Arts, Springfield, Massachusetts, 1985. p. 28
Sill, Gertrude Grace. John Haberle American Master of
Illusion. New Britain Museum of American Art, 2009. p. 72.
Exhibitions:
Kennedy Galleries, Inc., John Haberle (1856-1933), An Exhibition
of Paintings, Drawings and Watercolors, June 8, July 15, 1970, no. 17
Fort Worth, Texas, Amon Carter Museum, "John Haberle
Master of Illusion ," November 29, 1985- January 19, 1986
A contemporary of the likes of William Michael Harnett and
John Frederick Peto, John Haberle (1856-1933) is the third artist in the
triumvirate that would dominate tromp l’oeil painting in America during the
nineteenth century. Depicting common household items with such intense
accuracy, John Haberle’s artistic process was so time consuming that he was
only able to complete forty paintings during his lifetime. A master of illusionistic renderings, he was
even once ordered by the Secret Service to stop painting United States legal
tender or risk being prosecuted on charges of counterfeiting.
Passed down in the Haberle family collection for four
generations, The Artist’s Palette (1890) is unique within Haberle's oeuvre in
that it features elaborate pyrographic decoration along with his actual brushes
and palette knife affixed to the background - no other work by Haberle is known
to have included actual (rather than painted) objects. This work is a masterpiece in that in that is
suggests a degree of intimacy and playfulness, effectively blurring the barrier
between that which is real and that which is represented. Arguably this work could even be said to
anticipate 20th century ‘ready-mades,’ as later made famous by such artists as
Marcel Duchamp.
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