The Asian Autumn of Mrs. Burton

The life and career of Elizabeth Eaton Burton (1869-1937) makes an interesting contrast to that of Marguerite Gifford’s, discussed in the prior post.  Whereas Gifford was born and bred in what would have been relatively provincial Louisville, Kentucky during The Gilded Age, Burton was born in Paris and raised in Paris, Versailles, Nice, and Le Croisic in Brittany during the early part of La Belle Époque, occasionally traveling to such places as Italy, Switzerland, and even India.  She was the daughter of the artist Charles F. Eaton and Helen Justice Mitchell, both of whom were art students at the Sorbonne from prominent East Coast families.  One of her childhood friends was the younger sister of John Singer Sargent, whose watercolors Burton copied in her youth.  Burton attended boarding school in England in 1885 and in Dresden the following year.  In 1886, however, when Burton was 17, Charles Eaton decided to move his family to the United States and settled in sunny Santa Barbara, California on account of his wife’s ill health.

Elizabeth Eaton Burton (1901)

Photograph by the painter and sculptor Frederick Remington

In December 1886, Burton meets her future husband, William (Billy) Waples Burton, an up-and-coming real estate developer, at a dance.  Together, the pair would become fixtures of Santa Barbara high society, attending balls, acting in local theatricals, organizing fundraisers for the new Cottage Hospital, etc.  (Japonisme was clearly all the rage at the time.   Burton’s husband attended a “Mikado” party in 1887, and there was a Japanese booth at the 1890 Trades Fair fundraising for the Cottage Hospital.  Santa Barbara also had its own Chinatown and Burton had Chinese house servants, so Asian as well as Spanish culture was never far away.)  Elizabeth and Billy would marry in 1893 and two children quickly followed.  So, like Gifford, Burton could have been content to have spent her middle years as a civic-minded wife and mother.  Burton, however, was very much her father’s child.

Mikado party at the Arlington Hotel, Santa Barbara (1887)

Mustachioed Billy Burton is seated at the center of the second row.

Upon settling in California, Charles Eaton established  himself as an Arts and Crafts designer, working in metal, leather, and glass, all of which he introduced to his daughter.  By 1896, Burton had opened up her own studio in Santa Barbara.  She applied for and received a patent for an ornamental leatherwork technique that she used on chests, screens, and furniture.  She also produced what were known as “shell lamps,” patinated brass or copper lamps decorated with Philippine window shell and/or pearl abalone.  By 1901 she had shows in both California and New York (which was praised in Vogue magazine), and she received favorable notices for her work at the Louisiana Purchase Exhibition in St. Louis in 1904.  Gustav Stickley visited Burton’s studio that same year and particularly praised her leather screens in The Craftsman.  In 1909 she won the gold medal at the Alaska-Yukon Pacific Exposition in Seattle, and the Burton family moved to Los Angeles, where she opened up a new studio.

 Shell lamp by Elizabeth Eaton Burton, hammered and tooled copper

lily pad base with stem holding hammered and tooled leaves around shell

In 1920, however, Burton’s husband died of a heart attack, leaving her a widow at almost the exact age that Gifford was widowed (albeit a decade and a half earlier in time).  Like Gifford, two years later Burton decided to travel to Europe, spending much of her time in Paris and also in Brittany painting Breton peasant scenes.  Upon her return to Los Angeles, she lectured on her travels and published  a book about her time in Paris called “Paris Vignettes.”  In 1929, she became the president of the Alliance Français of Hollywood and subsequently was awarded the Palme Academique for her efforts in promoting French culture and art, the oldest extant civilian accolade awarded by the French Government.  Two more years were spent in France after her father died in 1930.

Elizabeth Eaton Burton (1932)

In 1933, Burton traveled to China and Japan to paint and to study woodblock printing.  She made watercolors of local scenes, temples, folktales, and a series of the attributes of Quan Yin.  A number of her watercolors were turned into woodblock prints by Japanese craftsmen.  According to Dan Lienau of the Annex Galleries, they were produced by the Tokyo publisher Kato Junji.  Her resulting watercolors and prints were displayed worldwide in a two-year solo exhibition in 1935-1936 that traveled from the Arlington Gallery in London to galleries in Peiping (Beijing), Shanghai, Tokyo, Los Angeles, and ending at the Schwartz Galleries in New York City.  Unlike Gifford, whose first trip to Europe and Asia would be the springboard to second act career as an artist, this traveling exhibition of her time in Asia would be Burton’s last hurrah.  She would pass away the following year after dictating her memoirs of her youth and time spent in Santa Barbara.

Elizabeth Eaton Burton in Japan (c. 1933)

I’m aware of six woodblock prints designed by Burton, although it is possible that others were made.  Her watercolors translated well to the woodblock print medium, and at one of her paintings of a Japanese Shrine on Stilts contains cartouches with kanji inscriptions, which suggests that it also might have been intended to be turned into a print.

Temple Courtyard (c. 1933)

Collection of Mary Burton Fussell

(watercolor)

Temple Courtyard (c. 1933)

Personal Collection

(woodblock print)

Kasuga Taisha Shrine in Nara (c. 1933)

Personal Collection

(woodblock print)

Women with Parasols on Bridge (c. 1933)

Collection of Mary Burton Fussell

(woodblock print)

Magnolia (c. 1933)

Courtesy of the Annex Galleries

(woodblock print)

 

 Weeping Cherry Blossoms (c. 1933)
Courtesy of Toomey & Co.
(woodblock print)

 Quan Yin (aka Lotus Goddess or Woman with Lotuses) (c. 1933)

Courtesy of Steven Savitt and Mary Lynn Baum

(woodblock print)

Burton's "Quan Yin" print is reminiscent of the print work of Bertha Lum.  Indeed, that goddess figures in a number of Lum's paintings and prints.  Lum would have been in Peiping in 1933, so it is entirely possible that the two might have met.  I wonder if they ever did.

Kwanyin, Goddess of Mercy (1935) by Bertha Lum

Courtesy of the Hanga Gallery

(hand-colored raised-line woodblock print)

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The Asian Spring of Mrs. Gifford

Born and bred in Louisville, Kentucky, Marguerite Peters Gifford (1887-1969) spent the first half of her life as a college-educated, upper-middle class wife whose pastimes seem to consist of membership in the Daughters of the American Revolution and president of the Woman’s Club of Louisville.  Then, in 1935, Gifford’s Louisville routine was interrupted by the premature death of her husband, Morris.  Two years later, at age 50, this Louisville widow went on a two-month tour sponsored by the International School of Art, visiting artists in four European countries.  When the tour was over, Gifford decided to remain behind in Europe.  During her time abroad, she took lessons in watercolor painting in London, and was in Florence in 1938 and saw Benito Mussolini receive Adolf Hitler.

Passport of Marguerite Gifford

In 1939, with war looming in Europe, Gifford turned her sights to travel in Asia and Oceania. She visited such cities as Bombay, Bangkok, and Hong Kong on her way to Japan.

 Greeting From Bangkok (c. 1939-1940)

(unknown medium)

While in Japan, Gifford studied woodblock printing, apprenticing herself to two Japanese printmakers.  As far as I know, Gifford never mastered that medium, but she arranged for a certain number of her designs to be turned into woodblock prints by Japanese craftsman.  At present, I’ve located images of three such prints bearing the name “Marguerite Gifford.”  (If a reader is aware of images of any further designs, please let me know.)  

Siamese Temple (aka "Temple (Chiang Mai), Siam") (c. 1939-1940)
Carver:  Fujikawa [Fujikawa Saburô]; Printer: Ono-Gin [Ono Ginatarô]

(woodblock print)

Wat Phra Singh viharn, Chiang Mai, Thailand

The first of the four prints bears the inscription “Siamese Temple,” evidently memorializing one of the sites she visited during her time in Thailand.  The structure is similar to the Wat Phra Singh viharn in the old center of Chiang Mai but, since there are over 200 temples in and around Chiang Mai, there are note doubt many other likely candidates.

Pirano, Slovenia (c. 1939-1940)
Carver: Takano [Takano Shinchinosuke]; Printer: Ono-Hiko [Ono Hikojirô];

Personal Collection

(woodblock print)

 Pirano, Slovenia

The second print, which I bought from Steven Thomas, is untitled.  Based on the type of sailboats, the city architecture (note in particular the tower structure in the upper left if you click on the image), and the figures, the locale would appear to be European.  My original guess was the harbor at Genoa, or perhaps Livorno, since we know Gifford visited nearby Florence.  But recent information suggests that it's Pirano, Slovenia, near Trieste, and that tower is the bell tower of the Church of Saint Clemente adjacent to the Punta Madonna lighthouse.  It's even possible that the initials “SC” stand for "San Clemente," but if there is such a sailing vessel in Pirano harbor today, I’ve not been able to discover it.

The Arno (Florence) (c. 1939-1940)

Carver: Kawaii?; Printer: Ono-Gin [Ono Ginatarô]

Personal Collection

(woodblock print)

The third (badly faded) print is of a view from the Arno river in Florence.  A sticker on the back of the print's frame indicates that it was based on a painting made in 1938, which would be consistent with the time that Gifford was in Italy.  All three of the above prints were produced by the famous Tokyo woodblock print publisher Watanabe Shozaburô, who issued shin hanga prints by Kawase Hasui, Ito Shinsui, Charles W. Bartlett, and Elizabeth Keith, among others.  Watanabe’s copyright seal (“Watanabe Saku”) on these print has some similarities to those found on other prints that he published in the 1934-1945 time period, although I’ve not seen this exact seal on any of Watanabe’s other prints.

 Close-up of Watanabe's publisher seal

Gifford’s fourth print, “Doshisha Tokiwai Mon (Side Gate at Doshisha University, Kyoto),” however, appears to lack any seal to identify the publisher, the carver, or the print.  Gifford’s design, however, may itself provide a visual clue as to the identity of the publisher. 

Doshisha Tokiwai Mon (c. 1939-1940)
Personal Collection

(woodblock print)

 

When I first saw an image of this print, I was immediately struck by the manner in which the little girl in the print was depicted.  There is a young Japanese girl in a similar pose in a 1928 print by Hiroshi Yoshida.  Yoshida also issued small, non-canonical postcard-size prints that featured that same little girl.  Did Gifford copy her little girl from one of those Yoshida prints?  Did she commission the print from the Yoshida studio in Tokyo?  Did she perhaps even apprentice with Hiroshi Yoshida or one of his craftsmen?  The answer might lie in Gifford’s papers now residing at the Bridwell Art Library at the University of Louisville, but must remain a mystery for the time being.

Sleigh (1927)  by Hiroshi Yoshida

(woodblock print)

 

 [Young Japanese Girl] (circa 1927) by Hiroshi Yoshida

(woodblock print)

In 2021, a copy of the Doshisha Tokiwai Mon print turned up with the following handwritten note by Gifford:

 

Doshisha Tokiwai Mon Inscription

Courtesy of Serge Astieres

 

"KYOTO JAPAN

Gardener's cottage

Doshisha Missionary College

first in Japan

 

Gardener's Cottage on compound of Doshisha College in Kyoto Japan.

 

Doshisha is the first Missionary College in Japan.   The Missionaries with whom I stayed wanted me to paint the building.  When I found it, red brick with white-stone trimming I asked the privilege of painting instead, the gardener's cottage as more significant in Japan.

 

(The Japanese President of the College afterward asked the privilege of printing the painting on his Christmas card, which he did.[)]

 

Mrs. Morris Gifford"

Gifford appears to have left Japan before the end of 1940, likely because of Japan joining the Tripartite Pact in September and the continuing Japanese military expansion into Indochina.  She moved on to New Zealand and New Caledonia, spending many months in the latter archipelago painting the indigenous Kanaka inhabitants, before returning home in the fall of 1941.  She had been abroad for over four years.

 Kanaka Chief from New Caledonia (c. 1940-1941)

(unknown medium)

Upon her return to the U.S., Gifford lectured about her travels and continued to study art.  She became a well-known figure in the Kentucky art scene for the rest of her life, exhibiting her work both in and out of the state.  Hers was a truly an artistic career which blossomed late in life.  She worked in a number of different media but, as far as I know, turned her attention to American subjects and designed no further woodblock prints.

Self-Portrait by Marguerite Gifford

Courtesy of a Reader

(oil on board)

Addendum of August 23, 2015:  Dr. Kendall Brown, the premier shin hanga scholar, was kind enough to share with me copies of pages of Watanabe Shozaburô's notebook listing Gifford's prints that Watanabe's studio published.  They are:

1.  Veere (The Netherlands)
2.  Pirano, Italy [sic: Slovenia] (shown above)
3.  The Arno (Florence)
4.  Dock (Bombay)
5.  Temple (Chinmai [Chiang Mai]), Siam (shown above)
6.  Siamese Girl Preparing Fruit
7.  Philippines Flower Girl
8.  Maruyama Cherry Trees, Kyoto

In light of this information, I have revised the blog entry above accordingly.  Clearly there are more Gifford prints out there somewhere than I had imagined.  And since "Doshisha Tokiwai Mon" was not listed as one of Watanabe-published Gifford prints, that provides greater credence to the theory that it might have been published by Yoshida's studio.

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A Call To Arms

John Taylor Arms (1887-1953) was one of the major American etchers of the first half of the 20th Century.  Nicknamed the "Modern Medievalist," he is particularly famous for his almost photographic black-and-white renditions of Gothic cathedrals and their gargoyles.  Like a number of notable etchers, Arms was trained as an architect, and buildings were the things he depicted most in his prints.  But Arms was also drawn to nautical subjects.  He learned to fish and sail as a youth on the Potomac River in Maryland (a stone's throw from where I live) and, as an inveterate fisherman, he kept a pond stocked with trout at his studio home in Vermont.  He served as a ensign during World War I, and issued a couple of prints as a record of his time in the U.S. Navy.  After the war, he depicted sailboats on Lake Como and Lake Maggiore, and various New England sailing vessels.  During World War II, one of his contributions to the war effort was a series of etchings documenting the construction of naval vessels at various coastal shipyards that were sold at Navy Exchanges.

   John Taylor Arms

I recently discovered that, early on in Arms' career, he also did a handful of Oriental nautical scenes. The first such published print was a black and white etching called "On The Road to Mandalay":

On The Road To Mandalay (1917) 

(etching)

Although, with rare exceptions, Arms would print exclusively in black and white after 1925, during his first decade as an etcher Arms often printed in aquatints, especially if the print featured a sailing vessel.  Such aquatints would be printed in both black and white and in color editions.  Arms scholar S. William Pelletier has commented that, while Arms was not a student of Oriental art, the muted hues and delicate shading of Arms' "A Hong Kong Canal Boat" etching recall the woodblock prints of Hiroshige.

A Hong Kong Canal Boat (1919)

(etching with aquatint)

A Hong Kong Canal Boat (1919)

(etching with aquatint)

After creating the original preparatory pencil drawing for a given print design, Arms would trace the main outlines of the subject on a piece of tracing paper.  The tracing would be laid face down on the grounded, smoked plate if the subject is to be reversed, face up it if was not.  A piece of rouge paper would be inserted in between the plate and transfer drawing.  He would then go over whatever lines of the tracing as he saw fit with a needle dulled so as not to tear the tracing paper, leaving red lines on the plate as a guide.  He would then draw through the protective ground with a sewing needle to expose the copper plate, adding details freehand above and beyond the transferred tracing lines.  Many of these original transfer drawings have survived.

The Harbor At Aden
(pencil drawing)

The Harbor At Aden (1919)

Personal Collection

(transfer drawing)

The Harbor At Aden (1919)

Personal Collection

(etching with aquatint)

Drifting, Somewhere In The Orient

Personal Collection

(pencil drawing)

Drifting, Somewhere In The Orient (1919)

Personal Collection

(transfer drawing)

 Drifting, Somewhere In The Orient (1919)

(etching with aquatint)

Still Waters (1919)

Personal Collection

(pencil drawing)

Still Waters (1919)

Personal Collection

(transfer drawing)

Still Waters (1919)

Courtesy of The Old Print Shop, N.Y.C.

(etching with aquatint)

These prints clearly suggest that Arms traveled from the Gulf of Aden to Burma to Hong Kong Harbor at some point.  But when?  I have been unable to find any mention of such a trip in the standard references on Arms.  I originally assumed that he did so while serving in the Navy during World War I, or else immediately after he was discharged.  But the United States entered the War in April 1917, so the plate for "On The Road To Mandalay" would have had to have been executed before Arms enlisted.  (It would also have been little reason for the U.S. Navy to have had much of a presence in Asia during the War.)  There is also a record of an early unpublished print in 1915 called "Harbor At Aden" that Arms seems to have abandoned after a single trial proof (which may not have survived).  So his trip to Asia, if he in fact ever took one, must have taken place on or before 1915.  Was it on some trip around the world that he took with his wife, Dorothy, who he married in 1913?   Or did he base these etchings upon photographs filtered through his own imagination?  If a reader can shed light on this mystery, please let me know.

In 1921, Arms started his "Ship Series" of etchings, designed to cover the development of ships from the earliest days down to the present.  Although abandoned after seven designs in 1925, Arms depicted in aquantints such various vessels as a Spanish galleon, a Norse Viking ship, and an American clipper ship.  The fourth plate in the series was a Chinese junk.

"Where The Junk Sails Lift" (1922)

Courtesy of The Old Print Shop, N.Y.C.

(pencil drawing)

"Where the Junk Sails Lift" (1922)

Personal Collection

(trial proof etching with aquatint)

"Where The Junk Sails Lift" (1922)

(etching with aquatint)

Arms may have been unaware of the state of Japanese woodblock printing, but it is interesting to compare his work with a few sailboat prints by contemporaneous Japanese woodblock print artists.

Boats On A Cloudy Day (c. 1910s) by Ohara Koson

(woodblock print)

Fishing Boats (c. 1910s) by Ohara Koson

(woodblock print)

Kominato Harbor (c. 1910s) by Suzuki Kason

Personal Collection

(woodblock print)

Interested readers will want to know that The Old Print Shop in New York City still has for sale a number of preparatory and transfer drawings from the Arms estate for various other Arms print designs.

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Eliza Draper Gardiner: Japan Comes To Rhode Island

A post about Eliza Draper Gardiner  (1871-1955) on this particular blog might strike some people as strange.  Indeed, as far as I know, Gardiner, who was born in Providence, Rhode Island, never traveled to Japan or, indeed, anywhere in Asia.  She studied art at the Friends School in Providence, and enrolled in the Rhode Island School of Design, from which she graduated in 1897.  After further studies in Europe, she became a pupil of the painter Charles H. Woodbury, who likely introduced her to etching.  True, she was influenced  by the color woodblock prints of Arthur Wesley Dow, and at least one of her prints (“Landscape Study, Three Pines”) was based on an exercise from Dow’s Composition book.  She probably was influenced by Japanese woodblock prints just as Dow was, but I’m not aware of any hard evidence that she ever made a study of them beyond what she gleaned from Dow’s writings.   Peter Hastings Falk has also cited the prints of Sir William Nicholson as another influence and Nicholson, as it turns out, also was an influence on both Emil Orlik and my favorite Japanese print designer, Hashiguchi Goyo.

Eliza Draper Gardiner (1892)

Beginning in 1908, Gardiner joined the faculty at  the Rhode Island School of Design where, over the years, she taught woodcut, watercolor, and drawing.  Gardiner seldom, if ever, dated her prints, but her earliest prints seem to start appearing around 1914.  In 1916, she began her association with the Provincetown printmakers, although she never used their white-line method and instead used a technique following in the Japanese tradition.  Her work was shown in a landmark exhibition of color prints at the Detroit Institute of Arts in 1919 and at a show at the Art Institute of Chicago that same year.  Between 1920 and 1938 she was a regular contributor to the Print Makers Society of California’s annual International Print Makers Exhibitions in Los Angeles.  She continued teaching at the Rhode Island School of Design until 1939.  Her favorite subject was children at play in beaches, parks, and meadows. 

 Boy with Crabnet

(woodblock print)

 Water Wings

(woodblock print)

One of Gardiner’s last woodblock prints (perhaps even her final print) is this monochromatic Buddha study featuring one of her trademark little girls seated to the left of the sculpture and issued in an edition of 50.  It was exhibited at the 18^th Annual International Print Makers Exhibition in Los Angeles in March 1937, where it was included in the Society's "Best Fifty Prints of the Year."  It was also exhibited at the Newport Art Museum's 27th American Annual Exhibition in 1938.  Why, after a life spent mainly in Rhode Island depicting children at play at local venues, would Gardiner would choose to depict this particular exotic subject?

Buddha (1937) 

Personal Collection

(woodblock print)

It turns out that there is a rather simple explanation.  In 1936, the Rhode Island School of Design purchased a large wooden sculpture of the Buddha Mahavairocana (Dainichi Nyorai), the supreme Buddha of Mahayana Buddhism as taught by the Shingon sect, from the Japanese art dealer Yamanaka & Co., Inc. of New York City.  The largest wooden Japanese sculpture in the United States (294.6 H x 212.1 W x 165.1 D), it was constructed from eleven hollowed and carved pieces of cryptomeria wood at the end of the Heian Period in the 12^th Century (c. 1150-1185).  It was the principal image of Rokuon-ji, a Shingon sub-temple in Hyogo Prefecture, along Japan’s Inland Sea.  Legend has it that the temple was destroyed by fire hundreds of years ago, but that it was stored in a nearby farmhouse until it was brought to the U.S. by Yamanaka in 1933.

Buddha Mahavairocana, 
Rhode Island School of Design

The Dainichi Nyorai represents the transcendent Buddha from whom all other buddhas and all aspects of the universe emanate.  The sculpture shows him as an Indian prince in a pose similar to traditional painted depictions, in which he sat at the center of a mandala (cosmic diagram) surrounded by other buddhas and attendants.  This meditating Dainichi would have been the focus of worship in the temple hall where visitors prayed, made offerings, lit incense sticks, chanted, and performed rituals particular to the Shingon sect. The symbolic dhyana mudra gesture of the Buddha’s hands, in which the tips of his thumbs touch, indicates pure meditation and the attainment of spiritual perfection.

 Buddha Mahavairocana, 
Rhode Island School of Design

This sculpture would, therefore, literally have been “big” news to anyone working at the Rhode Island School of Design in 1936, including Gardiner.  However, being carved out of Japanese wood rather than from stone, this sculpture might have had particular resonance to Gardiner, who had spent much of her own life carving wood for prints and teaching that technique to her students.  It’s almost as if, at the end of her woodblock printing career, Gardiner is paying symbolic homage to the Japanese for developing an art form that, either directly or indirectly, largely shaped her own artistic path.

 Buddha Mahavairocana, 
Rhode Island School of Design

Two preliminary charcoal studies for Gardiner’s print have survived which, along with the print itself, I was able to buy from The Old Print Shop in New York City.  Both are larger than the actual print.  In the first, the girl is standing in front of the sculpture.  In the second, two of the three composite sketches show the girl seated to the left of the sculpture, as in the final print, and therefore presumably were executed after the first drawing, even though the sculpture is more freely rendered.  In both drawings, the Buddha’s robe, as in the sculpture itself, drapes down from his left shoulder, yet Gardiner inexplicably shows the robe draping down from the Buddha’s right shoulder in the print.  At first I thought this might have been because she used some subsequent drawing to cut the block, so that the sculpture would necessarily appear in reverse in the final print.  But if that were the case, then shouldn’t the girl also appear on the other side of the sculpture in the print?  I can only surmise that, while the Buddha Mahavairocana sculpture was clearly the specific inspiration for her print, it was not intended to be a realistic, literal rendering of that particular sculpture.

Charcoal Study #1 for Buddha print (c. 1936-1937) 

Personal Collection

Charcoal Study #2 for Buddha print (c. 1936-1937)

Personal Collection

Gardiner was certainly not the first Western printmaker to depict a Buddha statue in prints.  For comparison, here are some earlier examples by some other noted etchers and printmakers:

 Kamakura (1916) by Charles W. Bartlett
(woodblock print)

The Daibusu, Kamakura (1919) by Elizabeth Keith

(woodblock print)

White Buddha, Korea (1925) by Elizabeth Keith
Personal Collection

(woodblock print)

Buddha - Amida (1923) by Bertha Jacques
Courtesy of Joyce Williams Antique Prints & Maps

(etching)

Note:  The Jaques Buddha image comes from Joyce Williams’ website, where it is called “Budda-Serenity” and is apparently misdescribed as a 1924 woodblock print.  I'm not aware that Jaques made any commercial woodblock prints, and only a "Buddha - Amida" etching appears in Czestochowski's list of Jacques etchings at the back of his James Swann catalog raisonne.

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