Ohio tries to make advances with its Civil War sites

Gen. William T. Sherman's childhood home in Lancaster, Ohio. Built in 1811, it is now the Sherman House Museum. Image courtesy of Wikimedia Commons.

Gen. William T. Sherman's childhood home in Lancaster, Ohio. Built in 1811, it is now the Sherman House Museum. Image courtesy of Wikimedia Commons.
Gen. William T. Sherman’s childhood home in Lancaster, Ohio. Built in 1811, it is now the Sherman House Museum. Image courtesy of Wikimedia Commons.
LANCASTER, Ohio (AP) – A cigar-chomping William Tecumseh Sherman still lives in Lancaster. He would like to talk about the Civil War, about Ohio’s place in it, about whether the state has given the war the proper consideration.

But first:

“It is with great reluctance that I grant this damn interview!” he yells, and spits a little. “Get it right, or I will find out where you live!”

Sherman never did like the press. Modern folks could learn that by visiting the Fairfield Heritage Association’s Sherman House Museum, run by Laura Bullock in the Fairfield County seat.

Frank Bullock, Laura’s husband, looks like Lancaster’s most-famous native and sometimes dresses like him to give a presentation or shout at the odd reporter.

But most people don’t visit the great general’s birthplace. Three people will show on a slow day. Most Lancaster residents grew up with the Sherman House and don’t pay particular attention, the Bullocks say.

And although the big business of Civil War tourism is built on what Sherman did in some parts of the South, Civil War tourism in Ohio doesn’t highlight Sherman, the Bullocks say.

If it highlights anything at all. If there is Civil War tourism in Ohio. If, come to think of it, Ohio is even a Civil War state.

“Ohio has done a wretched job of marketing itself as a Civil War destination,” said Eric Wittenberg, a Columbus lawyer who has written 16 books about the war.

Wittenberg sits on the Ohio Historical Society’s Civil War 150 Advisory Committee, created to commemorate the war’s 150th anniversary and Ohio’s role. Confederate artillery fired the first shots of the war at Fort Sumter, S.C., in 1861.

Wittenberg and other professional and amateur historians take it for granted that Ohio is a Civil War state. If the state must have a battlefield to qualify, then Ohio qualifies, Wittenberg says. About 15,000 soldiers fought in the 1863 Battle of Buffington Island in Meigs County, part of the famous Morgan’s Raid into Ohio.

In 1993, the federal Civil War Advisory Commission identified the 384 most historically important war sites, said Mary Koik, a spokeswoman for the nonprofit Civil War Preservation Trust. Two – Buffington Island and the site of the Confederate raiders’ surrender in Columbiana County – are in Ohio.

That doesn’t make it Virginia, which has 123 of those sites, or Tennessee, which has 38. But Ohio has other claims, too, say the state’s Civil War buffs.

The two most-important Union generals, Sherman and Ulysses S. Grant, were natives of Ohio. Also from Ohio were Gen. Philip Sheridan, who grew up in Somerset, and two of Abraham Lincoln’s closest advisers, cabinet members Edwin Stanton and Salmon P. Chase.

Ohio contributed more than 300,000 soldiers to the fight, the most per-capita of any state. The Camp Chase Confederate Cemetery in Columbus and the Johnson’s Island Confederate Cemetery on Sandusky Bay mark the spots of two important military prisons.

All of which means that Ohio has had ample opportunity to market itself as a Civil War state, Wittenberg said. Two separate Civil War trails could be created if Ohio would tie numerous historic sites together, he said.

The lack of marketing in the past is somewhat understandable, say those who are trying to promote the state’s Civil War heritage. Other states that have worked so hard to build a war-tourism industry might have seen that as their primary way of drawing visitors, while Ohio has focused on its many other draws, said Mark Holbrook, a Civil War enthusiast and a spokesman for the Ohio Historical Society.

“For decades, it was amusement parks, state parks, sports teams,” Holbrook said. Marketing dollars couldn’t stretch to cover the war.

They do now. Sort of. With the 150th anniversary, Ohio’s tourism industry thinks that promotion for its Civil War sites will find a receptive audience for the first time in a long time, said Amir Eylon, the state’s tourism director.

Most people who come to Ohio to vacation, as well as residents who travel within the state, are just looking for something to do, Eylon said. The goal this year, and over the next four years of Civil War commemoration, is to show travelers that they can spend a little extra time (and money) learning about the state’s war history.

“Maybe they are interested in Cedar Point,” he said. “And maybe they also visit Johnson’s Island or the (Rutherford B.) Hayes site.”

Eylon talks of the Civil War attractions as part of an overall Ohio experience, not so much as travel destinations on their own. The DiscoverOhio.com website promotes Ohio’s role in the Civil War in the same place it promotes baseball teams and space-travel heritage.

Other organizations are promoting the Civil War more specifically. A historical society website, OhioCivilWar150.org, will track Civil War events and opportunities in the state. More than 100 interpretive signs will go up next year along the path of Morgan’s Raid so visitors can drive the route.

Local sites will promote themselves. Sherman House will be among them. A symposium about Sherman and Confederate Gen. Joseph E. Johnston runs through the weekend.

“Sherman is in every history book in the world,” Frank Bullock said.

Bullock will be at the symposium, but just playing himself.

___

Information from: The Columbus Dispatch, http://www.dispatch.com

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-16-11 2018GMT

 

ADDITIONAL IMAGES OF NOTE

Gen. William T. Sherman's childhood home in Lancaster, Ohio. Built in 1811, it is now the Sherman House Museum. Image courtesy of Wikimedia Commons.
Gen. William T. Sherman’s childhood home in Lancaster, Ohio. Built in 1811, it is now the Sherman House Museum. Image courtesy of Wikimedia Commons.
Confederate Prison Cemetery, Johnson's Island, Ohio. Image by Chris Light. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
Confederate Prison Cemetery, Johnson’s Island, Ohio. Image by Chris Light. This work is licensed under the Creative Commons Attribution-ShareAlike 3.0 License.
President Rutherford B. Hayes’ home, Spiegel Grove, in Fremont, Ohio. Old Whitey, a warhorse that served during the Civil War and belonged to then Maj. Hayes became the mascot of the 23rd Ohio Volunteer Infantry. The horse was buried at Spiegel Grove upon his death in 1879, with a grave marker reading ‘Old Whitey A Hero of Nineteen Battles 1861-1865.’ Image courtesy of Wikimedia Commons.
President Rutherford B. Hayes’ home, Spiegel Grove, in Fremont, Ohio. Old Whitey, a warhorse that served during the Civil War and belonged to then Maj. Hayes became the mascot of the 23rd Ohio Volunteer Infantry. The horse was buried at Spiegel Grove upon his death in 1879, with a grave marker reading ‘Old Whitey A Hero of Nineteen Battles 1861-1865.’ Image courtesy of Wikimedia Commons.

Nazmiyal Collection to sell rare rugs, textiles in online auction May 1

Chinese Rank Badge, China, 18th century, 1 foot x 1 foot. Estimate: $2,000-$3,000. Image courtesy of Nazmiyal Collection.

Chinese Rank Badge, China, 18th century, 1 foot x 1 foot. Estimate: $2,000-$3,000. Image courtesy of Nazmiyal Collection.
Chinese Rank Badge, China, 18th century, 1 foot x 1 foot. Estimate: $2,000-$3,000. Image courtesy of Nazmiyal Collection.
NEW YORK – On Sunday, May 1, Nazmiyal Collection will conduct an exciting online auction featuring a selection of outstanding antique carpets and collectible textile pieces from around the world. This unique collection is composed of various collectible, decorative and rare carpets and textiles including rugs from the 17th century to Art Deco and Mid-Century Modern eras.

LiveAuctioneers will provide the Internet live bidding platform.

The 57-lot auction will begin at noon Eastern.

The centerpiece of the auction, an oversized late 19th century silk Heriz Persian rug (Lot 126), is a paradigm of Nazmiyal’s extensive collection given its rarity and inherent beauty. Directly following is an original Mohtashem Kashan (Lot 127) approximately 9 feet by 12 feet with an ivory border adorned with traditional dragon and lion motifs. Both are estimated to sell for far less than market value.

“It’s truly a phenomenal opportunity for anyone interested in antiques or decorative art forms,” said Jason Nazmiyal, owner of the Nazmiyal Collection. “Whether you are a serious collector or are looking for something special for your home, this is a great chance to find that piece for a price you never thought possible.”

The general public can view this collection firsthand during the preview, which will take place at the Nazmiyal Gallery, 31 E. 32nd St., Second Floor, in New York on Thursday, April 28, 9 a.m.-6 p.m., Friday, April 29, 9 a.m.-5 p.m., and Saturday, April 30, 11 a.m.-5 p.m.

For details call 212-545-8029 or e-mail: contact@nazmiyal.com.

 

altView the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

ADDITIONAL LOTS OF NOTE

Antique Melas, Turkey, late 19th century, 3 feet 9 inches x 4 feet 11 inches. Estimate: $12,000-$18,000. Image courtesy of Nazmiyal Collection.
Antique Melas, Turkey, late 19th century, 3 feet 9 inches x 4 feet 11 inches. Estimate: $12,000-$18,000. Image courtesy of Nazmiyal Collection.
Antique Khotan, East Turkestan, late 19th century, 3 feet 6 inches x 5 feet 3 inches. Estimate: $2,000-$4,000. Image courtesy of Nazmiyal Collection.
Antique Khotan, East Turkestan, late 19th century, 3 feet 6 inches x 5 feet 3 inches. Estimate: $2,000-$4,000. Image courtesy of Nazmiyal Collection.
Antique Chinese, China, early 20th century, 7 feet 3 inches x 9 feet 3 inches. Estimate: $7,000-$10,000. Image courtesy of Nazmiyal Collection.
Antique Chinese, China, early 20th century, 7 feet 3 inches x 9 feet 3 inches. Estimate: $7,000-$10,000. Image courtesy of Nazmiyal Collection.
Antique Mohtashem Kashan rug, Persia, late 19th century, 8 feet 6 inches x 11 feet 9 inches. Estimate: $40,000-$50,000. Image courtesy of Nazmiyal Collection.
Antique Mohtashem Kashan rug, Persia, late 19th century, 8 feet 6 inches x 11 feet 9 inches. Estimate: $40,000-$50,000. Image courtesy of Nazmiyal Collection.
Antique Serapi, Persia, late 19th century, 9 feet x 11 feet 7 inches. Estimate: $20,000-$30,000. Image courtesy of Nazmiyal Collection.
Antique Serapi, Persia, late 19th century, 9 feet x 11 feet 7 inches. Estimate: $20,000-$30,000. Image courtesy of Nazmiyal Collection.

Most Smithsonian funding remains intact under budget deal

A view of the National Museum of Natural History from the Washington Monument. This file is licensed under the Creative Commons Attribution 2.0 Generic license.

A view of the National Museum of Natural History from the Washington Monument. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
A view of the National Museum of Natural History from the Washington Monument. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
WASHINGTON (AP) – The Smithsonian Institution will see a $1.8 million cut in its 2011 budget under the spending deal approved by Congress.

Details of the budget released Monday include a $759.6 million appropriation from Congress, down from $761.4 million last year. Most Smithsonian funding remains intact with a small reduction for salaries and expenses.

There is $125 million for construction and revitalization projects. That includes $20 million for planning and design of the National Museum of African American History and Culture and $10.6 million for revitalization at the National Museum of Natural History and National Zoo.

The Natural History Museum also will receive $16.6 million to replace its mechanical systems and windows.

The National Museum of American History will receive $18 million to convert its parking garage into space for collections storage.

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-18-11 1839GMT

 

ADDITIONAL IAMGE OF NOTE

A view of the National Museum of Natural History from the Washington Monument. This file is licensed under the Creative Commons Attribution 2.0 Generic license.
A view of the National Museum of Natural History from the Washington Monument. This file is licensed under the Creative Commons Attribution 2.0 Generic license.

Cyrus Cylinder returns to London after loan to Iran

The Cyrus Cylinder in situ at The British Museum. Image by Kaaveh Ahangar. Courtesy Wikimedia Commons.
The Cyrus Cylinder in situ at The British Museum. Image by Kaaveh Ahangar. Courtesy Wikimedia Commons.
The Cyrus Cylinder in situ at The British Museum. Image by Kaaveh Ahangar. Courtesy Wikimedia Commons.

LONDON (AP) – A 2,500-year-old Babylonian artifact sometimes described as the world’s first human rights charter was returning to the British Museum Monday after a seven-month loan to Iran.

Hundreds of thousands of people viewed the Cyrus Cylinder while it was on display at Iran’s National Museum.

The clay cylinder carries an account of how the Persian king Cyrus conquered Babylon in 539 B.C. and restored many of the people held captive by the Babylonians to their homelands.

The British Museum said the artifact would go back on display in its ancient Iran gallery on Tuesday.

The cylinder caused a spat between the two nations when Iran’s government threatened to cut ties with the British Museum if it did not lend the object. A four-month loan was eventually agreed, and extended because the exhibition was so popular.

British Museum director Neil MacGregor said he hoped to agree future loans with Iranian authorities.

Speaking in Tehran on Saturday, he said such cultural exchanges “are especially important in the complex, often hostile, world we live in today.”

Diplomatic relations between the two countries have been strained by Iran’s disputed nuclear program, which Britain and other Western countries believe is being used to develop nuclear weapons. Iran also has accused Britain of supporting anti-government protests in 2009 postelection turmoil, a charge London denies.

The Cyrus Cylinder is often called the world’s oldest human rights document, although it was common in Mesopotamia for kings to begin their rule with such reform declarations.

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-18-11 1617GMT

 

ADDITIONAL IMAGE OF NOTE

Front view of The Cyrus Cylinder, terracotta, Babylonia (southern Iraq), circa 539-530 B.C. Courtesy Wikimedia Commons.
Front view of The Cyrus Cylinder, terracotta, Babylonia (southern Iraq), circa 539-530 B.C. Courtesy Wikimedia Commons.

Pa. Impressionists, Old Masters, artist’s collection at William Bunch, May 3

Edward Willis Redfield (New Hope school, Pa., 1869-1965), From Lumberville to Raven Rock, oil on panel, 4½ by 6 inches. William H. Bunch Auctions image.
Edward Willis Redfield (New Hope school, Pa., 1869-1965), From Lumberville to Raven Rock, oil on panel, 4½ by 6 inches. William H. Bunch Auctions image.
Edward Willis Redfield (New Hope school, Pa., 1869-1965), From Lumberville to Raven Rock, oil on panel, 4½ by 6 inches. William H. Bunch Auctions image.

CHADDS FORD, Pa. – The walls at William H. Bunch’s auction gallery are alive with color, in preparation for a Tuesday, May 3 auction of nearly 400 paintings and other fine-quality works by American and European artists. Three primary consignors were the source for the vibrant and varied selection of American Impressionist art – including Bucks County/New Hope School; Old Masters and other Continental pictures; and illustration art.

The single-owner collection of Bucks County/Pennsylvania art features paintings by some of the most collected artists of the genre. Highlights include Bucks County Bridge, an oil-on-canvas winter landscape by Walter Emerson Baum (1884-1956); a dramatic circa-1925 oil-on-board seascape depicting Pigeon Cove, Mass., by George William Sotter (1879-1953); and an atmospheric snow scene of a horse-drawn sleigh entering a covered bridge by Edward Willis Redfield (1869-1965). Redfield’s oil-on-panel painting is titled From Lumberville to Raven Rock and dates to around 1915. It was authenticated by Dr. Thomas Folk, who also documented its trail of provenance.

A highly important New Hope school artwork by Charles Rosen (1878-1950) is titled Delaware Thawing (Delaware Quarries). The 32- by 40-inch oil on canvas is artist-signed and dated “Charles Rosen ’06” and has a long and distinguished history of exhibition, including at the Phillip’s Mill Community Association’s 75th Anniversary Retrospective Art Exhibition of 1983. An exceptional painting that showcases Rosen’s mastery of pastel tones, it is expected to make $100,000-$150,000.

Other Pennsylvania art includes Robert Spencer’s (1879-1931) oil on canvas painted around 1917-18 titled Waterloo Row and S. George Phillips’ (1890-1965) oil-on-board picture from the 1930s titled New England Coast. Auctioneer William Bunch observed that the Pennsylvania art collection “presents beautifully – each painting has been well conserved and tastefully framed.”

An exciting addition to the sale is the collection of illustration art from the living estate of Richard C. Baldwin (b. 1911-). Now 90 years old, Baldwin studied at the Pennsylvania Academy of the Fine Arts in Philadelphia under Walker Hancock and George Harding. Upon the advice of fellow student N.C. Wyeth, Baldwin headed west in his youth to fulfill a dream he harbored. “He boarded a train and traveled to places where he could paint scenes of cowboys, Indians and Mexican culture as witnessed firsthand,” said Bunch. That period of Baldwin’s career is reflected in several paintings to be auctioned on May 3, including the 30- by 46-inch Stage Holdup and the animated market scene measuring 32- by 56-inches and titled Guadalupe, Mexico.

After his sojourn to the West, Baldwin returned to Philadelphia where he worked as a commercial artist for the advertising agency N.W. Ayer. He would subsequently serve as master sculptor and design director for Franklin Mint, working collaboratively with Norman Rockwell on the company’s respected Boy Scout series and Bicentennial medals.

“Richard Baldwin has had a very successful and diverse career,” said Bunch. “When his son called and asked if we would auction his father’s collection, we knew we would see an interesting cross section of art. Mr. Baldwin worked in nearly every medium and was adept in every style he embraced, from Western and commercial art to 1950s street gangster art and even cheesecake.”

Bunch said the most difficult aspect of cataloging the Baldwin collection was placing values on the various works. “There are people out there who definitely known Richard Baldwin’s name, but his art hasn’t appeared at auction; it’s untested in the marketplace. This sale will be a nice opportunity for collectors to buy excellent-quality illustration art at a fair price. Most of the lots are estimated in the $300 to $600 range.”

Another strong component of the sale is the collection of approximately one dozen Old Masters from a long-held Texas collection. An unidentified 17th/18th-century oil on canvas of the Madonna with Child surrounded by cherubs measures 47 by 38 inches and is presented in a heavy, horsehair-reinforced gilt frame. “This is a painting that could easily be on the wall of The Louvre or some other great museum,” said Bunch, who has estimated it at $20,000-$40,000.

Other Old Masters to be offered run the gamut from simple portraits of men in period dress to large, exotic garden scenes painted by a follower of Melchior D’Hondecoeter (Dutch, 1636-1695). Two luxuriant oils created by the latter artist are entered in the sale, each measuring 64½ by 98½ inches. One of the paintings features cockatoos and other tropical birds in its foreground, while the other depicts peacocks and flamingos amid lush foliage, flowers and fruit trees.

“This collection is going to be a real treasure hunt for people who pay attention to Old Masters. Something here is going to catch fire,” Bunch predicted.

A religious-themed highlight from the array of Continental art is Ecce Homo, an oil on canvas of Christ in the Crown of Thorns, painted in the manner of Guido Reni (Italian, 1575-1642). The 20½- by 18½-inch oil on canvas is presented in a heavy molded-plaster gilt rococo frame with an Uruguayan gallery label that reads: “Arts Dorados Artistico.”

British art is led by a Charles Spencelayh (1865-1958) artist-signed oil on canvas, 18 by 14 inches, titled Matchstick Boy. As its name suggests, the circa-1900 painting depicts a young boy – rosy cheeked and dressed in rain gear – peddling a box of matches.

The sale selection is rounded out by several fine bronzes, including an Ignatius Taschner (German, 1871-1913) sculpture titled Young Woman on Bull, and a bronze bust titled Cuauhtemoc, Aztec Ruler of Tenochtitlan, circa 1520-21.

All forms of bidding will be available for the auction, which commences at 12 noon Eastern time on Tuesday, May 3, including live in the gallery, absentee, by phone or live via the Internet through LiveAuctioneers.com and The-Saleroom.com.

To contact the gallery, call 610-558-1800 or e-mail info@williambunchauctions.com. Visit the William H. Bunch website at www.williambunchauctions.com.

#   #   #

 

View the fully illustrated catalog and register to bid absentee or live via the Internet as the sale is taking place by logging on to www.LiveAuctioneers.com.

ADDITIONAL LOTS OF NOTE

Charles Rosen (New Hope school, Pa., 1878-1950), Delaware Thawing (Delaware Quarries), oil on canvas, 32 by 40 inches. William H. Bunch Auctions image.
Charles Rosen (New Hope school, Pa., 1878-1950), Delaware Thawing (Delaware Quarries), oil on canvas, 32 by 40 inches. William H. Bunch Auctions image.
Charles Spencelayh (English, 1865-1958), Matchstick Boy, oil on canvas, 18 by 14 inches. William H. Bunch Auctions image.
Charles Spencelayh (English, 1865-1958), Matchstick Boy, oil on canvas, 18 by 14 inches. William H. Bunch Auctions image.
Richard C. Baldwin (American/Philadelphia, b. 1911-), Guadalupe, Mexico, oil on canvas, 32 by 56 inches. William H. Bunch Auctions image.
Richard C. Baldwin (American/Philadelphia, b. 1911-), Guadalupe, Mexico, oil on canvas, 32 by 56 inches. William H. Bunch Auctions image.
Manner of Guido Reni (Italian, 1575-1642), Ecce Homo (Behold the Man), oil on canvas, 20½ by 18½ inches. William H. Bunch Auctions image.
Manner of Guido Reni (Italian, 1575-1642), Ecce Homo (Behold the Man), oil on canvas, 20½ by 18½ inches. William H. Bunch Auctions image.
Old Master school, Madonna with Child surrounded by cherubs, 17th/18th century, oil on canvas, 47 by 38 inches. William H. Bunch Auctions image.
Old Master school, Madonna with Child surrounded by cherubs, 17th/18th century, oil on canvas, 47 by 38 inches. William H. Bunch Auctions image.
Ignatius Taschner (German, 1871-1913), Young Woman on Bull, bronze sculpture on wood pedestal, cast by Preissman Bauer & Co., Munich; 20 inches long by 17 inches high. William H. Bunch Auctions image.
Ignatius Taschner (German, 1871-1913), Young Woman on Bull, bronze sculpture on wood pedestal, cast by Preissman Bauer & Co., Munich; 20 inches long by 17 inches high. William H. Bunch Auctions image.
Follower of Melchior D’Hondecoeter (Dutch, 1636-1695), garden scene with flamingos and peacock amid fruit and flowers, 64½ by 98½ inches. William H. Bunch Auctions image.
Follower of Melchior D’Hondecoeter (Dutch, 1636-1695), garden scene with flamingos and peacock amid fruit and flowers, 64½ by 98½ inches. William H. Bunch Auctions image.
Antonio Pietro Martino (American/Philadelphia, 1902-1988), Manayunk Winter, oil on canvas, 30 by 36 inches. William H. Bunch Auctions image.
Antonio Pietro Martino (American/Philadelphia, 1902-1988), Manayunk Winter, oil on canvas, 30 by 36 inches. William H. Bunch Auctions image.
Jane Peterson (American/New York, 1876-1965), Fishing Boats at a Dock, oil on canvas, 30 by 36 inches. William H. Bunch Auctions image.
Jane Peterson (American/New York, 1876-1965), Fishing Boats at a Dock, oil on canvas, 30 by 36 inches. William H. Bunch Auctions image.
Nancy Maybin Ferguson (American/Philadelphia, 1869-1967), They Walk Past the Band Stand, oil on canvas, 30 by 36 inches. William H. Bunch Auctions image.
Nancy Maybin Ferguson (American/Philadelphia, 1869-1967), They Walk Past the Band Stand, oil on canvas, 30 by 36 inches. William H. Bunch Auctions image.

Tiffany Studios church window finds home after 20 years in storage

The Tiffany Studios stained glass window has been in storage for the past 20 years. Image courtesy of Reformed Church of the Tarrytowns.

The Tiffany Studios stained glass window has been in storage for the past 20 years. Image courtesy of Reformed Church of the Tarrytowns.
The Tiffany Studios stained glass window has been in storage for the past 20 years. Image courtesy of Reformed Church of the Tarrytowns.
TARRYTOWN, N.Y. (AP) – Twenty years after a Tiffany stained glass window was put into storage, it is again gracing a suburban New York church.

The window was unveiled Sunday at the Reformed Church of the Tarrytowns in Westchester Country.

Known as the John Knox Allen Memorial Tiffany window, it was designed in Tiffany’s New York studios in 1930. It hung above the altar of the First Reformed Church of North Tarrytown in honor of Allen. He was pastor of the church for 50 years.

When the church merged in 1991 with the Second Reformed Church down the street, the window was taken down and crated.

The Journal News says parishioners of the combined church on Sunday admired the restored window in an annex that was expanded to accommodate it.

___

Information from: The Journal News, http://www.lohud.com

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-18-11 1102GMT

 

ADDITIONAL IMAGE OF NOTE

The Tiffany Studios stained glass window has been in storage for the past 20 years. Image courtesy of Reformed Church of the Tarrytowns.
The Tiffany Studios stained glass window has been in storage for the past 20 years. Image courtesy of Reformed Church of the Tarrytowns.

Carol Wallace’s novel ‘Leaving van Gogh’ a revealing portrait of doubt

Vincent van Gogh painted ‘Portrait of Dr. Gachet’ in June 1890 during the last weeks of his life. Image courtesy of Wikimedia Commons.

Vincent van Gogh painted ‘Portrait of Dr. Gachet’ in June 1890 during the last weeks of his life. Image courtesy of Wikimedia Commons.
Vincent van Gogh painted ‘Portrait of Dr. Gachet’ in June 1890 during the last weeks of his life. Image courtesy of Wikimedia Commons.
Leaving van Gogh (Spiegel & Grau), by Carol Wallace: Although he merely dabbled with paint and brush, French physician Paul Gachet occupies a significant place in art history.

The intriguing novel Leaving van Gogh imagines what the good doctor might say in looking back on the two months in 1890 during which he tried – and failed – to rescue the painter Vincent van Gogh from madness.

Author Carol Wallace’s sympathetic portrait of van Gogh is secondary to that of Gachet himself, a man of science who marvels at the artistic talent of his 37-year-old patient. He treats van Gogh’s mental illness with modern methods, at least for the late 19th century. His chief tool is a sense of compassion for the tortured soul.

Just as van Gogh studies Gachet and others for portraits during his stay in the French countryside, Wallace offers her own study of the doctor. He mourns a dead wife, tries to be a good father to a blossoming young daughter and maturing teenage son, and seeks worth in a practice that often deals with the deranged.

Gachet is aware that he, too, is on an emotional tightrope at times, if not as lacking as van Gogh in maintaining mental balance. He shares another quality with the troubled artist: self-doubt. In Wallace’s rendering, the doctor’s memories are colored by the elation that comes from having discovered a genius in his midst – and the knowledge that the tragedy that lies ahead, like his wife’s fatal illness, proves to be beyond his powers to prevent.

Many readers will come to Leaving van Gogh with their own knowledge of the painter’s life. (The famous incident in which he cut off part of an ear took place before he met Gachet.) In sublime prose, Wallace subtly refers to van Gogh’s artworks, and his signature style, as she allows Gachet the opportunity to lift the burden of regret from his mind.

Most appropriately, a sense of melancholy marks Leaving van Gogh, though it makes the novel no less enjoyable. And there is no small amount of irony attached to the subject of van Gogh and Gachet: In 1990, van Gogh’s portrait of the doctor sold for $82.5 million, then the highest price paid at auction for a work of art. In his lifetime, van Gogh managed to sell but a single painting.

___

Douglass K. Daniel is the author of Tough as Nails: The Life and Films of Richard Brooks (University of Wisconsin Press).

Copyright 2011 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

AP-WF-04-18-11 1325GMT

 

 

ADDITIONAL IMAGE OF NOTE

Vincent van Gogh painted ‘Portrait of Dr. Gachet’ in June 1890 during the last weeks of his life. Image courtesy of Wikimedia Commons.
Vincent van Gogh painted ‘Portrait of Dr. Gachet’ in June 1890 during the last weeks of his life. Image courtesy of Wikimedia Commons.