G. (Gerald Harvey Jones) (1933-2017)
The Lights of Broadway
signed 'G. Harvey- ©' (lower right) and signed again, titled and numbered '#CCRB' (on the reverse), titled and numbered again (on the stretcher bar), with two artist reproduction rights stamps (on the backing board)
oil on canvas
60 x 40 in.
framed 77 x 57 in.
Footnotes:
Provenance
Property from an Important Denver Collection.

Born in San Antonio, Texas, important contemporary Western artist G. Harvey grew hearing family stories about cattle drives and rugged cowboys that heavily influenced his artistic depictions of the historic West. Harvey graduated from North Texas State University and began his career teaching by day and painting scenes of the Texas Hill Country by night. He made the leap from full-time art teacher to easel painter in 1965 after winning the 37th New Masters Award, presented by the American Artist Professional League's Grand National Exhibition in New York. This prestigious award garnered the attention of the Western art community, most notably several well-known Texas collectors, including former President Lyndon B. Johnson, former Governor and U.S. Secretary of the Treasury, John Connally, former Texas State Senator, Lloyd Bentsen and L.D. 'Brink' Brinkman, and his success was assured.

While Harvey's earliest artistic explorations related to the West, nostalgic, historically based depictions of life in American cities at the turn of the 19th to 20th Centuries are another important genre for the artist. Identifiably detailed depictions of Washington D.C., Dallas, San Francisco and New York, such as in the present work, The Lights of Broadway, are celebrated subjects as well. Harvey's complex metropolitan compositions typically feature the gauzy light of dawn and dusk, or as in the present work, moody scenes in rainy half-light, in order to explore light and shadow, watery reflection, focused natural and electrified light source, and atmosphere. The inclusion of streetcars, automobiles, street and interior lighting, and architectural development nods to the modernization and urbanization of the United States in this historic time period.

In The Lights of Broadway, Harvey presents a rainy evening in the heart of Manhattan, looking South on Broadway from St. Paul's Chapel's distinctive columned façade to the towering Singer Building shrouded in clouds and mist. At the time of its completion in 1908, the Singer Building was the tallest in the city (it was razed between 1967-69). On the busy street, three streetcars are visible, warmly lit from within, while pedestrians walk along the sidewalks and cross the street, many holding open umbrellas against the drizzle. A Ford Model T, which also entered the market in 1908, picks up passengers in front of St. Paul's entrance, and buildings on both sides of Broadway fly four American flags, along with a partially visible City of New York flag. Harvey effectively captures New York's increasing verticality due to building innovations in the soaring composition. Yet, while monumental in scale, The Lights of Broadway does not appear overwhelming, instead it is an inviting scene of life in New York in a simpler time.

The painting is unlined and retains the original stretcher bars. No condition issues to report.

In a metal gilt molded frame with grey linen and velvet liners and a metal gilt filet.