Apr 14, 2018: What It Means To be a Salmagundian

(by Debbie Wells, Salmagundi Artist Member)

When I attended Parsons School of Design, I walked past the Salmagundi Club thousands of times. I saw the name on the plaque and wondering what Salmagundi meant. I didn’t give it too much thought at the time because I was already mesmerized by the sights of the city in a way that only an art student can appreciate. Walking the streets of Greenwich Village every day made me realize how important my dreams of becoming an artist truly were. As a child growing up in Brooklyn, Manhattan felt like a faraway Land of Oz to me. It was a huge step to cross the river and experience New York City as a teen and young adult. Even now, the creative atmosphere of the Village is where I feel most at home.

By the time I graduated in 1983, I still had no idea what Salmagundi was all about because I was afraid to go ever inside to find out. For four years, I lived in the Village – first the West Village on the inexplicable intersection of 4th Street and 12th Street and then in the East Village across from the iconic Tower Records. Salmagundi was not on my radar at that time either.

As I pursued my career in corporate graphic design, got married and moved to Long Island and started a family, I always felt a pull to Greenwich Village. There is no place like it in the world. It possesses an energy there that cannot be duplicated. Little did I know that Salmagundi would eventually become part of my world.

About thirty years later, I was invited to become a member through connections from my current career. Through my business, Artful Circle, which I own with my business partner, Franklin Hill Perrell, we offer guided visits to art galleries and museums, lectures and curatorial services. We get to see artists at work in their studios, gallery exhibitions all over the city and even guest curate museum exhibitions. I am forever inspired by the art I see around me, but Salmagundi Club has its unique charm that consistently pulls me in.

Walking up those stairs up to the club entrance and knowing that I could be a part of it was one of the most exciting moments of my life. I held onto that application for over a year out of my own sense of insecurity. I finally faced my fear and submitted my application and portfolio. I felt an instant warmth with the admissions committee and my confidence blossomed. Once accepted as a Resident Artist Member, I took full advantage of the benefits of membership. I have served on several committees, including Programming, Library and Public Relations. I’ve worked with dedicated member volunteers and staff on a variety of projects, including presenting art lectures myself! I am proud to have had my photographs on display at various shows, including the historic Black and White exhibition. By being involved with the club’s leadership, I’ve gained a special insight into what the Salmagundi Club stands for and why it is important to continue the legacy.

Salmagundi is my go-to spot when I need a place to socialize or do business in the city. When I bring friends, family or business associates to visit Salmagundi, people are in awe. The building itself is a classic beauty with art history oozing from every inch. It is hard not to feel transported in time as you tour the club. This artistic haven is the perfect antidote to the fast-paced world outside. I really do think that every time I walk into the club!

The library is my favorite spot and I have spent many hours perusing the books, working on projects, attending meetings and even taking a little nap on their comfy couch. I am particularly fascinated with their prized palette collection, which has been documented by my friend, art conservator and fellow Salmagundian Alexander Katlan.

It’s not just the architecture that draws you in. It is the people. Salmagundi is not a stuffy, formal place. Its members are artists who want to truly want to share their ideas, work together and inspire each other. They are dedicated to bringing old world values into today’s marketplace. They feel their favored traditional style of art will always be a valued part of any art collection and work hard to promote their art through gallery exhibitions and auctions.

With legendary artists such as Thomas Moran, Louis Comfort Tiffany, William Merritt Chase, N.C. Wyeth, Augustus Saint Gaudens, Child Hassam, Norman Rockwell, Lumen Martin Winter and even honorary member Winston Churchill, it is clear that Salmagundi has an impressive membership roster over a century old. Now, the club boasts a new circle of artists to the club, including Guy Wiggins, Christopher Zhang, Claudia Seymour, Gary Erbe, Leah Lopez, Christine D’Addarrio, Alan Richards, and Everett Raymond Kinstler. I have made lots of friends and business associates through the club. Networking in any business is difficult, but there is an instant connection between Salmagundians. Through their affiliate relationships with other societies, such as National Arts Club and Society of Illustrators in New York City as well as other cities and countries, Salmagundi membership reaches far beyond the walls of their Fifth Avenue home. It’s a worldwide network of artists and art-lovers.

The club have successfully kept up with the times, going from a mens-only club to admitting women since the 1960’s. In fact, many women have held leadership roles, including two female presidents. Salmagundi has also updated their membership categories to suit today’s creative fields by adding photography, graphics, architecture, engraving, mixed media to the standard painting and sculpture disciplines. Even though our society is in the midst of a technology revolution, Salmagundi has one foot grounded firmly in its traditions and history with an eye for contemporary ideals – a very appealing point of view for the professional artists of today.

In this centennial year of the club, I feel a bond with the history of this place – for its past, present and future. Although Salmagundi is housed in a landmark building, its members are determined to grow and prosper long past their centennial celebration this year. With plans for major building renovations and to increase membership, the sky is the limit – and with Salmagundi artists at the helm, you can be sure the sky will be painted beautifully!

May 28, 2016: Fleet Week Visit to the U.S.S. Bataan

SCNY'16-COGAP Fleet Week Bataan - 01(By Anthony Almeida)

Poised and ready, the U.S.S. Bataan welcomes Salmagundians with a VIP tour during Fleet Week 2016, courtesy of the U.S. Coast Guard and COGAP.

Here are some photos of encountered ship board moments.

March 30, 1915: Salmagundi’s Movie Debut

Salmagundians visit the Vitagraph Movie Studios in Flatbush, Brooklyn on March 30, 1915.

Salmagundians visit the Vitagraph Movie Studios in Flatbush, Brooklyn on March 30, 1915.

(By Bob Mueller, Chairman, Curators Committee)

The Curators Committee, aside from researching, documenting and preserving the Club’s art collection, also oversees the Club’s historic photographic archives. In the process of digitizing some of these photos, an image was found of a large group of Club members labeled on the back in pencil “Visit of the Club to Commodore Blackton’s movie studios, Brooklyn in about 1916 or 17.”  What follows is a bit of long forgotten Salmagundi history.

Today we take movies for granted, with their special effects, 3-D animation and the ability to transport us to amazing alternate realities.  But one reality remains the same, visual artists of myriad disciplines have always been essential to the cinematic process.  It’s hard for us to imagine that only a century ago, Hollywood was a fledging industry and movies were not only exclusively in B&W, but silent as well.   Among the pioneers of the early film industry was Commodore J. Stuart Blackton, an artist and illustrator who was elected an artist member of Salmagundi in 1914.  Blackton was known to have put on moving picture entertainments at the Club on a number occasions, all of which were well received.  His life and innovative technical achievements are a fascinating story and warrant further study.

As early as 1910, according to Blackton’s unpublished autobiography, “Silence is Golden,” he “discussed with members of Salmagundi the idea of “motion pictures in color,” and he also gave them screenings of Vitagraph films.  One screening, according to Blackton, triggered such an enthusiastic response that the art club members visited the American Vitagraph studios in Flatbush… in order to witness for themselves the technology that manufactured what one witness called the ‘living Corot.'” (1)

The reference relates to a particular film shown at the Club where Blackton superimposed a film of Isadora Duncan dancers on Corot’s painting Spring.  Blackton describes the scene as:

“A group of dancing nymphs, tiny figures in gossamer draperies [flit] like moths in cool shade. The painting was photographed on panchromatic negative. A second negative was taken of a group of Isadora Duncan dancers, softly lighted against a black background, the living dancers  in the same relative position as the figures in the paintings. These two negatives were printed together on one positive film, toned sepia and tinted a delicate green, the two groups of dancers blending one into the other. At first the effect on the screen was a Corot painting, then the living figures began to move in a graceful dance which increased in tempo, then slowed down until the living forms again became stationary.

The result was startlingly beautiful. A classic masterpiece familiar to all came to life and received itself again into a painting” (2)

Present at the screening was the poet Edwin Markham, who hailed the film as “sublimely poetic” and enthusiastically summarized his experience in words that Blackton called the “most perfect definition of Art ever uttered”: “Art is nature idealized.” (3)

It is likely that, rather than “Spring” or more appropriately, “Printemps,” the painting Blackton used for this film would have been Corot’s “Une matinée.  La danse des nymphs” of 1850 in the collection of the Musee d’Orsay.

Camille Corot,

Camille Corot, “Une matinée. La danse des nymphs” Oil on canvas, 1850, Musee d’Orsay

The Club’s Executive Committee minutes [3/19/1915] reflect that “Commodore J. Stuart Blackton, President of the Vitagraph Co. had invited the Members of the Club to lunch at the Studios and witness the making of moving pictures on Tuesday March 30.”  It was later reported in the May 8, 1915 issue of “Brooklyn Life” that Commodore Blackton “gave a buffet luncheon on the grounds of his Vitagraph Encampment recently, when he entertained about one hundred members of the Salmagundi Club, which has many Brooklyn members.  After the luncheon film were taken of the members in any way they cared to act and a few nights after … these same films were exhibited to the great amusement of the club.”

The minutes from the General Meeting of April 2, 1915 confirm this:  “Immediately after the meeting Mr. J. Stuart Blackton took command, and for two hours entertained the members with moving pictures of remarkable interest and beauty.  Among them, and perhaps not the least appreciated by the members was the picture made of the Salmagundians on their recent visit to the Vitagraph Studios.

The intermission was filled with enjoyable music by Mssrs. Weismann [Francis A Weismann, Tenor] and Miller [Duncan Miller, pianist]

The entertainment was [a] huge success and the evening closed with the presentation of a specially designed medal to Mr. Blackton in appreciation of the pleasure he gave the members on the occasion of the above mentioned visit.”
While some questions are answered here, still others are raised.  In any case, this century-old photo helps to link us to the earliest Club related film.  It is hoped that the footage still survives in some archive and that we might some day have the pleasure of viewing our forebears in a candid moment of shared Club Spirit.

Some Salmagundians Identified

Among those in the photograph, we can identify the following 46 members:
F. Ballard Williams (President), Commodore J. Stuart Blackton, Joseph Isidor, G.H. Frohmmann, Harry Townsend, Guy Wiggins, Ernest L. Blumenschein, Dave Robinson, Stan Hagar, Ward N. Hayes, Franklin DeHaven, George Reevs, Raymond Perry, Edward A. Quin, Charles E. Chambers, Walter Biggs, Carl Rungius, William Henry Shelton, C. H. Sherman, Galen Perret, Peter Newell, Charles L. Barstow, William Ritschel, Ernest David Roth, Philllip .J. Ross, Albert M. Garretson, William Bailey Snell, Frank Tenney Johnson, Robert Vonnoh, Arthur Litle, William Henry Howe, Eliot Clark,  Jerry Waltman, Bruce Crane,  John Ward Dunsmore, Francis Luis Mora, Walter Granville-Smith, Cyrus B. Currier,  William McGregor Smith, Carleton Wiggins,  Orlando Rouland, George Elmer Browne,  Benjamin Eggleston, Leo Mielziner, Walter Douglas, J. Francis Murphy.

NOTES

(1) Gerstner, David A.;  Manly Arts: Masculinity and Nation in Early American Cinema; Duke University Press, Durham and London, 2006, p. 62-3
Chapter Two “The Battle Cry of Peace and the Spectacle of Realism” which covers Blackton and Salmagundi can be read at: https://www.academia.edu/4684979/Manly_Arts._Chapter_2
(2) Blackton, J. Stuart,  “Silence Was Golden,” J. Stuart Blackton Collection. Folder 33, p26, Academy of Motion Picture Arts and Sciences, Margaret Herrick Library, Department of Special Collections (AMPAS). [as quoted in Gerstner p. 63]
(3) Gerstner, Manly Arts, p 62-3

May 30, 2015: SCNY Plein Air Paint Out in Central Park

SCNY'15-PleinAir-May30 - 09(Photos by Annie Shaver-Crandell)

Salmagundi’s Plein Air Painters (and friends) held their second 2015 Paint Out on Saturday, May 30th at the Boathouse Cafe and Bethesda Fountain in Central Park.

Next scheduled outing is Saturday, June 27th in Carl Schurz Park. Attendees will gather at the entrance to the park at East End Avenue and 86th Street at 9:00 AM.

May 11, 2014: The Changing Face of 47 Fifth

Facade-1911-Full(By Mitch Kahn)

While the Club undergoes several major internal reconstructive surgeries in anticipation of its 2017 centenary at 47 Fifth Avenue, this is as good a time as any to look back at a few of the external facelifts that have taken place during the 161 years since this double-wide wood frame townhouse was built for Pennsylvania Coal Company President Irad Hawley and his wife Sarah in 1853.

The side facing the avenue is ornamental, not structural. Brownstone was used for all the original Italianate style features including facade, balconies, staircase and balustrades. Not the strongest or longest lived of building materials, over time all of these elements would have to be refaced or replaced.

In an online game of “Photo Hunt” we’ll try to put together a “what and when timeline” of the changes.

Let’s start with an image (top left) that comes from a 1911 collection called “Fifth Avenue, New York, From Start to Finish”. This book is a highly revered compendium of panoramic photographs of Fifth Avenue. At a mere 58 years of age, and not yet in the Club’s possession, Number 47 appears in all its (original) brownstone glory. Note the absence of gas lamps. They came much later.

Stoop-1911Stoop-1937-AbbottThe staircase and its balustrades would be among the first to vanish. A side-by-side closeup comparison (above) of the 1911 image to Berenice Abbott’s classic 1937 photograph shows the stone replaced by, or encased in, a more imposing poured concrete superstructure (which is still with us today). The banisters are polished brass (those are no longer with us).

Another photo (below) from roughly the same time period offers a wider view of this same renovation.

Facade of 47 Fifth Avenue c. 1940s

Not only has the stoop been altered but the facade as well. The front wall is clad in a brown colored stucco with a cinderblock pattern chased into it. The triangular parlor floor pediments, stone balconies and other balustrades have been left in place, but the second and third floor window embellishments are greatly subdued. Our gas lamps have yet to sprout.

Juley_47FifthAve-c.1960-LR(1)
By 1960 (above), the triangular window pediments on the parlor floor have been exchanged for linear ones.

Screen Shot 2014-05-11 at 9.52.34 PMThis was not a total facade redux since ghosts of the former triangles can be seen above the windows (above and right). A closer inspection reveals that the balconies are now concrete and the stone balustrades, so prominent in Berenice Abbott’s photo, have turned into wrought iron. Our now-ubiquitous gas lamps have been planted in the garden, perhaps in exchange for the lost stonework, thus completing the transition.

In the early 1990s, following numerous cycles of theft and replacement, our polished brass banisters were reluctantly switched to wrought iron too. The last pair were taken just two weeks after being installed. On their final visit, the thieves, eyeing new black banisters, scratched the ends just to be sure we weren’t concealing more brass with a layer of paint.

In 1996, following decades of deterioration, interim refacings and stopgap repairs, and with a scaffolding shed many thought was permanently installed over the sidewalk to protect passersby from falling chunks of stucco and a badly sagging cornice aching to let go, Larry Burda, a NYC restoration contractor specializing in historic and landmarked brownstone properties, was engaged to totally strip the front of the house and bring it back to a more cohesive look.

47-Fifth-Avenue

This current (1997) iteration (pictured above) restores more prominent lintels to the upper floor windows. On the parlor floor, it was decided that in the absence of the elaborate stone balustrades, linear window lintels would be preferable to the heavy triangles. Other non-structural elements replaced during this update include the roofline cornice and decorative covers for the cantilevered balcony support beams. Irad and Sarah Hawley’s home is more consistent in appearance now than it had been over the preceding 75 years.

Current restoration efforts have turned inward, with repairs and upgrades planned for rooms, hallways, floors and galleries. Less obvious but even more critical are the building’s aging mechanical systems which are also being overhauled – all this in preparation for Salmagundi’s 100th anniversary as custodian of the extraordinary house at Number 47.

Jan 19: The Waterbury Salmagundians

SCNY'14-Waterbury Trip - 03(Photos by Anthony Almeida)

Salmagundians took to the road this past Sunday (January 19th) to celebrate the opening of Art Chair Charlie Yoder’s one-man exhibition at the Mattatuck Museum. They traveled by bus and they traveled by car to spend an afternoon at this extraordinary facility in the heart of downtown Waterbury, Connecticut. In addition, a number of past Salmagundians were represented on the walls of the museum’s other galleries.

“Dancing in the Moonlight, Nocturnes by Charles Yoder” remains on view at the Mattatuck Museum through Sunday, March 2nd.

The Mattatuck Museum
144 West Main Street, Waterbury, CT  06702
(203) 753-0381 – www.mattatuckmuseum.org

To view full size images click on first thumbnail and then use keyboard or rollover arrows to navigate.

Nov 2: Alex Katlan’s Latest Endeavor Chronicles the Hartford Salmagundians

SCNY Hartford SalmagundiansThe Hartford Salmagundians: A Connecticut Art Society Painting Exhibition Records 1929-1953 is the latest work from Alexander W. Katlan pertaining to the Salmagundi Club and its members. A book launching / signing event is scheduled at Salmagundi on Tuesday, November 12th at 7:00 PM.

This is the first book chronicling the Hartford Salmagundians art society formed in 1929, a satellite of the historic New York Salmagundi Club. Throughout their existence, the Hartford Salmagundians’ shows were exhibited at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut.

This publication includes a preface by Claudia Seymour, past president Salmagundi Club (2007-2013), a discussion of the Revival of the American Realist Tradition, and an introduction to the Hartford Salmagundians by the author, a brief discussion of the Salmagundi Club of Louisville, Ky., Salmagundi Club of Sacremento, Ca., Salmagundi Club of St. Louis, Mo. and the New Haven Paint and Clay Club. The volume further contains a listing of exhibition catalogues and committee membership of the Hartford Salmagundians, a list of the artist members of the group, a selected list of N.Y.C. Salmagundi artists exhibiting in Connecticut, a directory of the Painting Exhibition Records of the Hartford Salmagundians, and a final comment by the author. This unknown painting exhibition history has been chronicled and indexed making available the artists, actual titles of the paintings, dates when these artworks were exhibited, and prices when available. A list of artists exhibiting in the Hartford Salmagundian exhibitions are: Edward N. Allen, Harry Russell Ballinger, George Elmer Browne, Winfield Scott Clime, Harry Farlow, William Bradford Green, Eugene Higgins, Henrik Hillbom, Albertus E. Jones, Walter O.R. Korder, Stanford Low, James Godwin Mcmanus, Carl Ringius, Paul Saling, Frederick Lester Sexton, H. Hilliard Smith and Guy Wiggins.