Monday, May 13, 2019

Charles W. Bartlett: The Uncatalogued Prints

I've previously posted about the woodblock prints and etchings omitted from Richard Miles' catalog "Elizabeth Keith: The Printed Works" (Pacific Asia Museum 1991).  A decade later, Miles, in collaboration with Jennifer Saville, produced a similar catalog called "A Printmaker in Paradise: The Art and Life of Charles W. Bartlett" in connection with an exhibition held at the Honolulu Academy of Arts (HAA) between November 15, 2001 and January 6, 2002. That publication drew upon the extensive Bartlett holdings at the HAA (now called the Honolulu Museum of Art or HMA), Bartlett family works owned by David Dolan and his sister Pamela Dolan Gordon (portions of which are now in my own collection), and material held by other museums and private collectors.


While the Miles and Saville catalog remains the seminal work on Bartlett's graphic work, the authors knew that it was incomplete.  For example, they included a list of titles of etchings that were referenced in Bartlett's ledgers and other archival material at page 169 of the catalog but whose whereabouts were unknown.  At least one of the prints in this list is a variant title of a print included in the catalog under a different name.  Certain others are titles of prints that appear to have been abandoned at the plate or proof stage, although some were subsequently re-worked and issued by Bartlett.

#51 The Primrose Window.  Brittany. (aka "Brittany Chapel, II") (c. 1908-1912)
Personal Collection
(etching with drypoint)

 Close-up of inscription for "The Primrose Window.  Brittany."

Note: There is a print title "Primrose Window" included in the list of prints whose whereabouts are unknown on page 169 of the Mile catalog.  The inscription on this etching makes clear that it is not a lost etching, but a variant title for "Brittany Chapel, II."

Brittany Woman Telling Her Beads 
(aka "The Rosary" or "Telling The Beads") (c. 1908)
Personal Collection
(etching marked "This copy reserved.")

Unfortunately, the majority of these "lost" or otherwise uncatalogued prints are still missing.  But some have surfaced in the interim, as have a few print whose titles and designs were completely unknown to Miles and Saville.  This post is an opportunity for me to share images of some of those "missing" prints.

 
Photograph of Charles W. Bartlett (c.1922-1925) by Alfred Gurrey
Personal Collection

Bartlet's etchings usually exist in at least two color states, uncolored (printed in black ink although sometimes brown or blue ink was used), and hand-colored with watercolor (in which case the colors sometimes vary from copy to copy).  Bartlett is also known to sometimes add additional detail by hand to the printed etching with ink or watercolor.  The Miles catalog is limited to one example of each print design, and I have not attempted to catalogue these hand-painted variants.  It is also possible that variant color states exist for some of the woodblock prints beyond those noted in Miles.  My focus, however, is on different states from those illustrated in Miles.

#57a By the Dike Side, Marken, Holland (1912)
Personal Collection
(etching with drypoint hand-colored with watercolor) 

Close-up of the inscription in the plate

Note: Early state signed in plate "CWB 1912" instead of "Bartlett."  This state might be what is denominated "Trekking Along The Dike" in the list of unaccounted for prints on page 169 of Miles.

#80a  Fruit Sellers Madura India. (c. 1923)  #51/75
Personal Collection
(etching with drypoint and engraving hand-colored with watercolor 

Note: This state essentially omits the carved background pillars and the stone tiles.

 
#85a The Sacred Ganges India (first proof)
Personal Collection
(etching hand-colored with watercolor)

Note: This state omits considerable background detail and any inscription in the plate.  The initials "CWB" and the title "The Sacred Ganges" were added in pencil on this copy.

#85b The Sacred Ganges India (second proof)
Personal Collection
(etching hand-colored with watercolor)

Note: The etching found in the Miles catalog appears to be another proof copy, whereas the final  state is illustrated below:

#85c The Sacred Ganges India (final state)
(etching hand-colored with watercolor)
 
 #100a New Year's Eve Japan. (c. 1923-1927) (marked "Proof" and #1/75)
Personal Collection
(etching hand-colored with watercolor)
 
Close-up of the plate inscription

Note: The version shown in Miles appears to be printed from a large plate that was subsequently cut down to shorten the extended shadows depicted at the bottom of the design.   The dimensions of the Miles version are 7-1/2 x 10-7/8 inches, whereas the dimensions of this copy are 6 x 10-7/8 inches.  Although numbered, the colored copy also says "Proof."  Eagle-eyed readers will note that the colored proof contains two inscriptions, "New Years Eve Japan CWB" and "New Year's Eve," the latter left over from the larger plate used to print the Miles version.

 
  #100b New Year's Eve Japan. (c. 1923-1927)
Personal Collection
(etching)

 Note:This copy lacks the remnants of the second (original) title in the plate, and thus appears to be the final state of the design.

#110a The Imperial City Wall. Peking (c. 1923-1927)
Personal Collection
(etching and engraving hand-colored with watercolor)

Note: This proof state lacks some of the figures and camels in the foreground.

 
#114s Bridge in Summer Palace, Peking, II (c. 1923-1927)
Personal Collection
(etching hand-colored with watercolor)

Note: This state might be what is denominated "Camelback Bridge" in the list of unaccounted for prints on page 169 of Miles.  It differs from "Bridge in Summer Palace, Peking, II" in the Miles catalog by depicting the landscape on the other side of the bridge in greater detail, especially under the center archway, and by more extensive work in the water.

  #136a The Divers Hawaii (c. 1923-1927)
Personal Collection
(etching)

 Close-up of the top diver
 
Close-up of the bottom diver

Note: As can be seen, Bartlett's original composition featured two divers and no clouds, although the diver at the bottom was later dropped.  However, even the top diver underwent further revisions that required a new plate to be etched, as the angle of the diver's head and the placement of the man's arms are different in revised print.

 
[The Letter - Dutch Interior] #12/75
Personal Collection
(etching with hand-coloring)

  [Peasants Coming in From the Field] (c. 1908-1912) #24
Personal Collection
(aquatint)

Close-up of the publisher's seal

Close-up of the printer's signature

Note: This print might be what is denominated "Coming From Work" in the list of unaccounted for prints on page 169 of Miles.  Unlike most of Bartlett's intaglio prints which were self-published, this print published by an unknown publisher in Brussels.  Under Bartlett's signature at the bottom left, there is an embossed oval that reads "EPR D'Artiste Bruxelles" surrounding illegible initials that appear to read something  like "B&Co."   The printer's name signed at the lower right appears to read something like "Leoy Bartholomey [Barthelemey?]."

The 29th of May (1891)
(etching by James Dobie; published by J.S Virtue
& Co. Limited in The Art Journal, Vol. 53 (1891))

Note: Dobie's etching is based on a 1888 painting that Bartlett exhibited at the London Royal Academy.  The models for the two central puritans were Bartlett himself and his brother Joseph.

Outskirts of Peking (c. 1923-1927) #5/75
Personal Collection
(etching with drypoint)

Note: This print might be what is denominated either Tartar Wall and Moat, Peking. I or II in the list of unaccounted for prints on page 169 of Miles.

 
[Japanese Boy Standing in Open Robe] (c. 1923-1927)
(etching)

Note:  The HMA has the original copper plate for this etching.
Unless otherwise indicated, the following is a list of the remaining titles/descriptions of etchings for which impressions are as yet still unknown.  Titles provided inside brackets are descriptive ones.  Entries marked with an asterisk denote that woodblocks or copperplates for the designs are held by the HMA or in private collections.

*[Asian Man Carrying yoke Among Tall Trees] (c. 1923-1927)
*[Asian Mother and Boy Seated on Steps] (c. 1923-1927)
L'Aveugle (The Blind) (c. 1908-1912)
*[Boat on Dal Lake, II] (c. 1923-1927)
*[Brittany Chapel, III: Two Women Praying at Altar] (c. 1908-1912)
Brittany Fair (c. 1908-1912)
*[Camelback Bridge] (possibly also called Bridge in Hangchow or Moonbridg at Hangchow) (c. 1923-1927)
Caravan on Gobi Desert (c. 1923-1927) (possibly the same etching as "Near The Khyber Pass," "Near The Great Wall, I," or "Near The Great Wall, II"
Coming From Work (possibly the same etching as "Returning From Work, Holland," "Going To Market, Java" or "Returning From Work, Java"
Dike Cleaners (c. 1908-1912) (possibly the same etching as "Dike Menders, Volendam"
*[Dutch Interior with Mother Tending to Child in Cradle] (c. 1923-1927)
*[Dutch Interior with Woman Rocking a Cradle] (c. 1908-1912)
*[Dutch Mother and Child Seated at a Table] (c. 1908-1912)
*[Dutch Mother Seated with Child Holding a Rosary in Lap] (c. 1908-1912)
*[Dutch Mother with Child Seated in Lap] (c. 1923-1927)
*[Edinburgh from Dean Bridge, II] (c. 1908-1912)
*[The Grandmother, Holland, II] (c. 1923-1927)
*[Hawaiian Woman Drinking from Coconut] (c. 1923-1927)
Labour
*[Large Junk and Reflection[ (c. 1923-1927)
*[Man Standing in Floating Canoe #1] (c.1919) (woodblock print similar to Miles #138 ("Hawaii")
*[Man Standing in Floating Canoe #2] (c. 1919) (woodblock print similar to Miles #138 ("Hawaii")
*[Man Standing in Floating Canoe #3] (c. 1919 ) (woodblock print similar to Miles #138 ("Hawaii")
*[Man Standing in Floating Canoe: Palm Foliage and Water] (c. 1919) (woodblock print similar to Miles #138 ("Hawaii")
*[Man Standing in Floating Canoe: Sky Above Clouds on Horizon] (c. 1919) (woodblock print similar to Miles #138 ("Hawaii")
The Mill (c. 1908-1912) (possibly the same etching as "Windmills, Holland" or "The Windmill, Holland"
Mother and Child in Meadow (c. 1908-1912) (possibly the same etching as "Xmas Greetings, 1912")
Mother and Child at Window with Doll No. 1 (c. 1908-1912)
(Brittany) Mother + Child With A Doll (c. 1908-1912) (possibly the same etching as "Mother and Child, Volendam" or "Mother and Child at Window with Doll No. 1"
*[The Offering: Two Chinese Children] (c. 1923-1927)
Prayertime in Desert (c. 1908-1912) (possibly the same etching as "Near the Khyber Pass" or "Prayer on the Gobi Desert"
Returning From Work, Java (c. 1923-1927) (possibly the same etching as "Going To Market, Java"
Shrimp Boats, Zeeland (c. 1908-1912)
*[Standing Dutch Mother and Baby] (c. 1908-1912)
*[Tartar Wall and Moat, Peking. I] (c. 1923-1927)
*[Tartar Wall and Moat, Peking. II] (c. 1923-1927)
*[Tea Garden. Japan., II] (c. 1927) (etching similar to Miles #101 ("Tea Garden. Japan. I")
Trekking Along the Dike (c. 1908-1912) (possibly the same etching as "By the Dike Side, Marken, Holland"
*[Two Cows Grazing by Trees} (c. 1908-1912)
*[Unfinished Profile Portrait of European Woman] (c. 1927-1927)
The Volendamer (c. 1908-1912)
Woman with Cattle and Child (c. 1908-1912) (possibly the same etching as "Mother and Child in Meadow")

Photograph of Charles W. Bartlett (c.1922-1925) by Alfred Gurrey
Personal Collection

If anyone has a print which they believes corresponds to one of these titles, or any other uncatalogued Bartlett print, please contact me so I can update this post.

 If a comment box does not appear below, click on this link instead: http://easternimp.blogspot.com/2019/05/charles-w-bartlett-uncatalogued-prints.html

Thursday, February 28, 2019

Captive Artist: Watercolors by Kakunen Tsuruoka (1892-1977)

I've posted twice in the last eight months about the Japanese-American artist Kakunen Tsuruoka, once about his California woodblock prints and then about his "lost" Yosemite print.  As a consequence, anyone who enjoyed those posts will be interested in knowing that, in connection with the upcoming New York Asia Week (March 13-23, 2019), the prestigious Scholten Gallery in New York City is mounting an exhibition called "Captive Artist: Watercolors by Kakunen Tsuruoka (1892-1977)."

  
Untitled (mesquite with mist lingering on brush) (c. 1942-1944) by Kakunen Tsuruoka
Courtesy of the Scholten Gallery
(watercolor on paper) 

 
 Untitled (dark clouds descending over brushland) (c. 1942-1944) by Kakunen Tsuruoka
Courtesy of the Scholten Gallery
(watercolor on paper) 

Curated by the Director of the Scholten Gallery, Katherine Martin, the exhibition features 25 landscape paintings created while Kakunen was confined to Poston Camp III, part of the Colorado River Relocation Center in Arizona.  This was one of ten camps to which Japanese-Americans were forcibly relocated during the Second World War.  Kakunen depicted the bleak and barren landscape around camp in a somewhat expressionist style, producing paintings that seemingly mirrored the alienation, isolation, and loneliness that Kakunen and no doubt other camp inhabitants were feeling at the time.

 
 Untitled (vertical mesquite) (c. 1942-1944) by Kakunen Tsuruoka
Courtesy of the Scholten Gallery
(watercolor on paper)

 
 Untitled (dark sky over mist on mesquite and brush) (c. 1942-1944) 
by Kakunen Tsuruoka
Courtesy of the Scholten Gallery
(watercolor on paper)

The exhibition also features 15 of Kakunen's early decorative bird-and-flower paintings and Japanesque landscapes.  These paintings, as well as the ones from the internment camp, are from the Estate of Haruno Tsuruoka (1924–2017), the artist's daughter-in-law, and are being offered by members of her family.  Rounding out the exhibition are a  selection of Kakunen's woodblock prints published by Watanabe Shozoburô in the 1930s.

 
 Untitled (pair of heron on snowy branch) (c. 1920s) by Kakunen Tsuruoka
Courtesy of the Scholten Gallery
(ink and color on light brown card stock)

 Untitled (two figures crossing bridge in rain) (c. 1930s) by Kakunen Tsuruoka
Courtesy of the Scholten Gallery
(ink and color on paper) 

Fortunately, those unable to visit the Scholten Gallery in person can view the entire exhibition on-line, with links to separate pages where detailed information about each painting or print can be found.  The Scholten website also includes a lengthy discussion of Kakunen's life and career which is well worth reading.

Tuesday, February 05, 2019

Blog Comments

Some of you may have seen or heard that Google had decided to shut down Google+ accounts. I didn't think that it would have any effect on this blog, other than Google+ account users couldn't use the +1 buttons, something I didn't care about and which few people bothered to use anyway. However, one thing I didn't realize was that comments to my blog were set up as Google+ comments when the blog was created, and not as Blogger comments.

Effective today, Google has deleted all Google+ comments from all blogs, including those for Eastern Impressions. Needless to say, I wish that this hadn't happened. Many of the comments on this blog were from seasoned dealers, art historians, and print collectors who had valuable information to share, and their past contributions will be sorely missed. New comments can still be left in the blogger comment boxes at the bottom of current and past blog entries, but unfortunately there is no way to retrieve the old comments. I hope that this will not discourage long time readers from taking the time to comment in the future, or for new readers to comment on older blog posts of interest.

Wednesday, January 30, 2019

Asian Art Deco #4B: For the Birds - The Ornithological Prints of Elyse Ashe Lord

In a prior post, I discussed the life of printmaker Elise Ashe Lord, and attempted to catalog her known prints depicting musicians.   As a second step toward creating an on-line catalog of Lord's prints, this post will focus on Lord's bird prints.  Unless otherwise indicated, all of the following are colored etchings (usually drypoints) with color applied by hand or with woodblocks.

The titles for many of these prints are unknown at this time.  Many are designs after Chinese tapestries and often bear generic titles such as "K'o ssu" or "Chinese."  I'm sufficiently ornithologically and botanically challenged that I've  largely refrained from attempting to identify most of the birds and flora depicted by Lord in her prints.  If an attributed or descriptive title is given, chances that it is a title ascribed to it by a dealer and should be taken with a grain of salt.

B001 - [Bird and Loquats]
Edition unknown

Note: The seller called this a woodblock print.    

B002 - [Bird and Prunus Bough]
Edition unknown

Note:  The plate for this print was destroyed.


B003 - Bird Ears
Edition of 75  

B004 - [Bird of Paradise]
Edition unknown

B005 - [Bird with a Long Tail on a Branch]
Edition unknown

B006 - [Bird with Hydrangea]
Edition of 75

B007 - [Birds on a Branch]
Edition unknown

B008 - [Birds on Blossoms]
Edition Unknown

B009 - [Blue Bird and Peony]
Edition of 75

B010 - [Chickens]
Edition of 75
Courtesy of Robyn Buntin of Honolulu Gallery

B011 - Chinese [Bird and Cherry Blossom]
Edition of 75

 B012 - Chinese [Ducks in a Pond]
Edition of 75

B013 - Chinese [Flycatcher and Laurel]
Edition of 75

B014 - Chinese [Singing Bird]
Edition of 75

B015 - [Couple Beneath a Tree]
Edition of 75
Courtesy of Harris Schrank Fine Prints

B016 - Dodos
Edition unknown

Note: Exhibited at the Ackermann Gallery in 1936.

 
B017 - Doves and Blossom
Edition unknown

 
B018 - [Figure with Blackbirds]
Edition of 100
Courtesy of Goldmark Gallery
L:  pencil with watercolor wash; R: colored etching

 
B019 - [Fledglings]
Edition of 75

'
B020 [M016] - Flute
Edition of 75

Note: Part of a series that includes Banjo and Bongoes.


B021 - Illusion
Edition of 100
L:  watercolor drawing on silk (courtesy of Gerrish Fine Art); R: colored etching

B022 -  K'o ssu [Bird and Blossom]
Edition unknown
Courtesy of the Bridget McDonnell Gallery

B023 - K'o ssu [Bird and Prunus Blossom]
Edition of 75

B024 - K'o ssu [Bird Perched on Magnolia Bough]
Edition of 75

Note: A print called "Bird and Magnolia" was exhibited by Cyril Gerber Fine Art in 1990.

 
B025 - K'o ssu [Bird with Rotting Fruit]
Edition of 75

B026 - K'o ssu [Blue Bird on Blossoming Branch] (pre-1938)
Edition of 75
Courtesy of the Annex Galleries

B027 - K'o ssu [Kingfisher on a Flowering Branch]
Edition of 75

B028 - K'o ssu [Swallows]
Edition of 75

B029 - K'o ssu [Yellow Bird on Flowering Bough]
Edition of 75

B030 - [Love Birds]
Edition unknown
(etching with chalk/pastel; one source calls it pastel over lithographic base}

B031 - The Love Song (Rimsky-Korsakov's "Chanson Hindoue") (pre-1929)
Edition of 50

Note: Exhibited at the Lefevre Galleries, Nov.-Dec. 1928, and at the Ackermann Gallery in 1936.

B032 - Magpie
Edition unknown

Note: Exhibited by Cyril Gerber Fine Art in 1990 (could be an alternate title for another print shown in this post, such as "Bird and Prunus Bough."

B033 - [Mother and Young]
Edition of 75

B034 - On A Lordly Dish
Edition of 75

B035 - On The Terrace (aka "The Stork" or "The Crane") (pre-1929)
Edition of 100

Note: Exhibited at the Lefevre Galleries, Nov.-Dec. 1928, and at the Ackermann Gallery in 1936.  The original watercolor drawing on silk was also exhibited at the Lefevre Galleries, Nov.-Dec. 1928.

B036 - [A Pair of Jays]
Edition of 75

B037 - Parakeets (pre-1929)
Edition of 75

Note: Exhibited at the Lefevre Galleries, Nov.-Dec. 1928 and at the Ackermann Gallery in 1936.  An original drawing on silk with this title was also exhibited at Walter Bull & Sanders, Ltd., Nov. 1931 but may or may not relate to this print design.

B038 - [Pheasant and Flowers]
Edition unknown

B039 - [Pheasants Feeding]
Edition unknown

Note: A watercolor study on silk is known to exist.

B040 - [Pheasants on a Branch aka "Hen and Cock Pheasant"]
Edition of 75

B041 - [Phoenix Dancers]
Edition of 100

B042 - The Rose Garden of Sa'di (pre-1929)
Edition of 100

Note: Exhibited at the Lefevre Galleries, Nov.-Dec. 1928 and by the Chicago Society of Etchers in 1931.  The original watercolor drawing on silk was also exhibited at the Lefevre Galleries, Nov..-Dec. 1928.

B043 - The Seamstress (aka "Sewing")
Edition of 75

B044 - [Singing Birds]
Edition unknown

Note: Exhibited at the Ackermann Gallery in 1936.


B045 [M035] - The Song of the Pineapple
Edition Unknown

B046 - [Two Feathers (?) or The Goddess(?)]
Edition of 75

Note: A print called "Two Feathers" was exhibited at the Lefevre Galleries, Nov.-Dec. 1928 and at the Ackermann Gallery in 1936, but some on-line sources ascribe that title to a different print.

B047 - [Two Ladies]
Edition of 100

B048 - Two Singing Birds
Edition unknown

Note: Exhibited by Cyril Gerber Fine Art in 1990 (but could be an alternate title for another print shown in this post).


B049 - [Vireos with Peaches]
Edition of 75

B050 - Windy Sleeves (pre-1929)
Edition of 100
Personal Collection
L:  watercolor drawing on silk; R: colored etching

Note: Both were exhibited at the Lefevre Galleries, Nov.-Dec. 1928.  The print design was also exhibited at the Ackermann Gallery in 1936.

B051 - The Wooing of Riza (pre-1932)
Edition Unknown

Note: The original watercolor drawing on silk for this print was exhibited at Walter Bull & Sanders, Ltd., Nov. 1931.  

There are, as yet, no known prints corresponding to the following Lord paintings:
>
 Leda and the Swan(watercolor)

 
Mandarin Drake
Courtesy of the Bridget McDonnell Gallery
(pencil and ink with wash)

Macaws
(watercolor)

The Two Storks
Courtesy of the Goldmark Gallery
(pencil with wash)

Other Lord watercolor studies known to exist:
Snowy Egret (exhibited at Walter Bull & Sanders, Ltd., Nov. 1931)
The Squawking Peacock (exhibited at Walter Bull & Sanders, Ltd., Nov. 1931)
Study "Bird" (exhibited at the Ackermann Gallery in 1936)

If you've read this far, it should be apparent that this list of bird prints is no doubt incomplete, and information about these prints is in need of further annotation.  If a reader is aware of a missing Lord print or painting of a bird (or a correct title or edition size), please let me know and I will add it to the list. 

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