Hendrik J. Glintenkamp (Am. 1887-1946), signed lower right, inscribed and dated verso. Sight size: 5 1/2" high, 7 1/4" wide. Frame size: 13 1/2" high, 15 /4" wide. Property from a New Jersey Private Collection.
Henry (Hendrik) Glintenkamp (American, 1887-1946). Pencil drawing, Charley Robinson in a Straw Hat. Signed lower right. 7 5/8" x 4 5/8" (with frame 13 1/4" x 10 1/4").
Henry (Hendrik) Glintenkamp (American, 1887-1946). Charcoal drawing on paper, portrait of Wotan (Odin). Artist initialed and dated 16 lower right. 8 1/4" x 6" (with frame 13 7/8" x 11 3/4"). Tear lower right and along right edge, toning to paper.
Isabel Bishop (American, 1902-1988). Ink and wash, seated figures. Inscribed to Chris, and signed upper left. Matted, unframed. Paper 6" x 5 1/4" (with mat 8 3/4" x 7 1/2").
Henry (Hendrik) Glintenkamp (American, 1887-1946). Pair of pencil and colored pencil drawings, nudes. Both signed Glintenkamp lower left and with artist's monogram. Each 6 3/4" x 4 1/8" (with frames 13 1/4" x 10 1/2"). Chips and losses to frames. Provenance: Sotheby's New York, 1993; private collection, New York City.
Henry (Hendrik) Glintenkamp (American, 1887-1946). 3 ink and watercolor New York City scenes. All signed with artist's monogram. Coenties Slip & Front Ste., 8 3/4" x 5 5/8" (with frame 13 5/8" x 10 1/2"); Leola May, 8 3/4" x 5 5/8" (with frame 13 5/8" x 10 1/2"); From Pier East, Beekman Ste. & Fish Market, 8 1/2" x 5 1/2" (with frame 13" x 10 1/4"). All with toning to paper, Fish Market some waviness to paper along top; chips and losses to frames on all. Provenance: Sotheby's New York, 1993; private collection, New York City.
Henry (Hendrik) Glintenkamp (American, 1887-1946). Pencil drawing, Charley Robinson in a Straw Hat. Signed lower right. 7 5/8" x 4 5/8" (with frame 13 1/4" x 10 1/4").
Henry (Hendrik) Glintenkamp (American, 1887-1946). Charcoal drawing on paper, portrait of Wotan (Odin). Artist initialed and dated 16 lower right. 8 1/4" x 6" (with frame 13 7/8" x 11 3/4"). Tear lower right and along right edge, toning to paper.
Artist: Henry Glintenkamp, American (1887 - 1946) Title: Man and his Loves Year: circa 1940 Medium: Sepia Ink Drawing Size: 7.5 in. x 9 in. (19.05 cm x 22.86 cm) Frame Size: 11.5 x 13 inches
Henry J. Glintenkamp (1887-1946) USA, Lithograph. Illustration for The Masses, October 1914. Titled "The Girl He Left Behind Him". Despite the very real danger of political persecution and even arrest, the artists of The Masses persisted in being anti-war and pro-woman during the war hysteria that accompanied WW I. Like the feminist dramatist Bernard Shaw, they wittily responded to the drama of the struggle for women's rights. Like Shaw, they sometimes envisioned the necessary blossoming of female power in a world of male suicides. Here, the bones of soldiers literally fertilize the future. The girl he left behind is left behind to farm that future. The artists of The Masses sustained their social conscience despite their contempt for dogma. In its later incarnation, the magazine became duller and more doctrinaire. Overall Size: 14 7/8 x 11 3/4 in. Sight Size: 13 7/8 x 10 3/4 in. Hendrik (Henry) J Glintenkamp (1887 - 1946) was active/lived in New York, New Jersey. Hendrik Glintenkamp is known for Landscape, portrait, social-realist painting, block printing. #1830 #6 Location Box 15
Henry Glintenkamp (American, 1887 - 1946), "Manhattan Construction, Radio City, 1932," woodcut on paper, signed in the print with the artists blindstamp and dated 1932, measures 7 x 5 inches to the matt opening, overall 14.50 x 11.50 inches framed. CONDITION: Good, some light foxing and discoloration to the matt. Henry J. (Hendrik) Glintenkamp, born in 1887, exhibited in the famous 1913 Armory Show in New York City. A painter, printmaker, illustrator and sculptor, he studied at the Art Students League in New York City with Robert Henri. Glintenkamp, from 1913-1917, created illustrations for The Masses, the leftist magazine, working with editor-artist John Sloan, and painters George Bellows and Stuart Davis, and sharing a studio for a time with the latter artist.
Hendrik (Henry) Glintenkamp New York, New Jersey, (1887 - 1946) 2 female nude figure studies watercolor on paper Signed with initials lower center. Exhibited: Sally Turner Gallery, NJ Biography from the Archives of askART: The painter and illustrator Henry Glintenkamp (1887-1946) is known mainly for his anti-war illustrations that appeared in The Masses and other publications in the early twentieth century. As a painter, he was additionally successful, particularly in his landscape and urban scenes. Born in Augusta, New Jersey, the son of Hendrik and Sophie Dietz Glintenkamp, Henry received his elementary art training at the National Academy of Design (1903-06) before his study with Robert Henri the two years following. One student's recollection of Henri's classes, that of Helen Appleton Read, gives an indication as to the influence he effected on students such as Glintenkamp: "The old idea was to learn to draw the figure before the student had ideas. Henri's idea was to have ideas first, paint pictures, make compositions, which is the same thing; learn to draw as you go along. He taught us to paint from the inside out so to speak, try to find out that inner thing that made one particular man or woman different from any other man or woman. (William Innes Homer, 1969, p. 150). Henri consequently attracted artists like Glintenkamp interested in returning to a sense of human qualities. Setting up his studio in the Lincoln Arcade Building with Stuart Davis and Glenn O. Coleman, Glintenkamp did work that reflects a preoccupation with urban scenes and landscapes. These works are broadly handled with heavy impasto and rapid strokes, but all retain an enigmatic quality undoubtedly intensified by his use of a more tonal palette of misty shades. His urban scenes appear through a sort of mist. Despite his limited palette, there is no sense of quietude in the artist's work, nor is there any predominance of figures as in a more popular genre scene. Instead, the focus would seem to be the relationship not of man, but of nature to her environment. Glintenkamp's expressive works rely heavily on mood, attained from darkened tones, as well as a strained or unpredictable display of nature. "Henry Glintenkamp's art is marked by a sensuous and vigorous paint surface which no doubt was the first encouraged and perhaps even inspired by the teachings of Robert Henri." (Fort, 1981, p. 27). In May of 1910 Glintenkamp exhibited his works as a student at the Henri School (Sloan, 1906-13, p. 418) and at the Exhibition of Independent Artists of 1910. Two years later, he accepted the position of instructor at the Hoboken Arts Club in New Jersey and in 1913, he took up with others in the organization of The Masses, designed as a publication devoted to humanitarian causes. This publication stood in stark opposition to war, as its articles and cartoons reflected pacifism: "Of course some were more vehement than others in their objections to the 'immorality of armed conflict'. . . not overly subtle in their artistic protests, which in some ways indirectly reflected President Wilson's isolationist policy" (Love, 1985, p. 380). Of his cartoon, paired with an article entitled "Making the World Safe for Democracy," by Boardman Robinson, one noted that it might "'breed such animosity toward the Draft as will promote resistance and strengthen the determination of those disposed to be recalcitrant,' but it did not tell people that it was their duty nor to their interest to resist the law" (Young, 1939, p. 321). At the Armory Show (1913), Glintenkamp exhibited The Village Cemetery. In 1917, Glintenkamp moved to Mexico to avoid the draft, and remained there until 1924, supporting "the socialist agenda of Mexico's new leadership." (Boone, 1998-99, p. 66). The period following 1917 marks a new phase in the artist's development. Brighter in color and compositionally more involved, his later works are more discordant than the artist's earlier work. The artist sacrificed the atmospheric quality of the limited palette for the increased influence of modernist movements. After extensive travels in Europe, Glintenkamp returned to New York in 1934, and became a teacher at the New York School of Fine and Industrial Art and the John Reed Club School of Art. As chairman for the committee responsible for the organization of an Exhibition in Defense of World Democracy, in 1937, Glintenkamp continued his humanitarian purpose, though never really took up with the socialist rebels, many of whom followed similar groups and publications. Indeed, Glintenkamp was instrumental in founding the American Artists' Congress; he continued serving its needs as both the organization's president and secretary. A peripheral member of the impressionist-tonalist group in his early career, Glintenkamp had progressed through many American movements by the time of his death in 1946. Sources: Sloan, John. John Sloan's New York Scene. From the Diaries, Notes and Correspondence 1906-1913. Ed. Helen Farr Sloan. New York: Harper and Row, 1965, pp. 418, 606; Young, Art. Art Young, His Life and Times. New York: Sheridan House, 1939, pp. 320, 321, 324, 332-33; Homer, William Innes. Robert Henri and His Circle. Ithaca, NY: Cornell University Press, 1969; Fort, Ilene. "Henry Glintenkamp (Graham)." Arts Magazine 55 (June 1981): 27; Leff, Sandra. Henry Glintenkamp 1887-1946: Ash Can Years to Expressionism. Paintings and Drawings 1908-1939. Exh. cat. New York: Graham Gallery, 1981; Zurier, Rebecca. Art for the Masses: Radical Magazine and Its Graphics, 1911-1917. Philadelphia: Temple University Press, 1988, p. 165; Boone, M. Elizabeth. España: American Artists and the Spanish Experience. Traveling exh. cat. New York: Hollis Taggart Galleries, 1998-99, pp. 66-67. Submitted by Richard H. Love and Michael Preston Worley, Ph.D.
Hendrik (Henry) J. Glintenkamp New York/New Jersey, (1887 - 1946) Red Dancer, Resting, 1938 oil on board signed lower right, and again with title and date on the reverse, gilt-framed.
Hendrick Glintenkamp (1887-1946) Mexican scenes- 6woodcuts along with Manhattan Construction - Radio City Man Smoking a Pipe in Bar 2 wood engravings, each signed in pencil, various sizes.
Hendrik Glintenkamp (1887-1946) Various scenes 7 prints, each signed and numbered in pencil along with 5 miscellaneous works on paper, artists unknown, various sizes.
Hendrik Glintenkamp (1887-1946) Interior scenes- 8 prints; along with Manhattan Construction Scene - Radio City Man Smoking a Pipe in Bar 2 wood engravings, each signed and numbered in pencil, various sizes.
Hendrick Glintenkamp (1887-1946) Landscapes- 13 prints along with Manhattan Construction - Radio City Woman at Piano Man Smoking a Pipe in Bar 3 wood engravings, each signed in pencil, various sizes.
Hendrick Glintenkamp (1887-1946) Cityscapes and Countryside scenes- 10prints along with Manhattan Construction - Radio City Man Smoking a Pipe in Bar 2 wood engravings, each signed and numbered in pencil, various sizes.
Hendrick Glintenkamp (1887-1946) Male portraits and Interior scenes with Figures- 11 prints along with Manhattan Construction - Radio City wood engraving, each signed in pencil, various sizes.
Hendrick Glintenkamp (1887-1946) Female nudes, etc.- 12 prints along with Manhattan Construction - Radio City (2) Woman at Piano Man Smoking a Pipe in Bar 4 wood engravings, each signed in pencil, various sizes.
Hendrik Glintenkamp (1887-1946) Tribal scenes- 15 prints along with Manhattan Construction - Radio City Man Smiking a Pipe in a bar 2 wood engravings, each signed and numbered in pencil with exception to 1, various sizes.
Hendrik Glintenkamp (1887-1946) Mexican scenes- 19 prints along with Manhattan Construction Scene - Radio City Woman at Piano Man Smoking a Pipe in Bar (2) 4 wood engravings, each signed and numbered in pencil, various sizes.
Hendrik Glintenkamp (1887-1946) Mexican scenes- 22 prints, along with Manhattan Construction Scene - Radio City- wood engraving (2 copies), each signed in pencil, various sizes.
HENDRIK (HENRY) J. GLINTENKAMP New York/New Jersey, 1887-1946 Two woodcuts of city river scenes, 1931. Signed and numbered 9/16 and 12/16 in pencil lower margin.
Hendrik (Henry) J Glintenkamp (American, 1887 - 1946), woodcut, two men in sombreros stand, taking a break with a cigarette, bold black ink on cream paper, signed "Glint" and dated 1921 in plate, pencil signed lower left, unknown edition, framed and matted behind glass, wear consistent with age, overall toning, mat burn, ss: 8 1/2" h. x 6 1/2" w.
This is a finely detailed wood engraving by American artist Hendrik Glintenkamp (1887-1946) The title is: Manhattan construction, Radio City, N.Y. It was created and printed in 1932, and is numbered 25/100. Hand signed in pencil lower border and also on the back of the sheet. Very fine condition.
Attributed to Hendrik (Henry) J Glintenkamp (1887 - 1946) Landscape Watercolor on Paper. Signed on reverse. Artist: Attrib Hendrik Glintenkam Title: Landscape Medium: Watercolor on Paper Signature Type: Signed Signature Location: Reverso Site Measurement: 10.5 x 14.5 in. Image Keywords: Landscape Artwork, Art; Ref: BD1782
HENDRIK GLINTENKAMP (1887-1946) Village View. Oil on board. Signed, Glintenkamp, lower left. 197x146 mm; 7 3/4x5 3/4 inches. Provenance: Graham Gallery, NY; Private collection. Born in Augusta, NJ in 1887 Henry Glintenkamp was a successful Painter & Illustrator. He began his artistic training in 1903 at the National Academy Of Design, completing his studies in 1906. In 1907 & 1908 Glintemkamp, studied under Robert Henri whose teachings are described as less rigid, essentially teaching his pupils to paint "Inside out". In 1913 Henry exhibited artwork at The Armory show. From there he continued to become an accomplished artist, perhaps best known for his anti-war illustrations which appeared in The Masses magazine.
Hendrik (Henry) J Glintenkamp (1887 - 1946) "New York Dock" Wood Engraving. Signed on lower right in pencil. The painter and illustrator Henry Glintenkamp (1887-1946) is known mainly for his anti-war illustrations that appeared in The Masses and other publications in the early twentieth century. Artist: Hendrik Glintenkamp Title: "New York Dock" Medium: Wood Engraving Circa/Year: 1942 Signature Type: Pencil Signature Signature Location: Lower Right Edition: 68/175 Keywords: Art Deco, antique; Ref: BD1043
Henrik Glintenkamp (American, 1887-1946) A group of Four (4) Woodcuts Bullfight 1931. Pencil signed 'Glintenkamp' in the margin bottom right, and numbered '4/16' in the margin bottom left; also with the Artist's monogram and dated 'XXXI' in the plate. Woodcut on paper Image size: 6 x 4 in. (15.2 x 10.2cm) Spanish Steps 1926. Pencil signed 'Glintenkamp' in the margin bottom right, and numbered 'B-19/25' in the margin bottom left; also signed and dated '26' in the plate. Woodcut on paper Image size: 6 x 4 in. (15.2 x 10.2cm) Waiting Room 1931. Pencil signed 'Glintenkamp' in the margin bottom right, and numbered '13/16' in the margin bottom left; also with the Artist's monogram and dated 'XXXI' in the plate. Woodcut on paper Image size: 6 x 4 in. (15.2 x 10.2cm) Trees in Snow 1932. Pencil signed 'Glintenkamp' in the margin bottom right, and numbered '6/10' in the margin bottom left; also with the Artist's monogram and dated 'XXXII' in the plate. Woodcut on paper Image size: 4 x 4 1/8 in. (10.2 x 10.5cm) (4) Qty: (4) Provenance Collection of Mr. and Mrs. Arnold and Sandy Rifkin, Wilkes-Barre, Pennsylvania. Frame (1,2,3):14 1/2 x 11 1/2 x 3/8 , (4): 12 3/4 x 10 3/4 x 3/8 in. To request additional information, including a condition report, please contact Raphaël Chatroux at rchatroux@freemansauction.com
Hendrik (Henry) J Glintenkamp (1887 - 1946) "New York Dock" Wood Engraving. Signed on lower right in pencil. The painter and illustrator Henry Glintenkamp (1887-1946) is known mainly for his anti-war illustrations that appeared in The Masses and other publications in the early twentieth century. Artist: Hendrik Glintenkamp Title: "New York Dock" Medium: Wood Engraving Circa/Year: 1942 Signature Type: Pencil Signature Location: Lower Right Edition: 68/175 Keywords: Art Deco, antique; Ref: BD1043
HENDRICK (HENRY) J. GLINTENKAMP AMERICAN, 1887-1946 WINTER LANDSCAPE Oil on canvas Lower right signed: Glintenkamp; verso inscribed on canvas: Glintenkamp / A-174 / 1911; verso labels
HENRY J. GLINTENKAMP America, 1887-1946 "Manhattan - Where the Mannonites Reign", 1935. Signed "Glintenkamp" and numbered 32/50 in pencil lower margin.
Attributed to Hendrik Glintenkamp (NY/NJ 1887-1946). Parkscape with a figure. Work is oil/canvas and is in a period, possibly original, frame. Work and frame have been professionally restored. Signed with a monogram (G) lower right, with a "GLINTEN KAMP" inscription verso, (possibly added later). Measures: Frame 15 5/8"; Canvas 12 1/8" x 9 1/8 Provenance: From a large private collection of a Westchester NY art collector.
