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Syracuse University Art Galleries the Cloud Wampler Collection of Prints

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Syracuse University Art Galleries the Cloud Wampler Collection of Prints Syracuse University Art Galleries The Cloud Wampler Collection of Prints Syracuse University A SUPPLEMENT FEATURING JOHN TAYLOR ARMS MUIRHEAD BONE ANDERS ZORN Preface by MICHAEL HARPER Introduction by LAURENCE SCHMECKEBIER and CLOUD WAMPLER Catalog by Syracuse University Art GalleriesALEXANDRA K. SCHMECKEBIER PREFACE As Syracuse University begins its second century of great promise and challenge, it is symbolic of this beginning that the School. of Art should have a new Dean and the University Collection should acquire its first director and full-time staff. As new arrivals, the staff feels a keen sense of responsibility in continuing the work so ably begun by others. Through the generosity and support of the Uni­ versity's friends such as Cloud Wampler, and under the thoughtful guidance of Laurence Schmeckebier, Dean Frontispiece: Cloud Wampler Emeritus of the School of Art, Syracuse University has built a large collection of original prints which is out­ standing in both quality and comprehensiveness. We who are beginning our efforts on behalf of the University are spending a major part of our time surveying the riches that we have inherited, in order that we may more intelli­ gently pursue the acquisition of new works with the aid of our friends. The desire for a comprehensive collection must not be motivated by mere acquisitiveness-quantity alone must not be our goal. We should seek the same high quality that is so obviously a part of the Cloud Wampler Collection and the same scholarly soundness that has marked Pro­ fessor Schmeckebier's work. In order to attain these goals, we are guided by. the purpose of a University collection which is to aid the scholar and student in his search for knowledge and undetstanding. For the art student, this means a familiarity with both historic and current ex­ amples .of art in order that he may build his own profes­ sional and creative efforts upon a rational foundation. For Syracuse University Art Galleries the historian of art, the collection furnishes an opportunity to acquire at firsthand a familiarity with the objects of his study; and because of the special nature of prints as con­ veyors of ideas, as well as works of art in themselves, they are often important sources of information for the political and cultural historian. Further, because the University feels a responsibility to a larger community than that of the campus alone, we also shall strive to share our treasures and intellectual resources with all: students, patrons, and interested members of the public. Michael B. Harper Curator of Prints and Drawings INTRODUCTION Cloud Wampler's magnificent gift of his collection of prints to Syracuse University in 1964 established this I have always admired the boldness with which lorn did institution as a major repository of art works associated his work. I started buying the lorns when I could not with the professional education of artists. The publication afford to buy etchings by Rembrandt, as it seemed to me of a scholarly catalog, ~c itself the pioneer product of a that lorn had many of the basic talents possessed by graduate research program, served not only as a tribute Rembrandt. to Mr. Wampler but also as a unique and highly useful Furthermore, I have always liked prints that show handbook on the history of prints for students and con­ people, and of course lorn did a great deal of this kind noisseur alike. of work. The subsequent donation of a substantial number of As for Bone, I like his work and became particularly prints by John Taylor Arms, Muirhead Bone and Anders fond of his etchings that revealed buildings and land­ Zorn is a significant demonstration of the continuity of scapes. this creative and educational relationship. Vlhen the origi­ With respect to Arms, I had the privilege of knowing nal gift was made, these artists were retained simply be­ this artist and have actually seen him at work. In addition, cause Mr. Wampler could not bear to part with them. I came to admire the infinite detail of the Arms etchings. They were his favorites because of their special qualities Some of my Arms prints were dedicated to me by the of technical excellence, aesthetic sensitivity and love of artist. detail through which is mirrored the artist's universal ideal of perfection. Cloud Wampler In a sense, they reflect the collector himself. For many years a tower of strength in the Syracuse community, Mr. Wampler was not only a successful business man of na­ tional standing but also was active as a leader in banking, industrial and civic organizations. His contact with the world of the artist was always one of his greatest sources of inspiration and satisfaction. Characteristically, it was this penetration into the deeper realm of the individual artist that seemed to fascinate him over a longer period of time. This continuity of the connoisseur is both infectious and inspiring. FromSyracuse the previous availability of the prints forUniversity Art Galleries study on an individual basis, there has now been devel­ oped an established program of exhibitions designed to serve both the general University student and the pro­ fessionally motivated artist. The themes and purposes vary in many directions, from problems of iconography and technical procedure to historical evolution and social ex­ pression. It is the more penetrating study of individual accomplishment, however, that reveals the deeper qualities of individual conviction and integrity. This is to be found' in the remarkable work of these artists and for this again we are grateful to the generosity of Cloud Wampler. Laurence Schmeckebier *THE CLOUD WAMPLER COLLECTION OF PRINTS/SYRA· CUSE UNIVERSITY, Catalog and Introduction by Alexandra K. Schmeckebier, Syracuse 1965. r CATALOG OF THE COLLECTION Vezelay. 1929. 12% x 714 Normandy Noon. 1936. 3Y4 x 7% State II State III; signature and date inscribed on plate; signed Inscribed: "To my dear friends Bob and Marguerite Nis· and dated in pencil bet, John Taylor Arms 1939"; signed and dated in pencil ARMS, JOHN TAYLOR American, 1887-1953 66.101 (9) 66.101 (18) One of the most highly esteemed American enrrravers he work~d both in the United States and Franc~. Bor~ in Gargoyle Studies. 1924. 31/8 x 31/8 A Breton Calvary. 1932. 514 x 3 Washmgton, D.C., he studied at Princeton University and Signed and dated in pencil Signed and dated in pencil Massachusetts Institute of Technology, was trained as an 66.101 (10) 66.101(19) architect, and in ~919 turned completely to the graphic arts. He was a pupIl of Ross Turner, David Gregg, Despra­ A Gargoyle and His Quarry, Notre Dame. 1920. 7 x 5Y4 deHes, Felton and Brown. Often called the "modern me­ Crystal and fade VI. 1940. 7¥2 x 6% (A &E) Signed and dated in pencil 25/75 diev~list," he has produced drawings and etchings of the Signed and dated in pencil 66.101 (11) archItectural monuments of Normandy, Champagne, Bur­ 66.101 (20) gun~y, as ~ell as those of Spain and Italy, especially Vemce. He IS also known for his city views and a few A Devil of Notre Dame. 1929. 8 x 5¥2 l~ndscapes. His prints are highly prized and in the collec­ Inscribed "To my friend Robert Nisbet, John Taylor Arms Nativity II (Christmas Card). 1936. 6% x 4% (plate), tIons of most American and European museums. 1930"; signed and dated 1929 in pencil 1 x 1 (image) 66.101 (12) 66.101 (21) Jewelry (Detail of Choir Screen, Saint Cecilia, Albi). 1938 2%6 x 1%6 The Gothic Spirit. 1922. 11% x 6% Cobwebs. 9% x 7% Signed and dated in pencil Trial Proof VI of State I on light blue paF~r; signed and 66.101 (1) Signed in pencil dated in pencil 66.101 (22) 66.101 (I3) Albi. 1927. 9% x 1014 On the plate: "Albi 1926"; signed and dated in pencil BONE, MUIRHEAD British, b. Scotland, 1876-1953 66.101 (2) Medieval Pageantry. 1934. 12% x 8% Born at Patrick, near Glasgow; after studying there and Figures etched by Kerr Eby and architecture -etched by at Ayr, he settled in London in 1901 at the age of 25, hav­ John Taylor Arms; signed and dated by both artists in Precious Stones-Notre Dame, Les Andelys. 1926 ing already more than one hundred plates of various sub· 314 x 2Ys pencil on blue paper jects to his credit. His special individual interest has been 66.101 (14) Inscribed to E. Cloud Wampler; signed and dated in pencil scaffold-covered buildings, though hc has varied it with Syracuse University Art Galleriesportraits and landscapes. He is considered a supreme 66.101(3) French Lace: West Portal, Main Facade of Notre Dame, master of drypoint, which he also combines with etching, Laigle.1940. 3 x 1% Villefranche-en-Rouergue.1949. 7% x 4% and such architectural mood pieces as Ayr Prison are re­ State II; signed and dated in pencil Signed and dated in pencil garded as being among his masterpieces. 66.101(5) 66.101(15) Tontine Gates, Glasgow III. 1899. 6% x 4% (E & D) Eglise St. Michel, Pont l'Eveque. 1927. 914 x 4% A Spanish Profile (Puerto del Obispo or Doorway of the C.D. No. 46; signed and titled in pencil; inscribed on Signed and dated in pencil Bishop, South Transeptal Portal of Palencia Cathedral, plate: "Muirhead Bone" 66.101(6) Spain}.1951. 13% x 6% 66.102(1) Inscribed to E. Cloud Wampler: "This impression on early Gothic Glory: Sens, Cathedral of St. Etienne, North Portal. XIX Century French paper, selected by E. Cloud Wampler 1929.
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