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Carton Moore-Park [1877-1956]

[From the Community Collection, a public trust in Agincourt, Iowa]

MOORE-PARK, Carton (1877–1956)

Old Friends and New Fables

1916

Blackie & Sons, Ltd.

British illustration during the Arts & Crafts period took on the character of woodcuts and, along with that, characteristics which can only be called Japanese. Edwin Noble and Carton Moore-Park are only two of a substantial school of designers who particularly applied their talents to children’s books. Old Friends and New Fables pair brief moralizing texts by Alice Talwin Morris with a single charming illustration such as “The Cat and the Puppy” and “The Deceitful Fox”. Coincidentally, the author was herself a talented illustrator and the wife of book designer Talwin Morris.

This book is part of the special collection of illustrated children’s books given in 2012 in memory of Mary-Grace Bernhard.

Stockman Beekman Colt [1863-1937]

[From the Community collection, a public trust in Agincourt, Iowa]

COLT, Stockman Beekman (1863–1937)

Paying Homage to Architecture

ink drawing on paper / 4.75 inches by 7 inches

ca1880

Colt was born in Paterson, New Jersey. Following study at the Paris Ecole des Beaux Arts (popular name for the École nationale supérieure des Beaux-Arts) and the requisite European Grand Tour, Colt returned to America and joined the Architectural League of New York in 1889. From 1894 to 1897 he was a partner in the firm of Trowbridge, Colt, and Livingston. From 1897 until his retirement he was in independent architectural practice on Fifth Avenue. It is thought that this drawing dates from his student days in Europe.

Though the drawing is on permanent loan to the collection, it hangs in the former architectural office of Anson Curtiss Tennant, a space which has been the meeting place for Agincourt’s Arts & Crafts movement since 1915. It was a gift in 1912 from A. James Tennant to celebrate the beginning of his son’s architectural practice.

Mariko Yoshioka Nutt [born 1930]

[From the Community Collection, a public trust in Agincourt, Iowa]

NUTT, Mariko (née Yoshioka) (born 1930)

“Drawing Desk I”

oil on canvas / 37 inches by 29 inches

1985

“Drawing Desk II”

oil on canvas / 37 inches by 29 inches

1984

Mariko Yoshioka was born in Osaka, Japan in 1930 and married SFC Walter James Nutt in 1952 during his tour of duty there; she emigrated to the United States shortly after. Following her husband’s retirement from the military, the Nutts settled in suburban St Louis, Missouri by the 1980s, where she exhibited at the Wittenberg Gallery on a regular basis. It was through those exhibitions that her work came to the attention of Maureen and William Bendix, Agincourt’s collectors of Mid-century Modernity.

Ruth Kerkovius [1921-2007]

[From the Community Collection, a public trust in Agincourt, Iowa]

KERKOVIUS, Ruth (1921-2007)

“Page from a Fable”

color lithograph / 13 inches by 10 inches (image) / #4 of 27

1970

Two recent additions bring the number of Kerkovius works to five, only one of them a painting. “Page from a Fable” suggests an adult, rather than juvenile, story being told — something from the mysterious East involving birds rising miraculously from their own ash. If she were inspired by an actual fable or one of the artist’s own invention, we’re unlikely to know.

The 1960s were a particularly fruitful for the artist, with exhibits in several cities through out the Midwest. One of those was at the Wasserman Gallery at Northwest Iowa Normal School in the Fall of 1968, though this work was no part of that exhibit.

Eliot Candee Clark [1883-1980]

[From the Community Collection, a public trust in Agincourt, Iowa]

CLARK, Eliot Candee (1883–1980)

Country Road

oil on panel / 8.75 inches by 10.5 inches

ca1930

Son of landscape painter Walter Clark and Jennifer Woodruff Clark, a student of psychic phenomena, Eliot Clark was a precocious artist who became a landscape painter in the late American Impressionist style.  Moving to Albemarle, Virginia in 1932, he was one of the few Impressionist* artists of the Southern states.  Likely this was a result of his association with James Whistler and his painting in 1900 at Gloucester, Massachusetts with John Twachtman, a family friend.  Showing his obvious interest in Impressionism, he wrote a book about its exponents including Twachtman, Theodore Robinson, Childe Hassam, Julian Weir, and Robert Vonnoh.

The lesser known Clark is in the good company of early giants in the American Impressionist style, John Henry Twachtman and Childe Hassam — though artists of that calibre are collected by major urban institutions.

Emil Pottner [1872-1942]

[From the Community Collection, a public trust in Agincourt, Iowa]

POTTNER, Emil (1872-1942)

Farmyard Fowl

color woodcut on paper / 4.5 inches by 5.5 inches (image) / #37 of 200

undated

Swimming Ducks

color woodcut on paper / 6.75 inches by 11.5 inches (image) / unspecified edition

undated

Austrian Emil Pottner was born in Salzburg but trained as an artist in Munich and spent most of his shortened life in greater Berlin. From a likeside studio near Potsdam, Pottner created majolica ceramics and wrote self-illustrated books; animals were the predominant subject of his drawings and prints. But the rise of Fascism forced him to sell his property in 1938. Four years later he was deported to Theresienstadt, from there on September 26 to Treblinka, and finally to Maly Trestinez near Minsk for extermination. He was last seen on 28 September 1942. These two poignant works probably date from the ‘teens and twenties.

“Farmyard Fowl” and “Swimming Ducks” are on extended loan to the Community Collection from Temple Emanu-El.

Alfred Ward [born ca1847]

[From the Community Collection, a public trust in Agincourt, Iowa]

WARD, Alfred (flourished 1873-1927)

“Mr Bedwell” / Portrait of Francis Benjamin Bedwell

gouache on panel / 4.3 inches by 3.1 inches

1918

“Mrs Bedwell” / Portrait of Sarah Woodyear Percival Bedwell

gouache on panel / 4.3 inches by 3.1 inches

1918

The provenance of these two delightful Georgian miniatures is complex to the point of obfuscation. The subjects are of the related Bedwell and Percival families, with trading connections in St Kitts, West Indies. Indeed, Mrs Bedwell was born on the island. Oral tradition in the Tennant family holds that the Percivals used the services of Gaudeamus Tennant and that the families may have been related by marriage; no evidence supporting such a connection has been found. The portraits themselves, however, date from a much later period—1918—than the lives of Mr and Mrs Bedwell:

  • Francis Benjamin BEDWELL (1776-1835)
  • Sarah Woodyear Percival BEDWELL (1779-1835)

She died 23 July and he on 31 October of the same year.

These were painted by artist Alfred Ward from photographs of earlier drawings (attested by labels on the reverse). Ward lived and worked in London and is known to have exhibited at the Royal Academy, as well as Grosvenor Gallery between 1873 and 1915. He was also a member of the Society of British Artists, Suffolk Street and showed paintings there until 1927. Martha Tennant purchased these works, intended as a birthday gift which her husband Augustus James Tennant never received. They were given in 2018 as a memorial on the centennial of his death.