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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

n.d.

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)

“Plateau”

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

n.d.

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.

Eric Kahn [born 1949]

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

KAHN, Eric (born 1949)

“Waterfront View of New York”

oil on canvas panel / 13 1/4 inches by 15 1/4 inches / signed

n.d.

Eric Kahn (Born 1949) is active/lives in Pennsylvania, New Jersey. Kahn is known for landscape painting. This is one of several view we have of the New York harbor at several points in its history.

This is one of a group of five works given anonymously in memory of

Joseph C. Claghorn [1869-1947]

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

CLAGHORN, Joseph C. (1869-1947)

“Hill Country”

soft ground etching / 8 7/8 inches by 9 7/8 inches (image)

n.d. (ca1930)

Philadelphia born, Joseph Conover Claghorn (1869-1947) was active/lived in District of Columbia, Maryland, Pennsylvania as a painter and etcher whose subjects included landscapes, figures, portraits, and buildings such as Independence Hall in Philadelphia. He was also an instructor in arts and crafts and is known for a mural he painted for the Chamber of Commerce in Florida.

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

Cecil Tatton-Winter (1896-1954)

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

TATTON-WINTER, Cecil William [1896-1954]

Parliament Square, London

etching / 11 inches by 14.5 inches (image)

1920s

The son of William Tatton-Winter, “Cecil served in the army during the First World War, and considered making the army his career, but took his father’s advice and became an architect instead, also producing etchings and paintings in watercolour.” Though the artistic conception here was by Tatton-Winter, it was etched by Edward King, who has also signed the print.

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

Martin J. Slattery (1928–?)

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

SLATTERY, Martin Joseph, jr [born 1928]

Manhattan

oil on canvas panel / 16 inches by 20 inches

1940s

Compare this urban abstraction with the slightly larger “Stop on Red” by Edmund Edward Niemann. Niemann was a highly regarded mid-century New York City artist who studied at the National Academy of Design and the Art Students League. Slattery on the other hand is known only from this single painting, yet they both represent mid-century abstraction of a high quality. How Slattery came to the attention of the Bendix family is uncertain, though we continue to research his identity.

Seymour Remenick [1923-1999]

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

REMENICK, Seymour [1923–1999]

Portrait of a Man

undated (but probably circa 1950s)

oil on wood panel / 8 inches by 6 inches

Agincourt’s longstanding association with Philadelphia and the Delaware Valley dates from its founding in 1853. The story of those origins is celebrated on “Founders’ Day” but it is also reflected less obviously in the Community Collection. Seymour Remenick‘s portrait of an unidentified subject is one instance.

Remenick studied art successively at three schools, finally at the Pennsylvania Academy of Fine Art (PAFA) where he taught in the 1970s. Diane Huygens (born 1928), daughter of Gerrit and Truus Huygens of rural Grou, studied art in Philadelphia during the 1950s and may have known Remenick as faculty or a fellow student. This portrait comes to us from the Huygens family in memory of their aunt Diane.

Frank Rakoncay [1935-1998]

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

RAKONCAY, Frank [1935–1998]

Dream State

date unknown

etching with hand coloring / 7.5 inches by 10 inches

Chicago artist Frank Rakoncay graduated from the city’s Art Institute in 1975 and maintained a studio in Chicago for many years before relocating to Florida. He died in 1998 at the age of sixty-three.

“Dream State” is one of two Rakoncay works in the collection. This is an etching enhanced with hand coloring.

Rudolf Kügler (1921-2013)

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

KÜGLER, Rudolf [1921–2013; German]

“The Dock”

color etching / 15.5 inches by 19.5 inches / #167 of 200

1961

“Marble Quarry”

color etching / 15.5 inches by 19.5 inches / #194 of 200

1958

Once again the mid-century modern taste of the Bendix family has brought us these fine etchings by German artist Rudolf Kügler. Of his career and work, the internet has little to say, which is unfortunate:

Rudolf Kügler, painter, printmaker, and sculptor, was born in Berlin, Germany in 1921. He studied at the University of Applied Arts in Berlin from 1946 to 1947 with Hans Speidel, and then at the Academy of Fine Arts under Max Kaus until 1954. During this time he studied abroad throughout Spain, Greece, Egypt, and stayed extensively in Rome and Paris. He took a position as a professor of art at the Berlin Academy of Art in 1956 where he taught until 1986.

And from another source, on the 1958 print specifically:

Kügler’s eye finds the pace and rhythm of industry in “Marble Quarry”, contrasting the angular, sharp-edged machinery of human development against the wild patterns of exposed geological history.

Abstracted depictions of civilization dominated Kügler’s early to mid-century work before he moved solidly into a non-representational style. Cities, villages, and sparsely populated natural landscapes were equally vibrant with life. His sculptural handling of the matrix to coax forth scenes of humankind’s footprint from the plate creates a nearly three-dimensional illusion, as seen in the sharply-outlined, rigid shapes containing the freeform textures of this etching.

M. J. Hamblin Smith (1871-1936)

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

HAMBLIN SMITH, M. J. [1871–1936; British]

The Goatherd

four-color woodcut / 10.5 inches by 9 inches / #6 of 50

ca1920

Some of the collection’s artists seem to come in pairs. Such is the case with British artist M. J. Hamblin Smith. But this also forms an interesting pair with the goats rendered by Kay Nixon (Kathleen Irene Blundell-Nixon).