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Frederick B. Kress [1888–1970]

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

KRESS, Frederick B. [Am./1888–1970]

“Palace of Fine Arts” [San Francisco, CA]


oil on panel / 6 inches by 7 7/8 inches

Trained by his father as a sign painter, Fred Kress studied at the Mark Hopkins Institute of Art in San Francisco with Maynard Dixon. He began working at Foster & Kleiser (sign painters) in 1915 and was the supervisor of the paint dept. He did not participate in art exhibitions after 1918.

The Palace of Fine Arts in the Marina District of San Francisco, California is a monumental structure originally constructed for the 1915 Panama-Pacific Exposition in order to exhibit works of art. The eclectic designer was Berkeley architect Bernard Maybeck [1862–1957]. Completely rebuilt from 1964 to 1974, it is one of few surviving structures from the Exposition.

Richard Walker [1925–2009]

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

WALKER, Richard Ian Bentham [1925–2009]

“Irish Industrial Landscape”


color linocut and engraving / 21 inches by 16 inches (image)

Richard Ian Bentham Walker (1925-2009), portrait, figure and landscape painter and printmaker, was born in Croydon, schooled at Canford school where he excelled at Art, but joined the RAF. After a time at Oxford, he trained later at Croydon Art School and became a student teacher there before going to the Slade School of Art in London where he studied under William Coldstream. Richard was elected a member of the United Society of Artists and of the Society of Graphic Artists, and he exhibited widely including at the Paris Salon and Royal Society of Portrait Painters.

This is another mid-century modern piece from the Bendix family collection.

Pictor Ignotus [19th century]

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

Pictor Ignotus (19th century)

Portrait of K. Marx

oil on canvas / 31 inches by 23 inches

Though Karl Marx [1818–1883], author of Das Kapital, was born in Germany and died and was buried at Highgate Cemetery in north London, the influence of his thinking has been worldwide and long-lasting. Marx’s philosophy was directed at the industrializing West but took root, ironically, in rural agricultural Russia, where it was distorted into Soviet Communism. In our own era, when political labeling is hurled about so thoughtlessly, these two terms have become conflated. Considered apart from its political overtones, however, this handsome work is typical of portraiture at the end of the 19th and beginning of the 20th century. Ironically, revolutionaries like Marx and Capitalists like, say, Andrew Carnegie were represented in much the same way — not that their “gospels” are interchangeable.

This is another work (without much provenance) which has come from the NINC Art Department study collection. It is on long-term loan to the Community Collection to give it greater exposure.

Yuri Gusev [1928–2012]

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

GUSEV, Yuri [1928–2012]

Kremlin / Кремль

oil on board / 13 inches by 17 inches


Art from behind the former Iron Curtain is troublesome to document, as is the case with this study for a painting of the Kremlin at the heart of Moscow, a place which represents Mediæval Russia as St Petersburg does the rule of the Romanovs. In the Stalinist era, art was called into the service of the State. But following his death in 1953, a somewhat more romantic, even nostalgic, means of expression was increasingly tolerated. Gusev was born into the repressive regime and grew to artistic maturity in its aftermath.

This study was used in exactly that way, as a teaching tool, in the Art Department at Northwest Iowa Normal College and comes to us from that source. Compare this work with that of Anatoly Sedov.

A lower-case kremlin in Russian means a citadel; capitalized, it refers specifically to Moscow.

James Albert Holden (1881–1956) / Richard A. Loederer (1893–1980)

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

HOLDEN, James Albert [1881–1956]

Tall Ship

color woodcut / 12 inches by 10 inches / open edition?

no date

Painter, muralist. Born in Stockport, England on June 26, 1881. Holden was taught to paint early in life by his father who was a fresco painter. In 1904 he immigrated to Oakland, CA where he was a pupil of Richard and J. H. E. Partington. Later he served for many years as art director of Pacific Railway Advertising Company. He painted landscapes of northern California and many murals in homes and public buildings of the San Francisco Bay area before his death in Oakland on Jan. 13, 1956. Member: SFAA; Bohemian Club; Bay Region AA; Society for Sanity in Art. Exh: Oakland Art Fund, 1905; Calif. State Fair, 1910 (gold medal); San Francisco Art Association, 1912-13; Sequoia Club (SF), 1914; Oakland Art Gallery, 1932-44 (prizes); Santa Cruz Art. [from an on-line biography]

LOEDERER, Richard A. [1893–1980]

Pirate Ship

color woodcut / 14 inches by 10 inches / 191 of 300


Richard A. Loederer was born in Austria. He studied at the Reinmann Schule in Berlin, and at the Vienna Academy of Fine Arts. In the USA, he worked in advertising in the 1920s, and as a book writer in the 1930s (‘Ozark Mountain Folk’, ‘Vood Fire in Haiti’). Loederer worked as an animation art director for the Amedee J. Van Beuren studios and at RKO. He was also present in the National/DC comic books of the mid-1930s, illustrating features like ‘Brad Hardy’, ‘Bubby and Beezil’, ‘Caveman Capers’, ‘Jumpy and Bunny’, ‘Midshipman Dewey’ and ‘Weird Asia’. He additionally worked as an editor. [from an on-line biography]

Coincidence has been a common occurrence in the Community Collection, such as the arrival recently of two works in the same medium and of the same general subject. Though they each merit individual treatment, we post them here together to make the point.


Mio Asahi [contemporary]

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

ASAHI, Mio (contemporary; Japanese)

“A Friend Has Come From A Distant Place, I’m Very Happy” / 遠くから友達が来て、とても嬉しいです

etching and aquatint / 11 3/4 inches by 14 1/4 inches / ed 50


Asahi is represented by a gallery in Seattle, where her biography is short:

Mio Asahi’s etchings with aquatint bring to light a past beyond our imagination. Dragons, witches, demons, swirling clouds and metallic colors fill the etching plate, bringing the artist’s whimsical world into our own. Her muted palette with highlights of hand coloring create a look all her own.

The print is a gift to the collection in memory of Mary Grace Tabor Bernhard, founder in 1950 of Agincourt’s Montessori School.

Philip Greenwood [born 1943]

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

GREENWOOD, Philip [born 1943]


etching and aquatint / 6 1/5 inches by 5 5/8 inches (image)

signed / #108 of 150


Welsh artist Phil Greenwood is now represented by an American gallery:

Phil Greenwood is a landscape artist who creates wonderful etching prints. Discover Phil Greenwood’s work online and in our Oxfordshire Art Gallery. Phil Greenwood was born in 1943 in Dolgellau, North Wales and now lives in Kent. Educated at Harrow and Hornsey Colleges of Art, Phil Greenwood went on to teach and lecture in printmaking for a short time and since 1971 has been a professional artist/printmaker. Since the early 1960s Phil Greenwood has exhibited extensively throughout this country and abroad. His work is in many private and public collections, including a vast number of museums, education authorities and universities, such as the Tate Gallery, Arts Council, British Council, Greenwich Museum, Edinburgh Education Authority, Liverpool University and Loughborough College of Education. Phil Greenwood works mainly on copper plates. His work is extremely economical in that he usually uses only two plates and two or three colours to achieve a great range of tone and colour by the depth of the etch and by overprinting and fusing one colour with another. His images do not always relate to a specific place – he develops and works with an amalgamation of ideas recalled. The atmosphere exemplified by the landscape is the important factor. Phil Greenwood’s work has been used by the National Trust as well as in books such as the Encyclopedia of Printing, Art of Drawing and Painting and articles and front cover illustrations for Leisure Painter. Unicef and H. Ling have used his work on greetings cards, Deutsche Grammophon on CDs and Sanyo featured his work on their 1995 company calendar.


Ariadne F. Naxos [born 1959]

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

NAXOS, Ariadne F. (born 1959)

Fortress of Solitude


oil on canvas / 16 inches by 16 inches

The title suggests a connection with Kal-El, a fictional character from popular culture better known as Clark Kent. But the image itself is more reminiscent of the conclusion of Mary Shelley’s Frankenstein and the creature’s trek north into the arctic and oblivion. Ms Naxos attended the Atelier Fusilli in Rome where she studied with Sergio Carbonara.

This and another of her works have been given to the collection in honor of the “Baron Corvo Festival” held at Northwest Iowa Normal College in 1913 — with the hope that it will be staged again soon.

David Hahn [contemporary]

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

HAHN, David (contemporary)

“Moonlit Pasture”

oil on canvas panel / 8 inches by 10 inches


Hahn is a contemporary Bucks County artist represented by several galleries. One of them says of him that:

Hahn’s work strives for an atmospheric harmony and symmetry that evolves from the landscape. His compositions are achieved by a balancing of color, bringing contrasting hues into areas dominated by opposing colors, thus, creating a mosaic unified by the patterns of light. The reality of trees, brooks, and waterfalls loose themselves in a visual transcendent poetry.

In his twenty years of painting, Hahn has studied other American Impressionists, Edward Redfield and his student, George Sotter, in particular, giving his style roots in the French Impressionism of the 19th Century. Many Americans, Redfield among them, studied under the French Impressionists and brought the school of thinking back to this country. The Pennsylvania Impressionism that evolved from this trans-Atlantic school has many distinctive painters, each seeking to transfer the energy of a moment’s vision onto canvas.

Hahn has exhibited throughout Bucks County and has taken top awards in several of the area’s juried shows, among them are the Tinicum Arts Festival, The Riverside Festival of the Arts, and the Chestnut Hill Fall for the Arts. He has, also, been the subject of three one man exhibitions at the Stover Mill Gallery in Tinicum Township. In April, Hahn was awarded Best of Show and Honorable Mention in the Doylestown Art League’s 2006 47th Annual Members Juried Show. In July 2006, he was awarded Honorable Mention at the Tinicum Arts Festival. In 2007, he was awarded the George Christian Award in the Doylestown Art League’s Juried Exhibition, 4th prize in the Lititz Juried Art Show and 2nd prize in the Tinicum Arts Festival. In September 2007, Hahn participated in the 78th Juried Art Exhibition at Phillips Mill.

The melancholy color palette invites comparison with another small work, “Woman in a Park at Evening“, a much earlier piece by Antonio Maria Aspettati.

This is one of a group of five works given anonymously in memory of Amity Burroughs Flynn.

Edmund E. Niemann [1909-2005]

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

NIEMANN, Edmund E. (1909-2005)


ink and casein on paper / 18 inches by 22 1.5 inches


The collection’s second work by Niemann, this is even more abstract than “Stop on Red” and with greater contrast in tone and value. That the collection is not rich with abstraction may be a comment on either local taste or the availability of art in the regional market.

This is one of a group of five works given anonymously in memory of Amity Burroughs Flynn.