Frederick Harer  (1879   -   1948)  Works

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Frederick Harer (1879 - 1948)

If rating by degree of stature, few would argue that the two most important painters of the New Hope Art Colony were Daniel Garber and Edward Redfield. If using the same rating system to determine America’s most important frame-makers of the twentieth century, of those who really know this field, many would argue for Frederick Harer’s name at the top of the list.

Harer was born in Tioga County, Pennsylvania and began his artistic studies at the Pennsylvania Museum School of Industrial Art. He then studied at the Pennsylvania Academy under William Merritt Chase and Thomas Anshutz.

Harer was an accomplished painter, etcher, sculptor, and furniture maker, in addition to being a master frame-maker. In the mid-teens and early 1920s, Harer traveled to faraway exotic places such as the Mediterranean, West Indies, and Spain. In 1923, he settled in Uhlerstown, Pennsylvania, a town north of New Hope along the Delaware River. There he built his own home and studio known as “Red Cliff Studios” named after the mountainous terrain overlooking the river.

Around this time, Harer began concentrating primarily on his fine frame-making business. He would create frames of his own design using a variety of carved motifs, unusual punch work, chevron carving, scrafedo designs, and most importantly, his fine gold and silver leaf finishes. Harer would also copy eighteenth century Spanish, Italian, and French designs for commission orders. Of his own designs, there were many. His frames were the favorite choices of many important artists, including Redfield, Garber, Coppedge, Spencer, Nunamaker, and Pearson, all of whom were steady customers. It was common knowledge among the art community that if you wanted the best frames money could buy, Frederick Harer was the man to see.

In the late 1920s, Harer would take on a young apprentice named Ben Badura. Teaching him the art of his craft and later encouraging Badura to go into business for himself, Badura would soon become New Hope’s second most important frame-maker. Badura was always grateful to his mentor.

 

Sources: New Hope for American Art by James Alterman