Nicholas Basil Haritonoff  (1880 - 1944), 

likely mixed media - about 32 x 40 inches, dated "92"

call (701) 451-9111

The following information was submitted by Lui Antal Deak:

Edward (Giaochino) Giobbi was born in 1926 in Katonah, New York. and grew up in Waterbury, Connecticut during the Great Depression.  His poor, blue collar Italian immigrant family didn't have money for books but young Edward has heard many stories about the great Italian artists. Listening to proudly animated stories about Cimabue, Giotto, Brunelleschi and da Vinci in his native tongue made him decide to become an artist.  After surviving the war as an infantry man, he began his formal art studies.  Following five years of art schooling in Boston, Provincetown and New York he moved to Italy in 1951.

In Florence he studied fresco painting and sculpture while embracing his ancestral cultural heritage.
In 1954 he returned to New York and became surrounded by Abstract Expressionism.  Although he worked and exhibited with the Abstract Expressionists and was artistically pressured by them, he remained open to the influences of classic Italian art.  "It was senseless for me to give up Giotto and Masaccio for Gorkey and Pollack. I felt that I could learn from them all."*

In 1986, his personal friend Robert Motherwell declared to him that he was the only painter Motherwell knew who successfully combined the quattrocento with modern art.

* quote from the artist's website www.edwardgiobbi.com




Studies:
Whitney School of Art - 1946
Vesper Giorge School of Art - 1946/1950
Cape School of Art - 1946/1950
Art Students League - 1950/51 - 1955
Accademia di Belle Arti di Firenze - 1951/1954
Ford Foundation Grant - 1965
Guggenheim Fellowship - 1972/1973
Artist Residence - Dartmouth College 1973

Select One Man Shows:
Ascoli Piceno, Sala dei Mercatori, Italy
Arkansas Art Center, Little Rock, AK
American Embassy, London, UK
Artist Gallery, NY, NY
Brooks Memorial Gallery, Memphis, TN
Certaldo, Palazzo Pretorio, Italy
Galerie An Der Ruess, Lucerne, Switzerland
Galleria Obelisco, Rome, Italy
Gross McLeaf Gallery, Philadelphia, PA
Hood Museum, Darthmouth College, NH
Hudson River Museum, Westchester, NY
Irving Gallery, Palm Beach, FL
Katonah Museum of Art, Katonah, NY
Memphis Academy of Art, Memphis, TN
Neuberger Museum, Purchase, NY
New Art Centre, London, UK
Norton Gallery, Palm Beach, FL
Palazzo Medici, Florence, Italy
St. Peter Church, NY, NY
The New Art Centre, London, England
Norton Gallery, Palm Beach, FL
Waddell Gallery, NY, NY

Select Group Shows
Albright-Knox Gallery, Buffalo, NY
Andrew Dickson White Museum of Art, Cornell Univ., Ithaca, NY
Baltimore Museum of Art, Baltimore, MD
Corcoran Gallery of Art, Washington D.C.
Everhart Museum, Scranton, PA
Longpoint Gallery, Provincetown, MA
MoMA, NY, NY
National Academy of Arts and Letters, NY, NY
National Academy of Design, NY, NY
Quadriennale Nazionale D'Arte Di Roma, Rome, Italy
San Francisco Museum of Art, San Francisco, CA
Wadsworth Atheneum, Hartford, CT
Walker Art Center, Minneapolis, MN
Whitney Museum, NY, NY

Public Collections
Accademia di Belle Arti, Firenze, Italy
Albright-Knox Art Gallery, Buffalo, NY
Allentown Art Museum, Allentown, PA
The Art Institute of Chicago, Chicago, IL
Art Students League, NY, NY
Baltimore Museum of Art, Baltimore, MD
The Museum of Fine Arts, Boston, MA
The Brooklyn Museum of Art, Brooklyn, NY
Brooks Memorial Gallery, Memphis, TN
Contemporary Arts Society, London, England
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Hood Museum of Art, Hanover, NH
Hopkins Center, Dartmouth College, Hanover, NH
Magdalen College, Cambridge, England
Marion Koogler McNay Art Museum, San Antonio, TX
The Mattatuck Museum, Waterbury, CT
Michelson Museum of Art, Marshall, TX
National Academy of Design, NY, NY
Neuberger Museum of Art, Purchase, NY
New Britian Museum of American Art, New Britian, CT
Norton Museum of Art, Palm Beach, FL
Poole Technical College, Dorset, England
Provincetown Art Association and Museum, Provincetown, MA
St. Edmund Hall, Oxford, England
Spelman College Musuem of Art, Atlanta, GA
Tate Gallery, London, England
University of Nebraska, Omaha, NE
Whitney Museum of American Art, NY, NY
Williams College Musuem of Art, Williamstown, MA







Walter Farndon, born England, American (1876-1964)

Oil on board

Walter Farndon, 1876-1964, was a New England plein-air painter best-known for impasto, Impressionist, sometimes near-Expressionist harbor and shore scenes, though he also painted portraits and figures. Born in Coventry, England, Farndon came to the United States, studying at the National Academy of Design, where he was later elected an Associate in 1928, and an Academician in 1937. He also studied with Robert Henri, and was a member of the Society of Independent Artists. He painted in Ridgefield, New Jersey in the 1920s.

The Vose Galleries in Boston, Massachusetts have published several catalogues of Walter Farndon's work, in February 1991, September 1992, September 1994, and October 1996.



Impasto, palatte knife application

In stock call: (701) 451-9111

29 Book references for Walter Farndon




Mary Theresa Menton, American
(1847-1913)

Watercolor, a landscape in Illinois

Elva Harriet Senter, American (1892-1973) Watercolor

Call (701) 451-9111

Referenced:

"Mothers of alcoholics were typically "aggressive {women who} dominated not only the fathers of the families but the patients, whose lives they sought to direct."

Dr. James Hardin Wall, Jackson Pollock's first psychotherapist, quoted in Jackson Pollock, An American Saga by Steven Naifeh and Gregory White Smith



"Not everyone who met Stella during her stay in New York was so purblind. Ethel Baziotes came to dinner at the Eighth Street apartment and vividly recalls the tension between mother and son. "Coming up the stairs, we could hear music so loud that everything was vibrating. That was a danger signal right there." Once inside the apartment, Baziotes felt "danger in the air":

{Jackson} was very strange that night. You felt that anything you said might lead to something. Stella was wearing something dark. She was a handsome woman, but you couldn't read her at all. She was like an American Indian woman. She sat like statuary the entire evening and didn't move once, but she followed everything.  The relationship between her and Jackson was very taut. Everything was understood between them without talking. She followed him perfectly and he followed her. It was like two cats sitting near each other. They had nothing to do with one another, but there was an energy going back and forth all the same....All during dinner, I kept thinking of what Willa Cather said about the family being the enemy of art."

From Jackson Pollock: An American Saga


"What is essential in a work of art is that it should rise far above the realm of personal life and speak from the spirit and heart of the poet as man to the spirit and heart of mankind. The personal aspect is a limitation - and even a sin - in the realm of art."

Carl Gustav Jung




"Motherwell might have succeeded where Matta had failed, even without the love of his countrymen. He was by far the most eloquent and persuasive spokesman for the two galvanic ideas of the decade: automatism and an end to European domination. American artists of every stripe could agree, in the abstract at least, that painting was more important than theory and that the time had come for them to take their rightful place beside the European masters. His theory of "plastic automatism" fused Surrealist philosophy with the Modernists' plastic concerns, but it remained only a theory - text without illustrations. Like Breton and Matta before him, Motherwell still lacked the most important ingredient for a new movement: compelling art.

Matta had been right: to steal the limelight from the Europeans and inspire American artists to their best efforts, a "manifestation" more beautiful and compelling than any thing ever seen before was needed. If the images were right, the movement would coalesce on its own. Despite his enthusiasm, his soirees, and his workshops, Matta had been unable to elicit the creative spark. Interest in his new movement, both among artists and dealers like Peggy Guggenheim, dissolved in frustration. Motherwell, for all his political machinations, had also failed. But their efforts left behind an unexpired impetus for change and an expectation, urgent and pervasive, that a triumphant manifestation was just around the corner; that after wandering through the decades in search of expression, Surrealist ideas, rooted in Freud and the disillusionment following World War I, would finally find appropriate images; and that those images would , like the ambient war, affirm America's new position of leadership in the world.

In short, the American art community was primed for a breakthrough."

From Jackson Pollck: An American Saga




"The Christmas reunion was snowed out, but on December 30, Stella arrived for a two-week stay. The next day, New Year's Eve, huge gray clouds swept down from Canada and burst with snow. For days, the white of the sky and the white of the ground were indistinguishable; the white creek disappeared into the white harbor and the white ocean beyond. On one of these brief days of pure light, bundled against the cold, with only a cigarette for warmth, his hands so numb he could barely hold a brush, Jackson Pollock altered the course of Western art."

From Jackson Pollock: An American Saga by Steven Naifeh and Gregory White Smith 





Reuben Kadish recalls. "He always got drunk at the wrong time. Women were a constant source of disappointment ." Only once during the drunken winter of  1936-37 did his offensive defenses break down. At an Artists Union party around Christmas time, he stumbled up to a dancing couple and, stepping between them, took the woman clumsily in his arms. She was slightly older with an intriguingly unattractive face - prominent nose, heavily lidded eyes, and a protruding mouth that she kept closed to hide her bad teeth - but a taut, proud body. She was, apparently, far more pliant than Jackson had expected. He pulled her closer and began rubbing his body against hers. "Do you like to ?" he whispered in a beer-soaked grumble. When she felt his erection, she pushed him away. "It was like when a dog gets on your leg," recalls an eyewitness. "He was trying to have an ." Indignant , the woman slapped him hard across his face. The blow must have startled Jackson into something like instant sobriety because, according to one witness, he quickly apologized. What happened next was even more out of character. "He started to charm me," the woman told a friend years later. "I was intrigued and liked him and we went home together." If anything happened there, its memory quickly disappeared in the alcoholic fog that obscured much of the thirties. Four years later when the woman reappeared in his life, Jackson had forgotten both the incident and her name - Lee Krasner.

From Jackson Pollock: An American Saga



Commentary from John D. Graham (the Great - opinion)
(1881-1961) System and Dialectics of Art:

"What is art?

Art is essentially a process. A process of what? A process of abstracting. What kind of a process? A creative process of abstracting. A writer abstracts his thoughts and experiences on a white sheet of paper, a musician abstracts the same phenomena into sounds and a painter abstracts three-dimensional phenomena on a two-dimensional plane.

The manifestation of art consists of two elements:

Subjective and Objective

A) Creation is the subjective element and has only two sources: a) thought (conscious and unconscious), b) emotion. The conscious mind is the clearing house for one's instincts. Instincts report impressions to the conscious mind by way of the senses. Thought is the generator and emotion is the medium of transmission.

B) Space is the objective element and is the basis of all the arts - music, painting, dancing, strategy, boxing or poetry. In music the domination of space is achieved by space-binding sounds, in dancing by space-binding gestures, in painting by space binding form, in strategy by space binding moves. A master boxer anticipates every blow from any direction and evades it by a hair's breadth because he contains in his mind, in himself, the exact evaluation of the space he operates in. He commands this space and this ability gives him a superiority over his adversary.

As a process - art is a creative operation of abstracting.

As material evidence - art is a consolidated accumulation of monuments to a given civilization.

Art in particular is a systematic confession of personality.

Art in general is a social manifestation." 




"What is the desire to collect? What is art collecting?"

"The desire to collect is the necessity to reestablish the lost primordial contacts and the need to arrest eternal motion and to contemplate.

The desire to collect also comes from the painful fact that most people have lost contact with nature, with SPACE, with matter, they have lost contact with themselves, and thus are incapable of direct communication with other human beings. This  is particularly true where Protestant has castrated people of their most natural elemental senses. As a consequence of irrevocable and drastic impairment of their ability to perceive, such people are unable to judge the specific weight of many matters. The impairment of any special sense does not end the matter, however. One of the instruments for reckoning reality being faulty the whole complement of instruments is out of gear and the concert action is absent.

The reason men of high culture collect is they have been disappointed at lack of understanding in present day human society. Objects are faithful and permanent companions. One can talk to them and they talk back, they never betray one. They are loyal and ever ready.

In collecting and classifying works of art one must realize
that antiquity or age in itself has no meaning or value whatsoever. The things that do matter are:

a) plastic value
b) quality
c) authenticity
d) epoch (instead of antiquity)
e) rarity
f) state of preservation

a) Plastic value means constructive art value in specified space.

b) Quality means the attitude and care exerted by the artist in making the object of art. The French term "soigne" means that the object was made with with loving and understanding care of the purpose and matiere.

c) Authenticity means that the object belongs to the epoch or artist represented.

d) Epoch means a period when certain forms achieved maturity. Certain epochs are more valuable than others because of their form-significance and because of rarity of objects of that epoch. Time itself is valueless. Thus one can obtain for a small sum of one hundred francs {written 1937}
a marble head of Roman or Greek origin 2000 years old but would have to pay three or four times the price for a wooden head of Gothic period and even more for a Negro head. This phenomenon means that the objects of collection are valued primarily for their plastic accomplishments. To say that an object is three thousand years of is to say nothing, because anything, in a sense, might be that old.

e) Rarity makes a fine object more significant, it permits the object to carry its message without being crowded.

f) State of preservation is very important as it presents the object in its virgin state with all consequences implied. It should not seem a contradiction to say that Greco-Roman antique sculpture is usually better with the heads, arms and noses knocked off, if what is left , is in a good state of preservation as far as form and patine are concerned. The reason Greco-Roman things of the classical are better in fragments than in the whole is this: things of the classical period are overcrowded with irrelevant details which obscure the issue. Noses are superfluous anyhow as they obstruct the vision of the head from the outside...and from the inside the vision of any head.

Objects of collection are not merely objects of beauty, or beautifully constructed but are objects possessing forms in which reside certain aspirations of the epoch, suggested by a certain slant or configuration, by a slight curve perhaps, that fatefully bridges the object to the particular period.

There is one infallible gauge in collecting, it is intuition perfected by personal, tactile experience. An expert can tell the difference between two identical objects made a hundred years apart sometime in antiquity.

One should never tamper with objects of antiquity, never restore, improve, polish or shine or paint. An antique chair with its original finish removed or scraped is no more an antique chair but a second-hand chair.

One should beware of archaeologists' conclusions as they deal in appendages of space rather than in space itself. Their knowledge is based on circumstantial evidence instead of quality.

The spirit of the epoch is inescapable in its creations. Take for instance several similar (stone or metal) rectangular blocks with no other indications, a true connoisseur would be able be able to tell you the difference between them and define their respective epochs by the character of the edge, surface, surface and material treatment alone. A metal or stone rectangular block of the Gothic epoch that will denote undaunted belief, hardy decision, aloofness and austerity; a Renaissance block will retain some hardiness but will have an inclination to spread and the implacable precision will be lacking; a block of 1800 will have the edge and patine of luscious delight but soft and disillusioned; a block of the Romantic epoch (1830), will be more indulgently delightful but also more decadent; a block of the end of the XIX century will be simply and unattractively decedent; a block of our times will have the mark of new precision being born.

Only by buying antique art objects at low prices, can one be reasonably assured of authenticity of objects. Forgeries involve expensive hand labor and are naturally high priced. High price is automatically against an art object.

In the art of taking care of antiques (cities, buildings and objects) France and Italy probably hold first place. Old buildings and towns are preserved, not restored or "improved" upon. New buildings even without conscious intention to harmonize do not clash with old but in in a way  seem to extend them. No cities do this quite so well as Paris and Venice. In Germanic countries when any care of this nature is given it is to individual buildings and not to their relationship to the whole environment. From reports one can judge that great care is exercised in U.S.S.R. in preserving certain antiques or certain antiques or certain form of antiques. However, it might not be satisfactory as regards the coordinated aspect of a a whole city. On the other hand perhaps it is not important. For instead of preserving antiques they are building there a place for whole humanity to live in.

To develop individual culture (source of general cultures) one has to collect.

Collecting is not merely investing money in art objects, collecting is rather buying with privations to establish a personal contact with art objects, artists and spiritual life of past epochs.

There are great collector, some because of their taste  and courage, other because of their generosity and enthusiasm. Such collectors: Stchukin, Camando, Morozoff, Duncan Phillips, Katherine S. Dreier, Fukushima, Reber, Frank Crowninshield, Uhde, The Steins, the Cones, Gaffe, Feneon, Eluard, Bondy, Breton, de Mire, Covarubias and others"    

Following is an example of what to buy - more than a good deal - it meets many criteria of importance - the artist is not only "listed" in conventional sense he is an author in his own right and has interesting story - fun when showing your collection. This auction going off evening of June 4, 2009.
Before you spend thousands on some colorful painting .....

First read about the criteria for art selection as set forth by
Dr. Roger Dunbier. 




               More John D. Graham



Detailed Art Commentary follow the newly popular recipe below...........








Sample desert plate at International  Meal.


Link to International Meal Photos


Ok, back to art..........



Site objectives:

1. You learn interesting things -

Question:

What is arguably the most important painting of the 19th century?

Answer: 




According to Paul Johnson in his book Art A New History it may be Repin's They Did Not Expect Him (1884) at the Tretyakov - Moscow. See page 7 (Art History) of this site for more information.



2. You learn how to buy fine art: The Articles of Dr. Dunbier


3. You learn of our products:

We provide original fine art by listed artists (those who have merited inclusion in art reference guides such as Ask Art, Art Price (Paris based), etc., in a retail setting. For example - if an artist is included in a database such as Artists Bluebook, they are by definition one of the top 34,000 artists living or dead (in the estimation of the editors) and therefore in the top 2% of all the approximately 2 million individuals (plus), in the United States alone, living or dead who define(d) themselves as artists - but will likely be forever unlisted, unreferenced - unknown.

We believe it may be useful for the consumer to understand what factors most drive the price of art in the wider marketplace.

What you should understand before you purchase any fine art, has been most effectively set forward by the late Roger Dunbier, a pioneer in the science of real estate comparables (MLS) and thereafter the fine arts.

Welcome to the Historic "Antiques District" located in Downtown Fargo ! Art Gallery 227 miles northwest of Minneapolis, Minnesota.



  Inventory keeps changing - Coming very soon soon are works by Artists from Canada, France, the  Peoples Republic of China, Haiti, and the United States, as well as a very cool space related copper sculpture. call (701) 451-9111, Fargo, North Dakota, United States  Site updated December 17, 2011.





 Street Fair.    photos - our downtown




Welcome to Fargo ! 227 miles NW of Minneapolis and St. Paul Minnesota. The Street Fair .




Listed Artists Gallery, at Antiques on Broadway, # 6 Broadway North, Fargo, North Dakota 58102, United States

Phone (701) 451-9111




Three Dog Night concert June 5, 2009 at Rib Fest outdoors at
the FargoDome.  More Three Dog Night Photos.




Fargo concert of Billy Joel and Elton John at the Fargodome.
The Face to Face tour. May 2, 2009.

More photos of the concert..





Jim Morrison Desert Photo details