Beautiful Stanley Woodward Painting of the Red Barn and Farm Coming to Auction

We had previously posted about Stanley Woodward and his relationship with Francis Quirk. You can see the post here. 

Stark was a talented artist and a kindred spirit to Quirk. Perhaps it was that they both painted Maine and nautical scenes. 

We have found Stark's fixation on a red house barn complex fascinating. He appears to have painted it many times from different angles and in different season.  And when we saw this painting coming up for auction, we felt it warranted another post for two reasons. First, it is a fine painting of considerable beauty. And second, it features his "motif number one."  The painting below is titled "Shadowed Past".

Stanley Woodward "Shadowed Past," 20TH CENTURY, oil on canvas, signed L/R; 25'' x 30''

STANLEY WOODWARD (American 1890-1970) , "Shadowed Past," 20TH CENTURY, oil on canvas, signed framed 33 3/4'' x 38 1/2''

STANLEY WOODWARD Signature

What makes this painting work?

There is a great deal going on in this painting, so there is much to discuss. Our eyes are naturally drawn to white spaces. Thus, when this painting is first viewed the eye is drawn to the vertical white trim board in the center. This lightness pulls forward and gives the house a 3-D affect pulling that end of the main house tout of the canvas and toward the viewer like the prow of a ship.

Diagonals in "Shadowed Past"

Since, the composition is like a series of diagonal lines pointing to the left our eye is taken that direction to the tree. It then follows up the tree and out its branch delivering us back again to the center of the painting. 

There is a lot of subtle technique in this painting. Imagine how it would look without the chimneys, the dark green patch in the lower left or the overhanging branches.

The softer color palate is striking with softer reds in the house, yellowish greens in the fauna and even some pale oranges. The tree branches and their shadows add interest to the farm house; forcing the viewer to spend time discerning its nuances. 

All of this activity is well executed in a painterly plein air fashion, but with a steady hand where it matters. 

You can bid on the painting in person in Houston on May 20 at Simpson Galleries or you can bid online through Liveauctioneers. Somebody is going to walk away with a lovely work of art.

Francis Quirk Drawing of Religious Figure to be Auctioned

Echoes Antiques and Auction Gallery in Seaford, New York will soon be auctioning a 1971 drawing that is listed as being of Pope John Paul I on May 24, 2022. 

The drawing appears to be in pencil, charcoal or crayon and illustrates a religious figure interacting with a female. The drawing encompasses the heads of the two individuals focusing on the left figure shown in profile and the right female figure shown from slightly behind profile.  Because she is drawn in a lighter hand and from behind the focus shifts to the religious silhouette that is outlined with a heavy line. 

An important aspect of the drawing is actually undrawn. And it is the line of eye contact between the two individuals. They are clearly engaged, and the invisible sight line crosses the plane of the left figure's silhouette at a right angle giving it a sense of 'directness' or connection. 

1971 Drawing by Francis Quirk

The description lists the drawing as being of Pope John Paul I, but this attribution is questionable for three reasons. First John Paul I did not become Pope until 1978, well after Quirk's death in 1974. While it is possible the image could be of John Paul I before he became pope, this is unlikely given the next two reasons. The figure does not look like John Paul I as he had larger ears and a more hawkish nose. And third John Paul I frequently wore glasses in his later years. 

Pope John Paul I

This begs the question as to the identity of the religious figure, but alas, our research has not been able to solve that question. There was no other papal visit to the US in 1971 and we are unaware if Quirk traveled overseas at this time. We also executed a brief and fruitless search of the owner of the drawing according to the label on the reverse, Margaret M. DuBois.  

The close up of the signature appears to be that of Quirk executed in pen. Looking at it closely, one can almost see a pencil signature below the ink or it may be a reflection from the frame glass. There also has been some toning of the drawing paper where it touches the matting.

The label on the back lists Margaret M.(?) DuBois as the owner.
It was framed in Bethlehem, Pennsylvania

Mel Stark Painting to Auction

Earlier we had written a post about Mel Stark centered around his exhibition at Lehigh. Through Live Auctioneers, we learned that a painting of his is coming up for auction on January 22, 2022.  Winter Brook is an oil on canvas that is unsigned, but carries a statement from his daughter. The auctioneers estimate is $1700-$2200 from Florida's Broward Auction Gallery. 

Winter Brook by Mel Stark

Winter Brook by Mel Stark (unframed)

Interestingly, the catalog bio with the painting was quite enlightening. We share it here in its entirety as it provides a bit more insight into Mr. Stark as a person that goes beyond our initial post. 

BIOGRAPHY:

A leading figure in eastern Pennsylvania, Mel Stark was a plein-air painter and teacher who, with his good friend, Walter Baum, was devoted to enriching the cultural life of the Allentown area. He was also a key painter at the artists colony in Rockport, Massachusetts and in his later years, painted at Longboat Key Art Center in Florida. He taught at the Kline-Baum Art School, and Cedar Crest and Muhlenberg Colleges in Allentown, and was committed to the tradition of impressionist landscape painting. However, his reputation waned in the 1960s, when the public lost interest in impressionism and focused more on modernist movements. He was born in Honesdale, Pennsylvania, and earned a degree from Stroudsburg State College in Physical Education, but he had already started painting and subsequently abandoned Physical Education. He later studied art at the University of Pennsylvania, Syracuse University, and the Philadelphia Museum School. Major influences on him were landscape painters Cullen Yates, Walter Baum, and Anthony Thieme. He studied privately with Yates in New York, and Yates encouraged Stark to go to Paris, which he did but hung around the cafes with artists rather than attending any academy. In 1926, he returned to Allentown and worked for several years as a physical education teacher, but then came into contact with Baum with whom he studied art and then ended up being a teacher at the Baum School of Art. He married Ann Gomery with whom he had two children, and they moved into a farmhouse in Zionsville near Allentown. In addition to having an art career, he was an active promoter of the Allentown Art Museum, which he served as both trustee and director.

Benton Spruance, Schilli Maier and Gerorge Harding Exhibit at Lehigh University Art Gallery

 

Quirk’s 1959 major exhibition at Lehigh included works by George Harding, Schilli Maier and Benton Spruance. Earlier we had written about Harding in a post about benefactor Philip Berman’s donation of a Harding painting. (See Harding Berman post here.) This post will focus on Benton Spruance.

Benton Spruance "The Artist as Model" Self Portrait Lithograph

Spruance was born in Philadelphia in 1904 and was educated in local schools.  He studied architecture at the University of Pennsylvania, painting at the Pennsylvania Academy of Fine Arts and the Graphic Sketch Club.

In both his junior and his senior year at the Academy, he won the William Emlen Cresson Travelling Scholarship, which enabled him to go to France in 1928.  In Paris he studied lithography at the studio of Jacques and Edmond Desjobert.  That same year, he married Winnifred Glover, a source of strength and inspiration throughout his life.

In the 1920’s and 1930’s, when Spruance was on the threshold of his career in art, the preferred medium in print making was etching.  Very small gemlike prints in very large cream colored mats were the fashion, and they appeared frequently on the walls of collectors. 

Benton Spruance, concentrated on lithographs and experimented to develop new techniques that pioneered the use of color.

His gifts as an artist were well-recognized.  His paintings were exhibited widely, and his prize winning prints were shown in New York and other cities.  He also received commissions to paint murals and to illustrate books.

Throughout his career he received many honors, including the Philadelphia Art Alliance Medal of Achievement, a Guggenheim Fellowship in 1950, and election to membership in the National Academy of Design and in the American Institute of Architects. In 1959, he would be part of a three man show organized by Francis Quirk at Lehigh University that displayed 46 of his lithographs.

Arrangement for Drums 1941 by Benton Spruance

Memorial 1951 by Benton Spruance

Soliloquay 1941 by Benton Spruance

In 1965 he began a set of prints that are generally regarded as his most masterful works.  These are the twenty six lithographs based on his reading of Moby Dick.  The prints were exhibited for the very first time in 1968.

Spruance was an active participant in the Philadelphia arts community. He was a founder of the Philadelphia chapter of Artists Equity, which helped to give to the individual artist a strong voice in community affairs.  The city of Philadelphia is indebted to Spruance for much of its “public” art, the sculptures in open spaces and works in public buildings, for after his appointment to the Philadelphia Art Commission in 1953, he was instrumental in securing the approval by the city council of an ordinance requiring one percent of the cost of public buildings to be allocated for works of art.

Spruance’s natural gifts as a teacher and administrator were signaled by awards, several honorary degrees, and appointments to administrative positions at various institutions of learning in the Philadelphia area.  Teaching, quite apart from its practical aspects, was to him an important function of the artist, and he brought to this profession a keen understanding of the learning process and a will to share his knowledge in as creative a manner as possible.

Along with his colleagues Jerome Kaplan and Samuel Maitin, he helped establish Prints in Progress, a program designed to bring printmaking directly to the young people of Philadelphia’s public schools through demonstrations in which they could participate.  Conceived by Walter L. Wolf, the program was then under the auspices of the Philadelphia Print Club.

Spruance died in December 1967.

A terrific web-site on Benton Spruance can be found here. 

Japanese Calligraphy Sensation Nankoku Hidai speaks at Lehigh Francis Quirk Sends Acknowledgement

Yet again, we are impressed by Francis Quirk’s record of bringing diverse and intriguing art forms to Lehigh University. On November 3, 1963  the very popular Japanese Calligrapher, Nankoku Hidai came to campus to lecture as part of an American Tour. 

Nankoku Hidai

Nankoku Hidai was born in 1912, as the second son of Tenrai and Shokiokun. After the death of Tenrai, he took over ‘Shogakuin’ (the Institute of Calligraphic Studies)　along with  management of Tenrai’s valuable collection of rubbings and ancient Chinese calligraphy books. At the same time, in Shogakuin Publications he continued to publish ancient Chinese books; promoting the spread of classical calligraphy.

Nanoku Hidai at work

In 1945, he wrote ‘Den-no-Variation’ (Lightning-Variation), the first avant-garde work that moved beyond traditional characters for the first time in the history of calligraphy. When it was exhibited the following year, it created a sensation in the calligraphy world.

During Nankoku's career he had fourteen one-man-shows around the world including Tokyo, New York and other art centers. His work is in many museums including MOMA and Yale University. He also lectured the history of calligraphy at more than 20 universities including Princeton, Oxford, Columbia and Lehigh. He died in1999 at the age of 87.

As part of the 1963 lecture tour, Nankoku visited Lehigh University in Bethlehem, Pennsylvania with his talk starting at 8:00 p.m. The audience consisted of faculty members, students and art lovers. The lecture began with a question-and-answer session between the audience and Ned Ouyang from Mi Chou Gallery, along with Nankoku. The Mi Chou Gallery was America’s first gallery dedicated to Asian Art and it had hosted a one man show of Nankoku’s work.  After unexpected questions and shared misconceptions, an 8 mm film showed Japanese calligraphers at work (Sokyu Ueda, Yukei Tejima, Suiho Kuwahara, Yasushi Nishikawa, Tsuneko Kumagai, and others.) Nankoku had filmed them at work. This was followed by a slide show.

Nankoku Hidai performing a demonstration/lecture at Lehigh University

Nankoku explained the history of calligraphy in China and Japan. The lecture ended in two hours, but the enthusiastic audience remained for a dialog that ran until midnight.  Nankoku later  received a letter of thanks from Francis Quirk, chief professor of the Department of Fine Arts.

Three Fathers by Ninkoku Hidai

To put his work into context we have excerpted from a viewer’s comments on two of his works that were included in a 2018 exhibition at M+ in Hong Kong.

The impact of Hidai Nankoku’s two works lies in their deconstruction of Chinese characters, returning them to the vibrant beginnings of character formation and bringing back the concise and clear semiotic linkage between images and words. As stated in M+’s descriptions of the works, the artist deliberately uses the effects of the brush dragging on the surface to express his emotions (Work 63-12). On the one hand, this is in keeping with traditional calligraphy, but on the other, it visually restores a sense of childlike naiveté and simplicity. Meeting the viewers’ gaze, the four eyes in Work 12 can also be interpreted as the Chinese character ‘目’ (lit. ‘eye’). The form and meaning of this word become fluid through artistic manipulation. The artist returns to the way in which Chinese characters were originally formed through pictorial interpretation, similar to how European artists reset formalised artistic traditions in the Modernist movements in the early 20th century.

art by Nankoku Hidai

art by Nankoku Hidai

In 2012 a retrospective of his work was held at the Tokyo Gallery and BTAP 

Tokyo Gallery+BTAP  We excerpt from a contemporary write up here. 

This year marks the centennial of the birth of Nankoku Hidai (1912–99), the second son of Tenrai Hidai (1872–1939), said to be the father of contemporary calligraphy in Japan. After the death of his father in 1939, Nankoku took over the reins of the Shogakuin (Japan Society of Calligraphic Education). In 1945, he began producing avant-garde calligraphy pieces that explored the medium’s potential for abstract expression, subsequently continuing to cultivate his experimental tendencies. 

In 1959, Nankoku first traveled to the US, where he had the opportunity to exchange views with many contemporary artists. During this time, he devoted all his energies to promoting the art of calligraphy abroad, holding solo exhibitions in New York, San Francisco and Washington DC, He also gave lectures on the history of the medium at more than 20 universities, and gave other artists calligraphic instruction.

Because it is based on representational pictograms, calligraphy is an art that cannot be understood without knowledge of its painterly qualities and the historical genealogy related to its compositional principles and brushstroke techniques. As an institution devoted to Japanese contemporary art, Tokyo Gallery + BTAP wanted to stage an exhibition that would offer us the chance to trace the continuous, unbroken traditions associated with this history.

A number of calligraphic works by Nankoku’s wife, Shoha Hidai (1914–72), will also be on display. Inspired by the rhyme structure and musicality of contemporary Japanese poetry, which mixes kanji characters with kana writing, Shoha created a rich calligraphic universe suffused with a certain romance. 

art by Nankoku Hidai

art by Nankoku Hidai

art by Nankoku Hidai

Mario Cooper Watercolor Coming up for Auction- Wow!

Recently, we posted on Mario Cooper, who is best known for his work in advertising. We also highlighted his work in watercolors, which were exhibited at Lehigh under the aegis of Francis Quirk.  

This brief post is to highlight one of his watercolors of Venice, which is coming up for auction through Caza Sikes in Cincinnati. You can also see the watercolor through LiveAuctioneers.com by using this link. The LiveAuctioneer link allows magnified views so that one can appreciate the details and masterful techique.The painting will be in the September 8, 2021 auction. 

Watercolor of a building in Vencie by Mario Cooper

The relatively large painting is striking for many reasons. The cool blue palate is highly appealing. The subject of the building's facade with lit windows captures and holds the viewers attention. The use of watercolor including the shadows and reflections is a deft use of the medium. Cooper was very good. One can see why a technician like Quirk would have an affinity his work. 

Mario Cooper signature on watercolor painting of building in Venice

With a relatively modest estimate of $150, this is a great opportunity to obtain a first class painting by a name painter for your home, gallery or collection. If you have been to Venice with a loved one, aspire to go there, or simply want to give your child's appartment somoe class, this is a great opportunity. 

The True Story Behind Edward Hopper's "Nighthawks" Painting

Scholars of the art world have spent uncounted man-years seeking the meaning and message from Edward Hopper's iconic painting "Nighthawks." Hopper was a well known smoker, but he also consumed many cups of coffee.  And coffee is the key to understanding Nighthawks true meaning.

Edward Hopper's Night Hawk's - An allegorical painting in which 'coffee' is the answer.

Hopper's Nighthawks is an homage to coffee. It shows coffee as the answer to the darkness in the surrounding world. 

When looking at the painting, the viewer's eye is drawn to the light of the diner and more importantly, the shining silver coffee urns. They are analogous to church tabernacles that hold holy scrolls or sacred relics.  But in this case, they hold the elixir of energy- coffee.  Hopper executed this as the country was heading into World War II. He knew there would be many late nights and that people would need to come together. And coffee would be a catalyst for that cohesion.

Now look at the server clad in white behind the counter who is the painting's focal point. He is hunched over as if he were bearing the weight of an angels wings. He is bathed in light  and his server hat is his halo. This is rightly so, as the server is delivering the answer to the lonely, bored and purposeless supplicants seeking fulfillment. He veritably glows and emanates purpose and activity. 

Note the door next to the urns. It represents a portal to the next chamber of life, a passage like the River Styx or the Pearly Gates of St. Peter. And to get to,  and through that key portal, one needs to pass the all important coffee urns.

Moving outward, the three characters at the counter are dark and lack vitality. We see the dark back of one, making the lonely figure all the more pathetic. And a couple together, but not really engaged. Are they waiting for coffee to add meaning to their lives? If they were truly excited to be with each other they would not be in a diner at this hour. Note that the woman has raven hair and is wearing a red dress. She and her partner are seeking something more than the typical pleasures of the night. That activity has left them tired, spent and empty; seeking something more... They are waiting for something transcendent- Coffee.

Finally, we look at the broader surroundings we see that the light comes from the diner. It stands like a beacon to the community; offering companionship, purpose and most importantly, hot water that has steeped ground coffee beans. The diner is the source of all light. It beckons. "Come to me. I will fulfill your spiritual needs. It is dark outside, but light here. I give you community. Drink of my goodness. My angel will serve you. Later, in the morning I will teem with people." This is a place of goodness, humanity, companionship and caffeine. 

I know this scholarly insight has nothing to do with Francis Quirk, but the painting  needed this clarification. BTW- Francis Quirk frequently had coffee receptions at the Lehigh University Art Galleries.