American Masterpieces from Dryads Green Gallery
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Artist Name:         Franklin B. DeHaven
Artist Dates:         1856-1934
Painting Title:       Untitled
Painting Date:       Undated
Medium:              Oil on  Canvas
Signature:             Signed Lower Right
Provenance:          Private Collector
Condition:            Good
Size Unframed:    30 x 24
Size Framed:         38 x 32
Frame Condition:  Handcarved Antique
Artist Best Price:   $8,400
Offered At:           CALL
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Another Representative View
Elements of Albert’s style are
clearly present  in the work we
offer, but we also agree on much
of what Butts says about DeHavenâ
€™s earlier work, where he sees â
€œframed between the dark
browns and grays of the
foreground and the lavender-
mauves of the lowering sky, the
silver-white water layered with
golden ochre reeds and crossed by
the calligraphic silhouettes of
trunks and branches in a tightly
composed evocation of the
Japanese screens that had been
such a pervasive influence on
American painting and decorating
for decades.� In our work, the
gold jumps up to the leaves of the
very “calligraphic� birches
themselves, as the water moves
toward us in a flowing, but slowly
in a graceful dance.
Curator's Comments: DeHaven was born in Bluffton, Indiana, in 1856. Thirty years later
the Hoosier turned up in New York, where he became a pupil of George Henry Smillie. At the
time Smillie had married and was sharing a Bronxville, New York studio with his wife and
brother. Smillie was active at the National Academy of Design, where he became Secretary in
1892, and he helped introduce DeHaven to a number of pre-turn-of-the-century New York artists.
DeHaven was admitted to membership in the NAD, where he went on to  exhibit for nearly fifty
years, and he was the recipient of the Silver Medal at the St. Louis Exposition in 1904. DeHaven
also associated with the Salmagundi painters and joined the loosely allied painters who summered
in Old Lyme and Mystic, Connecticut.
Smillie taught DeHaven classical landscape painting in the Hudson River school model, but with
much added important Barbizon influence. And through Smillie, DeHaven also came to know
Tonalism and its Luminist high point. But we think De Haven clearly advanced beyond Tonalism
in his best works, emphasizing a poetic, romanticized natural scene with a gold, silver and
turquoise palette. As Whittier Montgomery wrote about these significant paintings, "one feels in
all, not merely the man’s ability as a draughtsman and technician, but the scope of his
sympathies and the genuine character of his interpretation." The emphasis here falls on
character, meaning DeHaven’s ability in his best work to render natural processes, as he does
here with the passage from sky to stream that resonates with the water cycle. DeHaven, known
as “Pop� to his friends, was also very active in the Allied Artists of America. We believe he
came under the influence of his fellow painter Ernest Albert (1857-1946), who was also deeply
involved in the AAA group. Albert made his money as a scenic designer and also heavily
emphasized a romantic viewpoint using more suffused pastel coloration.
We show Birch Creek and another similarly romanticized work from this period for comparison,
and each proves  how right Butts is when he continues: “The brushwork is impressionistic, as
are the individual touches of orange, olive, lavender, and ochre which enliven the fallen leaves in
the foreground …scumbling and impasto further enrich the painted surface. The patterned
repetition of verticals and horizontals, the closely controlled tonality, and the pale, light which
casts no shadow all contribute to the calm atmosphere.� However, where Butts saw “wistful
melancholy,� we think that these romanticized landscapes make De Haven’s value
because of their emphasis on nature as the shared artist, composing its own masterpiece.
Our work has been repaired, with minimal inpainting, and black light shows that the signature is
in the painting. Framed in a hand-carved wooden frame tinted with a putty wash. We took the
frame to our framer for a new guilt liner, and our framer was very happy to identify a piece that
he insisted was carved by his own father in the late 1920s and estimated  a value of $1,000 on the
frame alone.
Birch Creek, ca. 1910