2016 Michigan Art Exhibition

Retrospective Show and Sale

May 6th-15th

Schmidt’s Antiques Inc. Since 1911 5138 West Michigan Avenue Ypsilanti, Michigan 48197 (734) 434 2660

www.SchmidtsAntiques.com FEATURED ARTISTS:

Mathias Alten, German/American, 1871-1938

A longtime, and prominent resident of Grand Rapids, this Impressionist painter was well versed in oil, watercolor, and pastel painting. Beyond prolific, Alten completed an unprecedented amount of works in his lifetime; it is said to be a sum of over 3,000.

While Alten is perhaps best known for his landscapes and vibrant beach tableau, he was certainly an accomplished portrait artist, creating striking renditions of his subjects. Known as the "Dean of Michigan Painters", he traveled throughout the country, as well as Europe, but always returned to Grand Rapids, a city that he loved and chose to make his home.

Myron Barlow, American, 1873-1937

Although many label Barlow as a “French” artist, as he spent a considerable amount of time in France, he was actually born in Ionia, Michigan, and raised in Detroit. He studied with Joseph Gies while a student at the Detroit Museum School, and he also briefly attended the Chicago Art Institute. He began his career as a newspaper artist, but soon decided to travel and study abroad to learn from the masters, where he became greatly inspired by the works of Vermeer. While in Europe, he earned his first medal by the tender age of twenty-two, and by thirty-four was the sole American elected to be a member of the Societe Nationale des Beaux Arts in France.

At home and abroad Barlow received praise for his works, which even caught the eye of William Bouguereau, and was especially admired for his treatment of color. It was important to Barlow to create long lasting colors, as he noted that works by his predecessors were fading, due to inferior paint quality. Thus, he took to grinding pigments and mixing his own paints. This type of detail, and dedication, are perhaps what have made his works popular through the ages. From private collections to the Detroit Institute of Arts, his paintings command attention and continue to gain a following.

Leon Dabo, French/American, 1864-1960 and Theodore Scott Dabo, French/American, 1877-1928

The paintings of both Leon and Theodore Dabo are striking, yet familiar at the same time. Clearly influenced by the likes of Whistler, both artists are known for their tonal and serene images; hazy landscapes that are basked in colors only seen at dusk or dawn, that are almost eerie in natural, but undeniably calm, and captivating.

The locations and dates of the births of the Dabo brothers range widely, but it is certain that they emigrated from France to Detroit in 1870, in order to escape the Franco-Prussian War. In 1883, the family relocated to New York where Leon worked as an architectural designer to support Theodore’s career as an artist. In New York, the brothers worked together decorating churches, among other establishments, and opened their own studio where they would host joint exhibitions. Leon and Theodore would collaborate for numerous exhibitions across the country, including showings in both New York and Detroit.

Although the Dabo brothers resided in Detroit for only a short period of time, they continued to maintain ties to the city. Leon was a member of the Hopkin Club, and Theodore’s “The River Seine” was gifted to the Detroit Institute of Arts. Even today, when one thinks of a list of Detroit artists, both Leon and Theodore Dabo surely come to mind.

Roy Gamble, American, 1887-1972

Like many before him, Roy Gamble studied under Joseph Gies and John P. Wicker at the Detroit Academy of Fine Arts. He continued his education in New York where he studied at the Art Students League under Robert Henri and William Merritt Chase, as well as in Paris under Jean-Paul Laurens at the Academie Julian. From 1910 to 1911 Gamble exhibited at the Paris Salons, but he would soon return to Detroit-the city that he was born in, and would remain in.

Although an accomplished portrait artist, as he captured important and prominent figures of Detroit including Mayor Albert E. Cobo and Detroit Tiger Ty Cobb, perhaps what Gamble is best known for is his work as a muralist. In 1914, the Detroit Free Press commissioned him to complete a series of murals to illustrate the early history of Detroit. His scenes included: The Landing of Cadillac, Bartering with Indians, Pontiac’s Conspiracy, Conquering the Forest, and Modern Industry. The murals were an enormous success; so much so that when the Free Press relocated to a new building it was requested of the architect, Albert Kahn, to design a special room to exhibit the paintings.

What makes Gamble’s work special, is that it is still such a living part of the community. It isn’t confined to private collections; it can still be found in spaces accessible to the public throughout the state. The Detroit Historical Museum, the Detroit Athletic Center, Wayne State University, the Michigan State Capitol, and the Michigan Supreme Court all house his works. Gamble was a lifelong resident of Detroit and through his art, he continues to live among us.

Joseph Gies, American, 1860-1935

Joseph Gies was unquestionably one of the most influential, and instrumental, figures in the Detroit art community. Born in Detroit, he obtained his initial training from Julius Melchers, and later went on to study at the National Academy of Design, the Cooper Union School of art and the Art Students League, both in New York. He traveled to Paris in 1883 to study under Adolphe Bougereau and Tony Robert-Fleury, and later spent a period of time at the Royal Academy in Munich, Germany.

When he returned to his home town in 1890, he became a faculty member of the Art School of the Detroit Museum of Art, a post that he maintained for five years. In 1898 Gies, along with Francis Petrus Paulus, founded the Detroit Academy of Art, what was also known as Detroit School of Fine Arts. Even though Gies retired from teaching just twelve years later, he still remained a vital part of the community that was responsible for the development of the artistic culture in the city of Detroit.

The idea that artists and students of art must be able to gather together, to discuss ideas so that they may nurture their talents, was extremely important to Gies. So much so, in fact, that he opened his home on Adams Avenue as a gathering place, to local artists and art students alike. Certainly, this notion was the genesis of The Scarab Club, as he was one of the founding members, as well as its first president. And for that, the artists and art connoisseurs of Michigan indeed owe a debt of gratitude to Joseph Gies.

William Girard, American, 1940-2011

A lifelong resident of Royal Oak, Michigan, William “Bill” Girard was known for his ability to capture images rooted in myth and fantasy. Inspired by a multitude of artistic movements, including the Classical period as well as Mannerism, his paintings evoke the senses and transport the viewer to realm of romance and whimsy.

Upon graduating high school, Girard briefly attended what is now known as Detroit’s College for Creative Studies. Although unable to complete his degree for personal reasons, he was able to return to the College in 1968 as a Professor. He taught for thirty years, sharing his knowledge of techniques that he had taught himself over the years, including working in oil paints, egg tempera, terra cotta, clay, wax, and fresco work. His eagerness to learn greatly fueled his ability to teach, and share knowledge with anyone who was interested in learning. It is also in his own creations that one can see his enthusiasm, which no doubt contributed to his ability to create unique pieces that are undeniably surreal.

James C. Harrison, American, 1925-1990

Harrison was a Detroit artist based in Brooklyn, New York. His work is complex, layered and full of Jungian, religious and mystical references used to relay his internal battles and demons.

Harrison drew inspiration from mythology, psychiatry, poetry, music, philosophy and artists of the past. His ever-evolving style always maintained a cutting-edge quality that was anchored in his own deep philosophical tendencies. Born in Detroit, Michigan on November 27, 1925, Harrison attended Cass Technical High School. He graduated in 1943 with a degree in commercial art. He went on to attend both the Cranbrook Academy of Art (1944) and Olivet College (1946) for only a single term each, before realizing that a traditional educational setting was not agreeable with him. Thus, he became largely a self-taught artist.

In 1950, Harrison moved to New York and worked as a color mixer for a textile manufacturer to support himself, still with aspirations of becoming a recognized artist.

While in New York, Harrison surrounded himself with a group of friends that included James Baldwin and photographers Doug Quackenbush and Larry Clark. He drew inspiration from Jazz, a passion that ignited in him since his beginnings in Detroit, the philosophies of Carl Jung and became more and more consumed by an addiction to drugs and alcohol. From the late 1950s throughout the 1970s he was featured in numerous group exhibitions, but it wasn't until the 1980s that he finally gained recognition of his own right. In 1983, he had his first solo exhibition at A Place Apart Gallery in Brooklyn, New York, and in 1987, the LedisFlam Gallery presented his unaided exhibition, "Forty Year Retrospective". Harrison was prolific in numerous mediums including prints, mixed media, assemblage and paintings. While his early work has been compared to both Cy Twombly and Robert Rauschenberg, his later pieces show a distinct change in inspiration. Even though Harrison’s work evolved dramatically during the course of his career, it consistently demonstrated his fierce need for self-expression; art served as both a physical and emotional catharsis for Harrison.

Harrison’s quest for self-discovery and his private theology of light were themes that he considered for many years. The majority of his painting and drawings bear multiple dates indicating that they were reworked, enforcing an intense introspection and attests to his poverty and obscurity: many of his works were never seen or sold. After a long-standing battle with alcohol and drug abuse, Harrison died from liver failure on November 4, 1990 in Brooklyn, New York

Robert Hopkin, Scottish/American, 1832-1909

Perhaps one of the most recognizable names in the exhibition, it is no doubt due to Hopkin’s significant contributions to the art community in the Detroit area. The Scottish born artist immigrated to Detroit in 1843, where he remained almost exclusively until his death in 1909. He thrived in his new found home, as he was known to have produced more than 390 oil and watercolor paintings, of which his Great Lakes Marine scenes are the most renowned.

In addition to his artwork, Hopkin’s other significant contribution to the city of Detroit was his founding of The Hopkin Club in 1907. Hopkin and his contemporaries saw the importance of creating an environment where artists and patrons of the arts could convene to converse and exchange ideas. This club later became The Scarab Club, which remains active today. Thankfully, Hopkin was not only successful in his artistic vision, but also in his vision of the importance in making art accessible to the community. His idea of creating a Club where local artists could exhibit and educate the public became deeply seeded in the city of Detroit, which is why The Scarab Club remains a cornerstone of the artistic community today.

Richard Jerzy, American, 1943-2001 Richard Jerzy grew up on Detroit’s Eastside, and fine-tuned his artistic talent while attending Detroit’s Center for Creative Studies. He was later hired by the school as a painting professor, and held the position for nearly thirty years. From the Ford and Ilitch households, to families throughout Michigan, the works of Richard Jerzy continue to be highly favored. Working in oil and watercolor paints, his depictions of both figures and still lifes are among collectors’ favorites due to his bold use of color and light. There is vibrancy and life to Jerzy’s painting that continues to resonate with collectors, which certainly will continue with those in the Detroit art community.

Zubel Kachadoorian, American, 1924-2002

A Detroit native and educator, Zubel Kachadoorian was a pillar in the Detroit art community. Born in the Delray neighborhood of Detroit, Kachadoorian began his artistic education at Meinzinger Art School in Detroit, and soon after would propel his career by working with Francis de Erdely at the Scarab Club. He became active in what he called “working scholarships” in order to pursue his career as an artist. He traveled to Oxbow Summer School in Saugatuck, Michigan, and even on to the Skowhegan School of Painting and sculpture in Skowhegan, Maine. He continued to educate himself through travel, from Chicago, New York, and Colorado to France, Spain, Italy, Greece, and North Africa. In no time, Kachadoorian gained International respect and acclaim.

Perhaps part of what makes his work so striking, is his distinct evolution as an artist. His pieces from the 1940s portray the grittiness of his childhood neighborhood. When one looks at his later works, from the 1980s until his death in 2002, his technique dramatically shifts to ethereal images that undeniably resonate with the viewer; light, color, and dream- like figures flood his pieces. Regardless of era, Kachadoorian’s artwork has long been, and continues to be, highly favored by collectors not only in Michigan, but throughout the world.

Milton “Milt” Kemnitz, American, 1911-2005

Born in Detroit, and University of Michigan graduate, Milt Kemnitz was a social rights activist and artist. In 1935 he began his professional career as a social worker in Washtenaw County, but he soon took part in other ventures that fueled his passion for social, political, and union activism. He participated in a sit-down strike at the General Motors plant in Flint and was the secretary of the Conference for the Protection of Civil Rights in Detroit, which became the National Federation for Constitutional Liberties.

In 1942 Kemnitz moved to New York for his work with the NFCL. However, World War II called for Kemnitz’s service and thus his part of the war effort was that of a merchant seaman in Europe. It was at this time, through a National Maritime Union program that Kemnitz learned how to paint. After he returned to New York after the war, Kemnitz decided to move back to Ann Arbor to establish his career there as an artist.

And thus, he was successful. Through a variety of mediums, watercolor and oil paintings, pen and ink drawings, printmaking, collage, and even stained glass, Kemnitz depicted buildings, homes, and street scenes of places throughout Ann Arbor. He wanted to preserve, or save, the buildings and places that were important to him; he wanted to conserve both the historic nature of the city as well as its character. It’s rather interesting to see that, in this way, by “preserving” buildings within a city, that Kemnit’z artwork continued to promote his efforts as an activist.

Julius Rolshoven, American, 1858-1930 Born in Detroit, Rolshoven left Michigan at eighteen to study in New York and then later on to Germany. He resided in Europe until the beginning of World War I, when he decided to return to the United States. By 1916, Rolshoven settled in the American Southwest. He set up a studio in Santa Fe, but from 1920 until his death he moved between three residences in Florence (Italy), Detroit, and Santa Fe.

Brilliant use of color and bold brushstrokes are both characteristic and indicative of his work, yet he was firmly rooted in the academic tradition. From striking portraits, to vivid images of American Indians and rugged landscapes, Rolshoven’s works bring life to whatever subject he portrays.

Douglas Arthur Teed, American, 1860-1929

Teed began his artistic career in his home state of New York. After a brief stint as a billboard painter, he traveled to Rome where he was able to open his own studio. He worked abroad for five years before returning to the United States.

Although he had significant success in several American cities, it was in Detroit where Teed gained a significant following. He was commissioned privately by many of the well to do in Detroit’s booming automotive industry, and he also contributed to such events as the “Annual Exhibition of Paintings by American Artists” at the Detroit Institute of Arts and the Oriental Theatre in Detroit. It is no wonder that his paintings continue to have an appeal to the Detroit Community; his romantic aesthetic and Orientalist imagery continue to catch the eye and capture the imagination.

Sarkis Sarkisian, Turkish/American, 1909-1977

Sarkis Sarkisian’s artistic career began just eleven years after he immigrated with his family to Detroit in 1922. He attended the Wicker School of Fine Arts and the Art School of the Detroit Society of Arts & Crafts-what is now the College of Creative Studies. 1933 he was asked to work as an assistant instructor of drawing and design at the Art School in Detroit, and a year later he became a full time instructor. A short time later, in 1947, he was named the school’s Director.

Over the span of his lengthy career, Sarkisian participated in numerous competitive exhibitions across the country but continued to maintain a strong connection to the city of Detroit, thus including showings at the Detroit Institute of Arts and The Scarab Club. Sarkisian had a strong impact on the artistic culture of Detroit, and the sentiment was undoubtedly reciprocated as he once said, "Detroit has given me everything.”

Zoltan Sepeshy, Hungarian/American, 1898-1974

A prominent educational and administrative figure in the Detroit area, Zoltan Sepeshy went from a painting instructor at the Cranbrook Academy of Art in Bloomfield Hills, Michigan, to the Director, and, eventually, to its President. Having degrees in both art and education proved to be valuable for this artist with an unusual personal history.

Born into an upper-class family in Kassa, Hungary, Sepeshy, an only child, experienced both a fine education and extensive travel throughout Europe. Both experiences, particularly his scholastic years at the Royal Academy of Fine Arts in Budapest and the Fine Arts Academy in Vienna, helped to shape his own identity as an artist.

He immigrated to American, first to New York and then finally to Detroit, and quickly learned that the artist’s life was not a tranquil one. Sepeshy worked odd jobs, including whitewashing walls, architectural drafting, and selling books, but continued working vigorously on his artwork. He traveled across the country to further his career, painting small-scale works as well as large murals, and even put on a number of solo exhibitions. His determination, drive, and his relentless work ethic fostered his artistic point of view.

Sepeshy’s own experience of becoming a “self-made man” gave him a certain insight into American life and culture, and that is what one sees in his works. His landscapes, cityscapes, and even religious imagery, capture both a sense of reality and obscurity. His expressive style manages to marry concepts with concrete images, and leaves the viewer feeling both intrigued and contemplative. Through simple forms, color, and light his paintings and illustrations give us a glimpse of the world as seen by Zoltan Sepeshy.

Mary Chase Perry Stratton, American, 1867-1961

Born in Michigan’s Upper Peninsula, Stratton and her family relocated to Ann Arbor before finally settling in Detroit. Her education in art began when she attended classes at the Detroit Museum of Art (which later became the Detroit Institute of Arts), and then was continued, more formally, in 1887 at the Art Academy of Cincinnati where she was a student for two years.

Stratton moved back to Detroit and by 1903 had opened “Stable Studio” with her neighbor, Horace Caulkins. Stratton and Caulkins soon received their first substantial order from Burley & Company of Chicago, who specialized in china and pottery. Stratton’s revolutionary glazes received much acclaim and were a massive sensation. The following year the studio was renamed Pewabic Pottery. The name “Pewabic” was of significance for Stratton, as the word was that of the Native American’s for the copper mine in Hancock, Michigan, the town where Stratton was born.

Pewabic Pottery has become such a famous institution in Michigan. Pewabic tiles grace the walls of museums, churches, businesses, and homes across the country and are certainly not an item of the past. Pewabic Pottery is still a successful organization today, with its tiles still being created and ordered, by business and home owners alike.

However, Stratton did so much more for the art community in Michigan. She founded the ceramics department at the University of Michigan in Ann Arbor, where she taught, and was also an instructor at Wayne State University in Detroit, but she continued to work at Pewabic throughout her life.

Stratton’s legacy is perhaps mostly thought to be for her work as a ceramicist, or even for her revolutionary iridescent glazes. But the reality is, what truly makes her a significant part of Michigan’s art history, is that she created pieces that transformed a practical setting into an artistic space. Whether it be one of her lesser seen pieces, like a drawing or painting, or something more recognizablen like the wall clad with shimmering tiles at the Detroit Institute of Arts, Stratton’s work creates an atmosphere that is simply extraordinary.

John Baker Tabb, American, 1923-2001

While he may be one of the lesser known Detroit area artists, John B. Tabb was certainly accomplished in his field. His career was both expansive and impressive.

Originally from Ohio, Tabb attended Purdue University before serving a year and a half in the Army Air Force. In 1944, he came to Detroit where he would study with Arnold Blanch at the Meizinger Art School. He would return there to teach from 1947-1952, in addition to instructing at Marygrove College from 1949-1953. Ending his career in the academic world, he took the position of Assistant Director in Public Relations with General Motors where he was responsible for designing all of their graphic publications. His work included the dedication and logos for the GM Technical Center 50 Millionth Car Celebration, as well as for GM’s 50th and 75th Anniversaries. He retired from his position of Manager of Art Production and Corporate Communications for Public Relations in 1987.

Throughout his various careers, Tabb remained active in the artistic world in Detroit. He was elected as a member of The Scarab Club in 1948, and was also a studio-tenant during the late 1940s into the early 1950s. Markedly talented, Tabb was the recipient of their Gold Medal Award in 1952, 1954, 1956, and, almost forty years later, in 1994. He would later serve as Club president from 1996-1997.

Tabb’s unique background, a combination of art and automotive, makes his work truly special. Perhaps it is that balance, of precision and grittiness, which makes his work so identifiable with those who are so deeply rooted in the Motor City culture.

Archie Palmer Wigle, American, 1881-1963

Impressionistic in style, Wigle is known for his landscape, still life, and marine paintings. Working in studios in various places within the city of Detroit, a frequent resident of Indian Village, and having exhibited pieces at the Detroit Institute of Arts, he was an active member of the artistic community.

While there is little documentation regarding any aspect of Wigle’s life or career, the fruits of his labor abound. A multitude of his works can be found in any number of collectors’ homes in the Detroit area. From his depictions of recognizable buildings in Detroit, to his romantic treatment of landscapes, the paintings of A.P. Wigle continue to be prized pieces of anyone’s collection.

Paul Zenian, American, b. 1935

For over twenty-five years, Paul Zenian was a Professor of Fine Arts at Washtenaw Community College in Ann Arbor, Michigan. His own academic education included the Society of Arts and Crafts School, Detroit, Michigan (presently known as the College for Creative Studies), Wayne State University, and the University of Michigan, in Ann Arbor.

Intensely bold and richly colored, Zenian’s paintings are quite striking to behold. Throughout his expansive career, Zenian’s artistic style continued to evolve and grow and for that reason, he continues to be an active fixture in the Ann Arbor community.

Charles Waltensperger Helen Finch

William Brewster Conley Edgar Gamble

Leo Kuschel William Greason

Irving R. Bacon William Purvis

Fred W. Rypsam Frank Selzer

Carlos Lopez Carol Wald

Joseph Hekking Alex Dzigurski

Stephen Chismarik Theo Wujcik

E.H. Barnes C. Harry Allie

Roman De Kryzanovsky A. Lewis

Margarete Baum Robert Rukavina

Leon Makielski Julia Peck

Donor Form

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The Scarab Club is a 501 C-3 Corporation # 38-1359568

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Please call me directly if you should have any further questions.

Sincerely,

Chuck Schmidt Schmidt’s Antiques Inc. 5138 West Michigan Avenue Ypsilanti, Michigan 48197

(734) 434-2660