Peninsula Fall 2019 Plein Air Exhibit through November 15, 2019

By Janet Dodrill

Peninsula Art Academy hosts a Plein Air competition, open to all artists. Paintings are created (or 2-D work) outdoors in natural available light over the course of three days (Friday through Sunday) around prime landmarks and locations around beautiful Peninsula, Ohio including in the Cuyahoga National Park. By the end of the weekend the work must be completed (two pieces allowed per artist), framed and ready to hang.

The following weekend there is an art exhibit and reception and the work is juried. Prizes are awarded for first place, second, third, and honorable mention.

This was my first year participating in this type of event and though both demanding and challenging, it was a very enriching way to build my skills and technique, and the experience even allowed me to meet several local area artists. I am looking forward to future events offered by the Peninsula Art Academy.

The exhibit runs October 26 – November 15, 2019

Peninsula Art Academy
1600 Mill Street West
Peninsula, OH 44264
(330) 657-2248
www.peninsulaartacademy.org
Hours: Wednesday-Sunday 11am-5pm

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Pumpkins on Wagon, Acrylic on Canvas, 18″ x 24″ (painted at Szalay’s Farm & Market).

Steeple in Autumn, Acrylic on Canvas, 16″ x 20″ (painted at Peninsula United Methodist Church).

Greg Canda (right) of Peninsula Art Academy introducing exhibit juror Jose Sacaridiz.

Listening to juror Jose Sacaridiz review the winning art pieces. (Photo: Jennifer Newyear)

Juror Jose Sacaridiz critiquing first place winning oil painting by Mark Erdelyi.

Thanks to a few who put the Peninsula Art Academy Plein Air competition on.

Plein Air paintings by 27 artists, on exhibit at Peninsula Art Academy, October 26 – November 15, 2019.

Plein Air paintings by 27 artists, on exhibit at Peninsula Art Academy, October 26 – November 15, 2019.

Painting in 38 degree weather!

Schmitz-Horning Co. Letterhead 1907

By Janet Dodrill

Recently, I came across this ephemera paper item on eBay, a letter from The Schmitz-Horning Company (founded 1905) to a potential customer Danbury Fair, to accompany wall covering samples, typed on their letterhead, dated 1907. I was so happy to find this document because it contains historical information about the company that I did not know previously.

The Schmitz-Horning Co. letter to a potential customer on their letterhead, 1907.

The letter reads (copied as it appears):

May 8, 1907.

Secretary. Danbury Fair.

Danbury, Conn.

Dear Sir:

Per the request of Mr Frank Spellman we are sending you under separate cover sample of a three sheet for Knabenshues Air-ship. We have the same thing in a one sheet. This paper is copywrited under our own name and cannot be obtained from anyone else. The price of the three sheets is 6 cents per sheet, and on the one sheets it is 6 cents per sheet in lots up to 500 over that 5 cents per sheet. Hoping to have the pleasure of hearing favorably from you we are

Yours very truly.

The Schmitz-Horning Co.

Do you use any race paper? We have a complete line of the very latest.

The company administrators are listed at the top:

H.M. Schmitz, President

W.R. Cox, Vice President

Wm Horning, Treasurer

W.M. Cope, Secretary

The first three are also listed on Schmitz-Horning’s 1906 Frieze Patent.

Hugo Max Schmitz (my great-grandfather) and William Horning were co-founders of the Schmitz-Horning Company. Hugo was an artist and most likely met William, an artist and a lithographer, at Cleveland Art Club in the late 1890s. I found a Cleveland Plain Dealer newspaper article on an Art Club exhibit where they both exhibited. Warren R. Cox, shown as Vice President, was a relative and became head salesman. William M. Cope, listed as Secretary on the letterhead, was also a relative, and this letter brings forth my first understanding that he had any involvement in the company.

In researching the three-sheet sample named in the letter, Knabenshues Air-ship, I came across these air vessels in a 1914 Schmitz-Horning Co. catalog in the Sporting Panels series that was manufactured both in one sheet and in three sheets, which may be that one.

Sporting Panel pattern depicting aircraft by Schmitz-Horning Co., 1914 catalog.

Additionally, at the bottom of the letter it mentions race paper. Could this possibly be the racing automobiles pattern that I discovered in the same catalog and series?

Sporting Panel pattern showing competing automobiles of the time on a race track or country road by Schmitz-Horning Co., 1914 catalog.

The address on the letterhead is Whitney Building, Power and Muirson Streets, Cleveland. The building housed many companies including machinists, foundries and lithographers. Power Street or Avenue no longer exists today. The company was in its own building on E. 82nd street by 1912.

Whitney Building, E. 12th and Power Ave., Cleveland, 1963. (Cleveland Public Library Photograph Collection)

The Schmitz-Horning Co. label dated from a 1912 catalog, from its newer address on E. 82nd Street, Cleveland.

The Schmitz-Horning Company building, Cleveland, Ohio, about 1925.

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Artwork Using the Primary Colors

By Janet Dodrill

Lately, I have been using primary colors (red, yellow, and blue from the color wheel) in my portraits and life model studies, and am exploring this direction in my artwork.

Below are a few examples of my artwork utilizing primary colors.

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Joe, acrylic on canvas, 9”x12”
Janet Dodrill

Kayli, acrylic on canvas, 9”x12”
Janet Dodrill

Karen, gouache, 9 x 12”
Janet Dodrill

Mimi, gouache,, 9” x 12”
Janet Dodrill

Scott, watercolor, 10” x 14”
Janet Dodrill

Artist Hugo Max Schmitz from Wisconsin Co-Founded Schmitz-Horning Co.

Hugo Max Schmitz, 1930.

Hugo Max Schmitz (1867-1938), my great-grandfather, was an artist and co-founder of the Schmitz-Horning Company, a Cleveland wall covering manufacturer. After moving from Milwaukee, Wisconsin around the 1890s, he established himself in Cleveland’s Art Club (formerly know as The Bohemians) and exhibited in group shows. In one exhibit he showed with prominent artist and club president Archibald M. Willard, in addition to artist and lithographer, William (Bill) Horning, who would become his future business partner at Schmitz-Horning.

Hugo had six siblings, born in Wisconsin between 1852 and 1860: Victor, Willam, Edward, Florentine, Mary, and Charles Schmitz, born to father Peter Jospeh Schmitz and mother Mary (Leity).

One day I hope to learn more about his close family relatives and more about his art. We do know that a portrait that he painted of a young girl received an honorable mention in an exhibit at the New York Metropolitan Museum of art.

He married in 1902, to Pauline (“Queen”) Maynard Reynolds, daughter of Cleveland banker Iri Reynolds. They spent their honeymoon in Venice.

Hugo was acting president at Schmitz-Horning Co., est. 1905, and was one of the initial artists for the firm, designing high-end color lithographic wall mural and paper patterns. He ran the company until his death in 1938, and then his son, Warren Reynolds Schmitz took over, who was already working in sales at the company.

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Hugo Max Schmitz as a child.

Hugo Max Schmitz, age 9.

Hugo Max Schmitz, early still life artwork.

Hugo Max Schmitz, early landscape artwork.

The Schmitz family of Milwaukee, Wisconsin, late 1800s.

Hugo Max Schmitz (center), Paris, 1890s.

Hugo Max Schmitz (right) with his signature pipe, Paris,1890s.

Hugo Max Schmitz, early late 1800s or early 1900s.

Self-portrait by artist Hugo Max Schmitz, oil, 1898.

Hugo Max Schmitz’s watercolor of Venice done on his honeymoon, 1902.

Hugo Max Schmitz’s watercolor of Venice became a wall mural pattern for Schmitz-Horning Co., early 1900s.

Original Wall Mural Design Panels for Schmitz-Horning-Company, Floral Garden by Hugo Max Schmitz, oil, early 1900s.

Portrait by artist Hugo Max Schmitz of his wife, watercolor, 1903.

Watercolor portrait of young girl by artist Hugo Max Schmitz.

Portrait of young lady by artist Hugo Max Schmitz, oil.

The Schmitz-Horning Co. Featured in Architect Magazine

By Janet Dodrill

Architect Magazine published an article online June 6, 2019, titled Wallpaper Motifs of the 20th Century. In the article, the Building Technology Heritage Library (BTHL) highlights 11 pioneers in the evolution of 20th century wallpaper styles and motifs.

Online viewable catalogs are embedded in the article. A scanned original Schmitz-Horning Co. 1920 San-Kro-Mura Wall Decorations full catalog is included, showing printed wallpaper panels and murals with themes including medieval tapestries, modern tiles, and floral motifs, and more.

It is evident that the diversity and skill of Cleveland’s Schmitz-Horning’s staff artists helped the company to create a beautiful variety of murals and scenic designs produced onto high quality washable and affordable chromolithographs.

Links:

Architect Magazine, Wallpaper Motifs of the 20th Century, June 6, 2019
https://www.architectmagazine.com/practice/wallpaper-motifs-of-the-20th-century_o

Schmitz-Horning Co 1920 San-Kro-Mura Wall Decorations catalog
https://archive.org/details/San-kro-muraWallDecorations

 

 

Schmitz-Horning Company’s Chinese Embroidery wall mural pattern from the San-Kro-Mura Wall Decorations catalog.

Schmitz-Horning Company’s Chinese Floral wall decoration pattern from the San-Kro-Mura Wall Decorations catalog.

Schmitz-Horning Company’s The Nymph wall mural pattern from the San-Kro-Mura Wall Decorations catalog.

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Carl Fuchs Designed Schmitz-Horning Scenic Wall Pattern

By Janet Dodrill

Schmitz-Horning Company’s Old South 1930s-1940s scenic panel detail (Photo: Cooper Hewitt).

Carl Fuchs designed the Old South scenic wall paper pattern (1930s-1940s) for the Schmitz-Horning Company of Cleveland, Ohio. The color lithograph (chromolithograph) inks and (washable) paper used were of the highest quality. Old South depicted plantation life in early America, and included a steamboat and fox hunt. There were twelve sections, each approximately 40″ x 80″ in repeat pattern.

The company was co-founded and run by my great-grandfather, Hugo M. Schmitz, and after his death in the late 1930s, run by my grandfather Warren R. Schmitz.

I am almost certain this 1920s Art Deco decorative pattern, Dekorative Vorbilder (Decorative Role Models), which I came across on an auction site, is by the same artist.

Dekorative Vorbilder by Carl Fuchs, 1920s Art Deco decorative pattern (Photo: Liveauctioneers.com).

Carl Fuchs was also hired by my grandparents to paint an oil portrait of my mother, then a girl of eight years.

Oil portrait of Schmitz-Horning president’s daughter (my mother) by artist Carl Fuchs, 1939 (Photo: Schmitz family).

Resources:

Cooper Hewitt, Old South Scenic Panels
https://collection.cooperhewitt.org/objects/18431473/
https://collection.cooperhewitt.org/objects/18431471/
https://collection.cooperhewitt.org/objects/18431469/

Cooper Hewitt, Objects Involving The Schmitz-Horning Co.
https://collection.cooperhewitt.org/people/18046573/objects/

Riverview Estate Auctions, September 27, 2015 Auction, Lot 0008B
https://www.liveauctioneers.com/item/41129637_1920s-art-deco-dekorative-vorbilder-print-carl-fuchs

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Schmitz-Horning Company’s Old South scenic panel, 1 of 12 sections, each 40″ x 80″, repeat, designed by Carl Fuchs (Photo: Cooper Hewitt).

Schmitz-Horning Company’s Old South scenic panel, 1 of 12 sections, each 40″ x 80″, repeat, designed by Carl Fuchs (Photo: Cooper Hewitt).

Schmitz-Horning Company’s Old South scenic panel, 1 of 12 sections, each 40″ x 80″, repeat, designed by Carl Fuchs (Photo: Cooper Hewitt).

Charles Burchfield, Artist, Featured in Cleveland Exhibit

By Janet Dodrill

The Cleveland Museum of Art currently has an exhibit by artist Charles Burchfield (1893-1967) in its Focus Gallery through May 5, 2019. The show is titled Charles Burchfield: The Ohio Landscapes, 1915-1920.

The show has numerous drawings and watercolors done in both Cleveland where he attended the Cleveland School of Art (now The Cleveland Institute of Art), and Salem, Ohio, his hometown.

I admire his strength and energy in depicting landscapes. He created his own visual language with almost abstract shapes from nature symbolizing emotions such as fear and sorrow, which are pointed-out in the exhibit.

Links of Interest:

www.clevelandart.org/exhibitions/charles-burchfield-ohio-year-1915-1920

www.artnet.com/artists/charles-ephraim-burchfield/

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Below are some images from the show.

Charles Burchfield exhibit at the Cleveland Museum of Art

Charles Burchfield, Inaugural Poster, 1915

Charles Burchfield, Drifting Dandelion Seeds, 1916

Charles Burchfield, Hillside, 1917

Charles Burchfield, New Moon, 1917

Charles Burchfield, New Moon in January, 1918

Charles Burchfield, Church Bells Ringing, Rainy Winter Night, 1917

Charles Burchfield, Church Bells Ringing, Rainy Winter Night, 1917, detail

Charles Burchfield, Church Bells Ringing, Rainy Winter Night, 1917, detail

Charles Burchfield, detail of abstract shapes used to reflect feeling and emotion.

Charles Burchfield, Study No. 1 for Church Bells Ringing, Rainy Winter Night, 1917

Charles Burchfield, Study No. 1 for Church Bells Ringing, Rainy Winter Night, 1917, detail

Charles Burchfield, White Violets and Coal Mine, 1918

Charles Burchfield, Setting Sun through the Catalpas (Late August Sunset), 1916

Charles Burchfield, The Sun through the Trees, 1917

Charles Burchfield, Sunburst after Spring Storm (Sunlight after a Spring Rain), 1917

Charles Burchfield, Spring Sunset in the Woods, 1917

Charles Burchfield, Untitled (Red House), 1916

Charles Burchfield, Untitled (Clump of Purple Trees), 1915

Charles Burchfield, Sulphur Stream in the Woods, 1917

Charles Burchfield, journal entry (one of many on a digital kiosk)

Charles Burchfield, journal entry (one of many on a digital kiosk), detail

Charles Burchfield, Chestnut Trees, 1920