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William Nicholson [1872–1949]

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

NICHOLSON, William Newzam Prior [1872–1949]

“H. M. The Queen” / Queen Victoria

lithographic image of a woodcut original / 9.5 inches by 8.9 inches / unsigned

1899

In 1899, London publisher William Heinemann issued a folio of “Twelve Portraits”, lithographic reproductions of woodcut originals by English artist William Nicholson (later Sir William). These proved so popular that a second series followed soon after. Each included a dozen well-known figures in contemporary British life — public figures, like Queen Victoria, who was still on the throne; political and military figures; people from the arts. They all have the simplicity of the English Arts & Crafts idiom tempered with a touch of Continental Art Nouveau.

Nicholson later formed a partnership with his brother-in-law William Pryde as “The Beggarstaff Brothers”, who produced advertisements in similar A&C style for products (like flour or periodical publiscations) and events (such as theatrical performance). These have also become quite collectible, as have other throw-away lithographed images from the period 1895-1910. Victoria is one of nine prints from the First Series which we have in the Collection.

Alfred William Strutt [1856–1924]

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

STRUTT, Alfred William [1856–1924]

“The Old Cottage”

oil on canvas on board / 8.3 inches by 15.7 inches / unsigned

ca1910

Why, do you suppose, does rural life fascinate those who live it? A humble crofter’s cottage in England would bear little resemblance to a farmstead in the outback of America. Yet there is a kinship of directness and authenticity which links them, and an appreciation for others in similar circumstance. Or is it a matter of “idealization”, the discernment of a prototype; a yearning for the improvement of our own situation?

Alfred William Strutt (1856-1924) came from a long line of painters. His father, William Strutt (1825-1915), was a prolific artist of genre, animals and portraits, who moved to Australia in 1850, and produced an important record of early colonial days. Alfred was born in New Zealand, before his family returned to England in 1856, where he was taught by his father and also attended South Kensington Schools. He painted a variety of subjects including genre and sporting scenes. Strutt is perhaps best known for his paintings of various dogs, horses, donkeys and some genre pictures. Some were published as steel engravings in signed editions.

He exhibited regularly at the Royal Academy and was elected Royal Society of British Artists in 1888 and an Associate of the Royal Society of Painter-Printmakers the following year. Other exhibiting venues included Royal Birmingham Society of Artists, Walker Art Gallery, Liverpool, London Salon, Manchester Academy of Fine Arts, Royal Institute of Painters in Water Colours, and the Royal Institute of Oil Painters. Examples of his work are in the collections of numerous British museums.

This small study may have been intended for larger treatment.

The 1912 G.A.R. Exhibit

It’s taking longer than we anticipated to reconstruct the catalogue of the first G.A.R. Exhibit. These eighteen constitute the bulk of it, however, for the time being:

BEHRENS, Peter [1866-1940] — “The Kiss”

BURNHAM, Anita Willets- [1880-1958] — “Chicago from a Roof Top”

COOKSEY, May Louise Greville [1878-1943] — “Procession”

FAIG, Frances [1885–1955] — Ohio Landscape

GAUDRY, T. [no dates] — “Canal in Flanders”

HORNUNG, Bertha Mary [1885–1974] — “Norfolk Bridge”

NICHOLSON, William — “Queen Victoria”

PETTENKOFEN, August Xaver Karl Ritter von [1821-1889] — “Death and the Professor”

PETTENKOFEN, August Xaver Karl Ritter von [1821-1889] — “Magyar Farmyard”

PICTOR IGNOTUS [attr. Pettenkofen] — “Oddalisque”

PICTOR IGNOTUS — “Dedication of the Brooklyn Bridge”

SITZMAN, Edward R. [1874–1949] — “Sentinel”

STANHOPE, Leon Eugene [1873–1956] — “Study of Three Lions”

STRUTT, Alfred William [1856–1924] — “The Old Cottage”

SVENDSEN, Charles C. [1871-1959] — “Sunrise” and “Sunset”

VIVIAN, Calthea Campbell [1857-1943] — “Barbizon”

WILLIGE, E. van der [19th century, second half] — “Zandschuiten” / “Sand Barges”

Barbara Doyle [1917–2019]

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

DOYLE, Barbara Gwendoline Christine [1917–2019]

Chamber Music

oil on canvas / 19.3 inches by 23.2 inches

ca1970

Barbara Doyle was a British artist, born in Halifax, North Yorkshire in 1917. She spent most of her life living on the South Coast of England. She painted her whole life, right into her later years. She was appointed a member of the Arun Society during her career and exhibited widely across the UK, including at prestigious London venues.

Ms Doyle lived through her 100th birthday in 2017. She died at the age of 102.

Miklós Hornyánszky [1896–1965]

 

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

HORNYÁNSZKY, Miklós / Nicholas [1896–1965]

“Rosary Quai, Bruges” / Rozenhoedkaai, Brugge

color etching / 4.2 inches by 3.4 inches / no edition

ca 1920

“Evening Glow”

color etching / 4.2 inches by 3.7 inches / no edition

ca 1920

Born in Budapest, Miklós (Nicholas) Hornyánszky (more often spelled without the “z”) worked from the age of twelve in his father’s printing works. He studied at the Academy of Fine Arts and at the age of sixteen exhibited at the Grand Salon in Budapest. He continued his artistic studies in Vienna, Munich, Antwerp and Paris. Around 1919, he made his debut as a confirmed artist in Belgium, where he stayed for 9 years, collaborating notably with the painter Hans Hens.

In 1929, the family emigrated to Toronto. In spite of the Depression, the couple quickly found success. Hornyansky traveled all over Canada, creating pencil and ink drawings that he used as images in his etchings and aquatints. Well known in the United States, his engraving, “Closing Time” was the first Canadian engraving to be incorporated into the permanent collection of prints of the Library of Congress.

These Hornyansky prints were purchased from a gallery in Toronto, acquired by Sandor Szolnay, a fellow countryman, during his emigration to the U.S..

Norman James Battershill [1922–2010]

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

BATTERSHILL, Norman James [1922–2010]

“Bridge and Stream, Arundel”

oil on board / 8.9 inches by 10.7 inches

n.d. / ca1940–1950

Norman James Battershill (1922) was a painter, teacher and author, born in Hackney, London, and the son of an artist Leslie Battershill. He attended Twickenham College of Art and has shown at the Royal Society of British Artists, Royal Institute of Oil Painters and Pastel Society of all of which have elected him a member. He has also exhibited at Royal Academy of Arts and New English Art Club and was made a Fellow of the Society of Industrial Artists and Designers and the Chartered Society of Designers in 1968.

Battershill’s later landscapes are conservative, what might be called traditional. This exhibits a color scheme reminiscent of the ’30s, however, and a composition similar to the Photo-Secessionist movement and Pictorialism more typical of photography in the early 20th century. It is similar in spirit to another painting in the collection by Eliot Candee Clark.

Arundel is in West Sussex, a few miles from the Channel.

 

Alexandra E. Layfield [mid-20th century]

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

LAYFIELD, Alexandra E.

“Mrs Rylance”

watercolor on paper / 11.4 inches by 8.8 inches

ca1940

Meriel Rylance (née Franke) married while she was at Iowa State College and moved with her husband when he began teaching at Hastings College. Widowed at age thirty, she returned home to care for aging parents. Mrs Rylance was active in the Presbyterian church, the Iowa Presbytery and other local charities. The artist Alexandra Layfield is unfamiliar; neither are the circumstances of Mrs Rylance sitting for her. The portrait comes to the Collection on long-term loan from First Presbyterian church.

 

Hans Ruzicka-Lautenschläger [1862–1933]

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

RUZICKA-LAUTENSCHLÄGER, Hans [1862–1933]

Cityscape

oil on canvas / 5 inches by 7 inches / signed

pre-1900

Austrian artist Hans Ruzicka-Lautenschläger is recognized for his land- and cityscapes, painted in Italy, Austria, and elsewhere. His work in a late-Impressionist style has been mentioned favorably in several Austrian art journals, such as Der Merker. He exhibited in Vienna and Munich.¹

This petite work emigrated to the United States with members of the Wasserman family, who settled in Agincourt in 1900.

Hans Ruzicka-Lautenschläger / “View of the Pantheon in Rome”

¹ An inquiry has been made to the Kunsthistorisches Museum Wien.

Christian Asmussen [1873–1940]

 

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

ASMUSSEN, Christian [1873–1940]

“Forest Retreat”

oil on canvas / 14.5 inches by 20 inches

1930s

Christian Asmussen was a Danish painter and graphic artist. As a pupil of Soren Lund, Asmussen was educated at the Royal Art Academy in München but then worked abroad most of his life. Already having worked as a theatre painter prior to his artistic studies, Asmussen began his work on decors in Europe’s finest theatres in Germany, Switzerland, Italy and Austria. He returned to Denmark to concentrate on working as a painter in 1900. His works were primarily landscapes and he was best known for his bright forest scenes from the Danish nature park “Dyrehaven”. He also produced decorative wood- and linocuts, one of which is also in the Collection.

Danish emigration to Iowa focussed in the communities of Elk Horn and Kimballton, about seventy-five miles south and west of Agincourt. This painting was acquired at an auction sale there several years ago. It is a recent anonymous donation.

Christian Asmussen [1873–1940]

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

ASMUSSEN, Christian [1873–1940]

Pastoral

color woodcut / 8.66 inches by 8.66 inches / open edition

1920s

Christian Asmussen was a Danish painter and graphic artist. As a pupil of Soren Lund, Asmussen was educated at the Royal Art Academy in München but then worked abroad most of his life. Already having worked as a theatre painter prior to his artistic studies, Asmussen began his work on decors in Europe’s finest theatres in Germany, Switzerland, Italy and Austria. He returned to Denmark to concentrate on working as a painter in 1900. His works were primarily landscapes and he was best known for his bright forest scenes from the Danish nature park “Dyrehaven”. He also produced decorative wood- and linocuts, of which this is one.

Danish emigration to Iowa focussed in the communities of Elk Horn and Kimballton, about seventy-five miles south and west of Agincourt. This print was acquired at an auction sale there several years ago. It is a recent anonymous donation to the Collection.