Friday, June 19, 2015

Gathering the Eagles in Kansas City

Last Thursday evening was the 2015-2016 planning meeting for my son’s Cub Scout pack. Our adult leaders include some of the most dedicated and forward thinking people I know, and I am proud to be part of the group. By the end of the evening, Cubmaster Michelle and I were discussing ways of impressing on our Webelos II boys the significance of the scouting trail they were on, and the big step some of them will take when they cross over into Boy Scouts of America next February.

As we discussed the idea of short outings with our Webelos dens, we thought of the Eagle Scout memorial and fountain located in Kansas City’s Gillham Park, at the intersection of 39th Street and Gillham Road...which in turn inspired this blog post.

Having earned Eagle Scout in late 1982 (awarded January 1983), I have visited the memorial and fountain before, though until last spring - and not counting numerous drive-bys over the years - it had truly been donkey’s years.

Most weekends finds my family out and about, exploring historical and cultural places around the city and region. With my son’s increasing interest in pursuing the rank of Eagle in Boy Scouts, on April 19, 2014, we knew it was time for another visit.

A Scout is Thrifty

The memorial consists of a central allegorical scene above a fountain pool, and with two spiral staircases approaching the sculpture. The fountain was donated by Mr. and Mrs. John W. Starr, built by constructed by the Hoffman Cortes firm, and dedicated on October 6, 1968.


While two bronze plaques explain the memorial’s mission of paying tribute to Eagle Scouts across the “length and breadth of our nation,” there was something about the quality of the sculpture that made me think there must be more to this thing than meets the eye, one aspect being that the large wreathed center - now bearing a beautiful polished aluminum Eagle badge, seemed repurposed. It would make sense, a Scout is thrifty, after all!

Origins

I returned home curious about the origin of the sculpture, and set to work tracing its history. What I found was that four copies of this allegorical scene were sculpted in pink granite by German-American sculptor Adolph Alexander Weinman (1870-1952), circa 1910.

One sculpture visible near the center of the frame (circa 1911)
They were originally displayed with their giant central clocks over entrances to the two-square-block Pennsylvania Railroad Station in Manhattan, from 7th to 8th Avenues, 31st to 33rd Street. The station had been commissioned by Alexander Cassatt, brother of Impressionist painter Mary Cassatt, and designed by the renowned architectural firm McKim, Meade & White.

About the design

Part of a larger design across the station’s façade, the allegorical scenes originally included a clock in the center of the wreath, surmounted by a tempus fugit winged hourglass. Two female figures representing day and night, are flanked by eagles. Day is surrounded by sunflowers, while the hooded, wing-headed and bare-chested Night grasps two wilting poppies in her right hand.

When the station was demolished over three years beginning in 1963, the sculptures were sent to a landfill in New Jersey where they laid until being rescued by Ivan Karp and the Anonymous Arts Recovery Society.

Another Weinman tempus fugit pair is slated for use in the renovation of a Newark, New Jersey train station. A third Night figure may be found in the Frieda Schiff Warburg Sculpture Garden at the Brooklyn Museum. Elements of the fourth pair remain untraced. A number of the façade’s original 22 eagles reportedly may be found in metropolitan areas up and down the east coast of the United States.

References:
Stenz, Margaret. Remembering Penn Station, posted Sept. 8, 2010, https://www.brooklynmuseum.org/community/blogosphere/2010/09/08/remembering-penn-station/

Eagle Scout Memorial Fountain,
http://kcparks.org/fountain/eagle-scout-memorial-fountain-2/

Saturday, June 13, 2015

2015 KCPT Antique Appraisal Fair



Kansas City’s venerable public television station, KCPT, held their 2015 Antique Appraisal Fair on June 6th at the Overland Park Convention Center. The fair is a popular fundraising event for the station, and I was asked to participate again this year.

Over 700 items were brought in by 366 patrons, each having pledged $125 to support the station. The day gave me the pleasure of working alongside several old friends, as well as a cadre of other experts representing a wide variety of specialties – from my own historical and militaria realms to fine and folk art, jewelry and gemstones, vintage radios, firearms, general antiques and collectibles, and books.

The fair never fails to lure rare and exotic items from their local hiding places - and it must also be admitted, the mundane and common. Early birds were ushered to us in shifts during the morning, which reduced waiting times for the most part. After lunch was less regimented but went as smoothly as the morning shifts.

More professional photographs of the event have just been posted to KCPT's website, here are some of my snapshots.
The most notable things I saw were an archive of photos from a WWI soldier that served alongside Captain Harry S. Truman – and included numerous Truman-signed personal letters, a fine collection of Mexican War (1846-1848) veteran ribbons, a turn-of-the-20th-century French fire helmet, and a LeMat revolver – the preferred sidearm of C.S.A. General Jeb Stuart.
Apart from being great entertainment for KCPT supporters, it is a fantastic opportunity for local appraisers to give back to the community themselves. Credit to my friend Jason Roske for organizing the fair once again this year, as well as some of my other close friends and colleagues present that day: David Schulman, John Conway, Andrew Turner, Tracey Kahle, and Ron Brown.

Wednesday, June 3, 2015

In Brief: Jeremiah Paul's "Washington Leaving His Family" Oil on Canvas


Another exceptional lot brought to Sunflower Auction during the summer of 2007 was an oil on canvas painting by early American artist Jeremiah Paul (? – 1820). It was to become a text book example of how and why reserves can be toxic to auctions - especially when born of a consignor's excessive optimism. Needless to say, the work went unsold in 2007.

It was as I concluded my earlier piece on the consignor's Vincent van Gogh letter to G. Albert Aurier that I began thinking of the Jeremiah Paul adventure, specifically that it deserved a blog post of its own. First step was to search around for my old essay. In the process I discovered - to my great surprise - that the work had very recently returned to the art market in Dallas, Texas - on May 18, 2015, listed as lot 42218 in Heritage Auction’s American and Political Auction #6145. Its hammer price was recorded as (US) $38,000.

Despite its “failure to launch” at Sunflower Auction almost eight years earlier, the adventure we had during pre-auction promotion was rather interesting. Our most memorable outing was when Sunflower Auction’s proprietor and I accompanied (a fancy way of describing the loading of the Ft. Knox-like storage crate into the back of a Chevy Suburban and driving to midtown Kansas City) the painting to the Nelson-Atkins Museum of Art’s Conservation Lab, where an examination by conservationists and technicians revealed previously obscure physical attributes that we were able to append to the work’s 200-plus year history.

One such detail which was omitted from my original essay was that an infrared examination revealed that Paul had initially painted Washington’s coat tails much longer than they appear in the final wrk. No, it doesn’t really make much difference in the greater scheme of things, but to anyone interested in a painter’s creative process, it is fascinating.

Here is my essay that served as the work’s description during its October 30, 2007 public offering:

Jeremiah Paul (American, ? - 1820) George Washington Leaving His Family Oil on Canvas, Circa 1800

George Washington (February 22, 1732 - December 14, 1799) was a central and critical figure in the founding of the United States, and is commonly referred to as father of the nation. He led America's Continental Army to victory over Britain in the American Revolutionary War (1775-1783), and in 1789 was elected the first President of the United States of America. He served two four-year terms from 1789 to 1797, winning reelection in 1792. His devotion to republicanism and civic virtue made him an exemplary figure among early American politicians.

Untraced in private hands for 200 years while in private hands, Sunflower Auction is proud to present Philadelphia artist Jeremiah Paul's historical oil-on-canvas “Washington Leaving His Family,” a romantic portrait of Washington leaving Martha and his grandchildren after President John Adams' administration appointed him Lieutenant General and Commander in Chief of the United States Army in 1798. The appointment was a reaction to France's threat of war against the United States, and resulted in France backing away from its threat, rather than face the father of the nation, hero of the revolution - and their one-time ally.

Beautifully executed and steeped in symbolism, the painting enshrines George Washington as the first (and most revered) figure in the pantheon of American heroes, and subsequently his family as a domestic symbol of the American Revolution. A backdrop of windswept red drapes recall the universal red flag of war, defiance and revolution as they entwine themselves between two polished granite columns representing, and nearest to, George and Martha. Two tassels hang down the Commander in Chief's column, representing his pivotal role in the accomplishment of the American Revolution, and return to duty.

Washington's sword is carried at his side - a symbol of strength, courage and authority, while bidding farewell to his wife with his ungloved right hand. It would seem that Martha did not wholly approve of her husband accepting the appointment, and this is reflected by her right hand being held firmly behind her back.
 
Further confirmation of Washington's almost metaphysical presence is found in Paul's depiction of the natural world around him. A mostly cloudy sky - darker nearer the zenith than horizon, symbolizes the brewing storm brought by France's threat of war, while the brighter horizon symbolizes optimism about the future. In the distance (and beneath Washington's outstretched right hand) a cypress tree and weeping willow stand along the banks of the distant Potomac, symbolizing the death and mourning brought by war. Furthermore, his faithful white horse, Old Nelson, almost appears to be haloed by a cloud break above his head.

One finds additional significance in the rare depiction of three grandchildren - instead of the usual pair of George Washington Parke Custis (1781-1857) and Eleanor Parke Custis (1779-1852). All were the offspring of Martha's son - and General Washington's wartime aide, John "Jacky" Parke Custis (1754-1781), but seldom was Elizabeth Parke Custis (1776-1831) depicted with her brother and sister. Eleanor and G.W. had been sent to Mount Vernon almost immediately after their father's untimely death from typhoid fever at Yorktown, while Elizabeth stayed with her mother, Eleanor Calvert.


The painting was finished in 1798 and disappeared after being sent to England in 1800 for engraver Edward Bell to copy. Copies of the engraved scene were produced during the nineteenth century, each exhibiting distinct differences in background, pose, coloration and shading. Life magazine profiled a copy of the engraving that surfaced in London in 1959, and once again highlighted the "lost" status of this, the original.

Jeremiah Paul Jr. was part of the early generation of great American artists that included the preeminent portraitist Charles Wilson Peale, as well as other renowned Washington portraitists Edward Savage and Gilbert Stuart. Paul received training by the venerable Charles Wilson Peale alongside his son, Rembrandt Peale. Paul is known to have engaged in small tasks for Gilbert Stuart including the painting of lettering in some of the latter's portraits.

Paul is credited as one of the founders of Philadelphia's Columbianum exhibition of 1795. In 1796 he joined a firm that would become known as Paul, Rutter & Clarke. By 1803 he was traveling around the country painting miniatures, portraits, signs, and conducting exhibitions. He died near St. Louis, Missouri on July 13, 1820.

Signed "J Paul Junr" in red to the lower left corner. Mounted in a Federal-era gilt frame, with nameplate.


Condition Report: Bright, crisp and well preserved for its age. The painting was professionally cleaned in the latter portion of the 20th century. UV examination reveals a small spot of restoration above GW's head and retouching of abrasions in several areas. Infrared study reveals very few trace lines, indicating Paul executed the painting mostly freehand. Texture transfer to canvas from liner is evident. Close examination of the signature field reveals residual brown background retouch at a few points over the original signature strokes.

Size: 24.2 x 29.1 in. (61.5 x 73.9 cm.)

Exhibition History: Portland Art Museum "The Art of Independence", Brandywine River Museum.

Condition
Bright, crisp and well preserved for its age. The painting was professionally cleaned in the latter portion of the 20th century. UV examination reveals a small spot of restoration above GW's head and retouching of abrasions in several areas. Infrared study reveals very few trace lines, indicating Paul executed the painting mostly freehand. Texture transfer to canvas from liner is evident. Close examination of the signature field reveals residual brown background retouch at a few points over the original signature strokes.

Monday, June 1, 2015

Vincent van Gogh's Letter to G. Albert Aurier (Mercure de France, 1890)


I worked as a researcher and appraiser for Sunflower Auction from 2006 until 2008. I think it was late spring or early summer 2007 when we were contacted by a family with several significant historical pieces of fine art, documents, and militaria they were interested in selling. Our main contact was a typical high maintenance “more-dollars-than-sense” personality, though harmless enough, and we at Sunflower had quite a memorable time being equal parts amused and exasperated by his tales of historical derring-do.

In retrospect I think we went a bit overboard for him in terms of presentation, but the experience did produce a few essays by yours truly for inclusion with the auction lot descriptions, and for some reason I’m thinking they’ll make good blog fodder.

Since I’m still in an artsy mood from recounting my Thomas Hart Benton interview project the other day, I think the first of these will keep the theme and examine a rare and historic letter from an artist who I came to deeply admire, Vincent van Gogh.

Vincent van Gogh's Letter to G. Albert Aurier, 10 or 11 February 1890


Nevertheless, in the case of Vincent van Gogh, in my opinion, despite the sometimes misleading strangeness of his works, it is difficult for an unprejudiced and knowledgeable viewer to deny or question the naïve truthfulness of his art, the ingeniousness of his vision. 
                                                             - G. Albert Aurier, Mercure de France, January 1890

Vincent van Gogh (1853-1890) was a Dutch Post-Impressionist artist. His paintings and drawings include some of the world's best known, most popular and most expensive pieces. Van Gogh spent his early life working for a firm of art dealers. After a brief spell as a teacher, he became a missionary worker in a very poor mining region. He did not embark upon a career as an artist until 1880. Initially van Gogh worked only with somber colors until he encountered Impressionism and Neo-Impressionism in Paris. He incorporated their brighter colors and style of painting into a uniquely recognizable style, which was fully developed during the time he spent at Arles, France.

He produced more than 2,000 works, including around 900 paintings and 1,100 drawings and sketches, during the last ten years of his life. Most of his best-known works were produced in the final two years of his life, during which time he cut off part of his left ear following a breakdown in his friendship with Paul Gauguin. After this he suffered recurrent bouts of mental illness which led to his suicide in 1890.

The central figure in Vincent van Gogh's life was his brother Theo, who continually and selflessly provided financial support. Their lifelong friendship is documented in numerous letters they exchanged from August 1872. Van Gogh, pioneer of Expressionism, had an enormous influence on 20th century art, especially on Fauvism and German Expressionism.

Sunflower Auction is proud to present one of the most important letters written by Vincent van Gogh, responding to the author of the only review of his work to appear in his lifetime. He expresses his gratitude to G. Albert Aurier and discusses his approach to painting, contemporary artists and famed Sunflowers paintings. The text reads like a window on his soul, revealing clues about his battered mental condition, making him subject to storms of emotion and insecurity that would plague him until his suicide just five months later.

The Isolated One: Transcending Heritage? 

Thank you very much for your article in the Mercure de France, which surprised me a good deal. I admire it very much as a work of art in itself, it seems to me that you paint with words; in fact, I encounter my canvases anew in your article, but better than they are in reality, richer, more meaningful… Anyway - what I am trying to say is that things seem to have mistakenly become attached to my name that you would do better to link to Monticelli, to whom I owe so much. I also owe a great deal to Paul Gauguin… 

                                                         - Vincent Van Gogh to G. Albert Aurier, February 1890


G. Albert Aurier's glowing review of van Gogh's work in the January 1890 issue of the Mercure de France asserted that although he had not "transcended his heritage," he was not an "unworthy descendant of the old Dutch masters. Van Gogh was rather uncomfortable with the praise lavished by Aurier, and his letter to the author was an exercise in artistic self-deprecation.

You may realize now that your article would have been fairer and - it seems to me - consequently more powerful, if, when dealing with the question of the future of 'tropical painting' and the question of colour, you had - before speaking of me - done justice to Gauguin and Monticelli. For the role attaching to me, or that will be attached to me, will remain, I assure you, of very secondary importance.

In February 1890 van Gogh wrote to his sister, "I thought the article by Mr. Aurier - leaving out consideration whether I deserve what he says of me - very artistic and very curious in itself. But it is rather like this that I ought to be, instead of the sad reality of how I do feel."

Yet as is often the case with truly visionary and original artists, van Gogh's contemporaries understood his work better than its creator did. A letter from his devoted brother, Theo, dated April 23, 1890, describes how Monet commented that Vincent's pictures were "the best of all in the [Vingtistes] exhibition." Serrat went to Theo's house to view more paintings and was enthralled to the point of saying if had he no style of his own he would change course and 'seek what you are seeking.' 

Only one of van Gogh's paintings would be sold during his lifetime. The Red Vineyard was purchased by Anna Boch (the sister of a friend), after the Vingtistes exhibition in Brussels in 1890. The sad irony is that barely a century later the work of Vincent van Gogh, a painter that in his own time struggled to pay for the paints he used - and even reused canvases for economy, would command tens of millions of dollars.

Aurier never changed his views on van Gogh's work and corresponded with the artist's devoted brother Theo van Gogh well after Vincent's death in July 1890. Theo clearly favored Aurier for having been "the first to appreciate him, not only on account of his greater or smaller capacity to paint pictures, but you have read these pictures, and by doing so you very clearly saw the man," and asked Aurier to help him with a biography of Vincent, and an "elaborate volume of illustrations and reproductions of certain letters."

Symbolism and Sunflowers

And how could we explain that obsessive passion for the solar disk that he loves to make shine forth from his emblazoned skies, and, at the same time, for that other sun, that vegetable star, the sumptuous sunflower, which he repeats, tirelessly, monomaniacally, if we refuse to accept his persistent preoccupation with some vague and glorious heliomythic allegory? 

- G. Albert Aurier, Mercure de France, January 1890

Aurier's review asserted that van Gogh was almost always "a Symbolist…who feels the continual need to clothe his ideas in precise, ponderable, tangible forms, in intensely sensual and material exteriors."

A year later in 1891, Aurier outlined the role of symbolism in visual arts in a Mercure de France article called "Symbolism in Art." In it he recognized and promoted what was to become known as the "Symbolist" school. He believed the purpose of visual arts was to be "ideational, symbolical, synthetic, subjective, [and] decorative." Symbolism was to be used wherever and whenever possible, extending its reach even to depictions of the natural world where nature should be observed "by way of the dream." 


Sunflowers has become one of the world's best-known works of art. Considering the challenges van Gogh faced in his life, it almost seems appropriate it has become his best-known work. Artists have used sunflowers as symbols to express ideas such as piety. For the one-time cleric van Gogh, they seem to have symbolized even more:

Let us suppose that the two canvasses of sunflowers which are present at the Vingtistes have certain qualities of colour, and that they also symbolize 'gratitude'. Are they any different from so many other pictures of flowers, more skillfully painted, which are not yet appreciated enough - the Roses tremieres and the Iris jaunes by old Quost, the magnificent bunches of peonies which Jeannin produces in such abundance? You see, I find it very difficult to make a distinction between impressionism and other things. I do not see any use for much of the sectarian thinking we have seen these last few years, but the absurdity of it frightens me.

Interestingly, Aurier's review singled out cypress trees in van Gogh's work as images "that expose their nightmarish, flamelike, black silhouettes." Bearing this in mind, perhaps the strangest twist in van Gogh's letter comes in the form of him promising to send Aurier a study of cypresses "so characteristic of the Provence landscape" - and at the same time a tree that is often associated with death. Considering Aurier's assertion of van Gogh as a Symbolist painter and van Gogh's bouts with mental illness, it is tempting to view the curious choice of cypresses almost as a premonition of his own death. 

Raison d'être

The historical significance of van Gogh's letter is clear. Not only does he take the opportunity to discuss his approach to art, he also praises his contemporaries, references his Sunflowers canvases, and lays bare his approach to his work with a brutal frankness. It illuminates van Gogh - the artist and the man; a man wracked by feelings of inadequacy and inferiority.


The timeless appeal of van Gogh and his work is evinced by his work periodically making headlines today. Recently, the discovery by X-ray of another painting, “Wild Vegetation,” underneath “The Ravine,” at the Museum of Fine Art, Boston, made headlines all over the world.

Size: 10.6 x 8.3 in. (26.9 x 21.1 cm)

Provenance: Profiles in History, Sotheby's, J. Williame Chateauroux