Thanks for the note! Those woods were a lovely place of refuge for many of us during our student days! Thanks for taking care of them.
Yes, Toshiko was an eager and expert mushroom hunter. I am sure that Toshiko would have gladly taken up an offer to hunt mushroom in the Institute Woods. So I have no reason to doubt the story at all.
Where she got her clay depended on the year. The clay recipe we used when I was taking classes (69-74) was heavily made up of Jordan Stoneware Clay which was (if memory serves…) mined in New Jersey. That source was exhausted by 1980 or so and she shifted to other recipes. In the 80s she also experimented with adding red clay dug from her property in Quakertown, NJ. This clay was high in iron and melted at a low temperature so it could only be a minor addition to give the clay body a richer color.
We still use her “post-Jordan” recipe at the studio, by the way.
Toward the end of her life she had helpers up at Skidmore College mixing her clay at loading her station wagon, when she would give her frequent workshops there. I have no idea whether that recipe was the same or a different one.
Tuesday, November 30, 2021
Ceramist Toshiko Takaezu--The Herrontown Woods Connection
Thursday, November 11, 2021
Mystery Solved!: Veblen House research Leads to Celebrated Arizona Painter, Kate Cory
A long lingering mystery has been solved in the most surprising way at Veblen House. That mystery was 2'x3'--the dimensions of what for two decades has been a blank space above the mantel in the living room. The story was told that, soon after the house was boarded up by the county in 1998, someone entered the house and tore the painting off from above the mantle, in search of hidden treasure.
In a previous post about paintings that once hung in the living room, I told how Bob Wells, who rented the house with his family from 1975 to 1998, described the painting as a desert, with scrub rather than cacti, with a view from a rise out across a broad valley, with mountains in the distance. Bob would sit there in the evening and gaze at that painting and let his imagination go.
Enthralled by the light and life of the West, Kate stayed with the Hopi for seven years photographing, painting and writing about Hopi daily life. She took more than 500 photographs of the Hopi people. She was a schoolteacher at the Polacca Day School near the Hopi village of Walpi on First Mesa for many years. During this time, she compiled a dictionary titled, Hopi Alphabet, containing over 900 Hopi words and phrases. In addition to chronicling the Hopi people on canvas and film, she also wrote down her experiences of living with the Hopi in her unpublished journal, “Of Living with the Hopis.” The Hopi called her “Paina Wurta” meaning “Painter Woman.”
During the 1920s and ‘30s, Cory was a consultant for Western films in Hollywood. And in 1930, the Bureau of Reclamation hired Cory to paint the site where the Boulder Dam would soon after be built. She completed several works from the trip, each one residing in the Arizona Capitol Museum, the National Gallery of Art in Washington DC, and the Sharlot Hall Museum in Prescott.
Though Cory is described as having lived a very frugal life in Prescott, there are multiple points in her life where the world of business influenced her trajectory. Her family moved east from Waukegan, IL to Newark so that her father, an abolitionist and newspaper editor, could better manage his Wall Street interests. She was convinced to go to Arizona by a painter who had been employed by the Sante Fe railroad to do paintings out there to promote the rail line. In Prescott, she advised businessmen who were seeking to preserve the Hopi ceremonies.
Life among the Hopi had caused her to reject materialism. An entry in Wikipedia tells of her combination of frugality and generosity:
In her earnest intention to avoid living a wasteful life, she became known in Prescott for being eccentric. Fellow church members offered to replace her torn and tattered clothes. She was frugal, but gave away two cabins she owned to renters. She removed debris from rain water and used it to develop photographs. Rather than sell her paintings, she bartered them.
She died in Prescott on June 12, 1958 at the Arizona Pioneers' Home and was buried at the Pioneers' Home Cemetery near her friend Sharlot Hall. The inscription at her gravesite names her "Artist of Arizona" below which is: "Hers Was The Joy of Giving".
Though we now know the name of the painter, we still don't know what happened to the painting. It was not torn out, but in fact carefully cut out of the frame, so may well still exist.
Thus far, I've reached out to the Sharlot Hall Museum, the Smithsonian American Art Museum, the Museum of Northern Arizona, the Prescott Public Library, and also the Museum of Indigenous People, seeking someone who can help us better understand the frame and lost painting that for 90 years had been embedded in the custom paneling at the Veblen House.Rare Views and Maps of Old New York" was sold at auction by Anderson Galleries in 1918.
The discovery of the source of the painting--a unique and courageous woman who left behind a remarkable legacy--and the painting's setting above the family hearth, speak to Whiton-Stuart's taste. Having grown up on Park Avenue in New York, in the center of a vibrant city, he later sought out people and places on the periphery. Before he and his family moved to Prescott, he had traveled widely, "crossed over- land through Persia, visiting missionaries and hermits who had not seen a traveller for twenty-five years." His interest in mathematics ("Between these travels I attended Williams College, Massachusetts, and Cambridge University, England, principally for the courses in mathematics") also turned at times to those on the periphery, like Charles Sanders Peirce, the philosopher and mathematician who was rejected by academia yet credited with being the "father of pragmatism."
Veblen House continues to serve as a window into the early 20th century, connecting to worlds otherwise unknown or forgotten.