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Florence Craig Phalen [1891-?]

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

PHALEN, Florence A. (née Craig) [1891–?]

Winter’s Eve, New Snowfall

ca. 1915

oil on board / 10 inches by 8 inches / signed

The former Florence A. Craig married John J. Phelan in 1911 and established their family in St Louis, Missouri. Mrs Phelan was, apparently, self-trained, a hobbyist who painted solely for personal satisfaction, for family and friends. This charming winter scene came into the possession of an Agincourt family related to the Phalens.

The painting is an example of Arts & Crafts simplicity displayed in an Aesthetic Movement frame of twenty-five years earlier. Since one movement grew from the other, the relationship is entirely appropriate. This is on anonymous long-term loan to the collection.

Frank Burke [born 1947]

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

BURKE, Frank [born 1947]

“Garden Party”

ca2000

oil on canvas / 3.4 inches by 11.3 inches

A British artist from Northumberland, he paints mainly in oils. Burke’s subjects include seascapes, scenes of north east life and landscapes of the Tyne River valley. He also paints historical paintings going back to the English Civil War. The “Garden Party” is a recent gift in memory of Phoebe and Sophia Tennant.

Willis W. Fahnstock [1853–1920]

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

FAHNSTOCK, Willis Winthrop [1853–1920]

Portrait of my Father / Elias Fahnstock

oil on canvas / 18.1 inches by 14.2 inches

ca1890

Willis was the son of early Agincourt investor Elias Fahnstock and older brother of the community’s earliest physician Rudyard “Doc” Fahnstock. Willis studied at the Pennsylvania Academy of Art in Philadelphia — yet another connection between Agincourt and that renowned school — then returned East to the family place at New Castle, Delaware.

The portrait subject Elias Fahnstock was the first investor outside the original Founders in the Agincourt adventure, and also the founder in his own right of the village that bears the family name eight miles east. The portrait style is loosely reflective of the Newlyn School, a British artist colony on the coast of Cornwall, which Fahnstock may have visited. A second Newlyn School began operation about 2010 but is devoted to Modernism.

Descendants of the Fahnstock family have only recently donated this fine piece to the Community Collection as a memorial to their name hereabouts.

Val Hamer [active]

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

HAMER, Val [active]

“Bird Cage on White Stand”

pastel on paper / 22.7 inches by 15.6 inches

1997

British artist Val Hamer attended Bury Art School in the 1950’s, where she met her husband and fellow artist Rod Hamer. Val also studied Fine Art at Lancaster College of Art. Hamer has been inspired by the Euston Road School, especially Sir William Coldstream and Euan Uglow, as well as the works of Bernard Dunstan.

In 1967, Val Hamer was an acting and founding member of the Drama Group 65 in Bishops’ Stortford, Hertfordshire. Recently, the artist practised in her art studio in the Chilterns.

 

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.

Is “Evening Glow” a recollection of the artists former home in Hungary? Nostalgia is a powerful force.

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.