Biographies | c-armington-etchings

Notes, Comments, Questions, Errata and Addenda for the most complete Caroline Armington’s Biographies

Janet Braide and Nancy Parke-Taylor

Caroline and Frank Armington, Canadian Painter-Etchers in Paris

published by the Art Gallery of Peel, 1990.

Page ix ‘’…to purchase a substantial collection of Caroline and Frank Armington’s prints from Rose Tuller, who had been a friend of the artists in Paris.’’

This statement is rather surprising.

Edwin H. Tuller was born on December 11, 1913, in Hartford, Conn., the second son of an active Baptist family. He graduated from Colgate Rochester Divinity School in 1938.

Rose Catherine Walker was born on 19 May 1916, in Nunda, Livingston, New York.

Edwin and Rose married on 30 June 1938, in Rochester, Monroe, New York, in 1938.

They moved to Paris where Edwin did graduate work at La Faculté Libre de Théologie Protestante in Paris in 1938 and 1939.

They left France aboard S.S. President Roosevelt in Le Havre (France) on August 26, 1939, and landed in New York on September 5, 1939. This is slightly over a month before the Armingtons left France for New York (October 15, 1939).

In the early fifties, while living in Hartford, Connecticut, it was reported in a local newspaper that Rose Tuller had a collection of about 1200 prints from Frank and Caroline Armington and that she was regularly exhibiting some of them to the public at her home. It was also reported that she was also selling or donating some of her prints to friends and institutions.

After leaving the position of General Secretary, American Baptist Church, USA, in 1970 Edwin and Rose were appointed as Special Service Workers of the Board of International Ministries, with Edwin serving as Pastor of the American Church in Paris, France from 1971 to 1978.

In 1978, while in Paris, the Tullers made their collection of Caroline and Frank Armington prints available for sale.

In 1980 this collection was sold by Rose Tuller to PAMA.

Rose died on 5 October 1980, in Flemington, Hunterdon, New Jersey, at the age of 64.

Edwin died on August 25, 2009 in Cheswick, Pennsylvania, at the age of 95.

What is surprising and not known is how a young American newlywed couple in their twenties, with no particular artistic background and freshly landed in Paris became ‘’close friends’’ in a little over a year with an older couple, in their sixties, which had been ‘’Parisians’’ for almost thirty years and had most likely made many ‘’close friends’’ locally.

Also, it is not known when or how Rev. E.H. Tuller and his wife became ‘’owners or custodians’’ of the Caroline Armington’s etchings, Etching Record Books, Visitors Register, Sales Book, photographs and Diary which are now in the collection of PAMA.

Page 26, ‘’….and she was careful to reverse the drawing on the copper plate so that the finished print would show the image the right way around.’’; and page 48, ‘’… Caroline had to etch ‘in reverse’ the entire scene,….’’

This is not always the case. Some Caroline Armington’s prints are showing reversed images. See our catalogue numbers CA-17-1, CA-106, CA-142, CA-144 and CA-146.

Page 29 and page 152, ‘’516. Notre-Dame et le Pont de l’Arche Véché’’

Should read l’Achevéché in one word.

Page 38, ‘’…the Armingtons joined the Chicago Society of Etchers in 1913, and one or both displayed their prints in that society’s annual exhibition for the next sixteen years.’’

See the note concerning the year 1923 for page 92.

Page 42 and page 78, Note 90 ‘’Caroline etchings were included in the exhibition of the commissioned paintings, prints and sculptures held at the galleries of the Royal Academy of Art in Burlington House, London in 1919, but were omitted from subsequent showings in New York, Toronto , and Montreal.’’

This seems not to be accurate. Caroline Armington’s print are listed in the catalogue of the Canadian War Memorials exhibition, 1919 New York exhibition at the Anderson Galleries (without prices) as well as in the catalogue of the 1920 Canadian War Memorials Paintings Ehibitions 1920: New Series, The Last Phase (with prices).

Page 48, ‘’….were the Gothic architectural marvels in Chartres, Rheims, Amiens, Tours…’’

In modern French the name of the city should be spelled Reims.

Page 48, ‘’….Caroline further publicized her work by publishing a small book of twelve etchings,… ..., and in the early 1920s was sold …’’ Evidence was found that this booklet seemed to be already available in February 1918 (Article in American Art News, Vol. 16, No. 20 (Feb. 23, 1918), p.5).

Page 50, ‘’….In 1921-22 both Frank and Caroline contributed miniature works to the exquisitely crafted Queen Mary’s Doll’s House.’’ This was in 1922. Caroline Armington’s submittal letter to Princess Mary Louise is dated October 3rd, 1922. Frank Armington’s submittal letter is dated September 21st, 1922 and refers to Princess Mary Louise’s request of August 6th. Interestingly, it can be noted that it seems (based upon the contents of these letters) that Caroline Armington was not originally invited by Princess Mary Louise to submit her work but that she did it at the suggestion of her husband (Frank Armington).(see CA-189).

We have found evidences that in the early fifties Rose Tuller had in her possession at least five prints of this etching. A note written by one lady who purchased one of them seems to indicate that in 1939, in Paris, Caroline Armington gave some of her prints to Rose Tuller for selling in the United States.

Page 50, ''289. Pont Royale, Paris’’ and ’’….of the Pont Royale, Paris….’’ Should read ‘’ Le Pont Royal, Paris’’.

Page 60, ‘’There is no evidence to suggest that the Armingtons were commissioned by the Swedish State Railways to depict the towns and landscapes of Sweden,… …‘’

There is no record in Caroline’s sales book that the Railways purchased their work, …’’ . However, we have found one advertisement from the New York office of the Swedish State Railways that shows a Caroline Armington’s etching of Visby. (see CA-438).

Page 66, ‘’Caroline’s seventy-seven etchings on display started at $55. …’’ .

The catalogue of the exhibition shows prices starting at $18.00 and up to $80.00 (for one print) with most averaging $24.00 to $36.00.

Pages 67 and 68, ‘’….since the Brooklyn Museum purchased, not only, one of my canvases but also two of Mrs. Armington’s etchings,…’’; ‘’…Frank’s statement that the Brooklyn Museum had purchased one of his painting was not quite true’’.

The same remark should also apply to Caroline Armington’s etchings: Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 05-12/1929, 095a-c.’’The print Department announces a gift of two etchings by Caroline Armington, presented by Mr. Alfred W. Jenkins.’’

Page 79, Note 120, ‘’ (This book includes 35 illustrations by Frank Armington and others.) …’’ and page 84 ‘’Huddleston, Sisley. Back to Montparnasse’’… .

It should be noted and added that this book also includes one Caroline Armington’s etching. See CA-372-A1, Place Saint Michel.

Page 80, Note 145: ‘’… and no impressions of Caroline’s print of the Belgenland have yet been located.’’

So far, two (2) prints (of the ‘’large’’ version) of the Belgenland have been located. One of them is in the University Library of Antwerp, Special Collections, Print collection.

Add: Interestingly, Caroline Armington travelled from Europe to New York on the Belgenland in 1924. Landing in New York on March 28, 1924. It seems that she did this trip alone, without Frank Armington.

Page 87, 1913 ‘’… They are friends with Robert W. Service,’’….

Add: ‘’Frank and Caroline were invited to Robert’s wedding with Germaine Bourgoin in June.’’. (See also next paragraph ‘’1914’’).

Page 87, 1914 ‘’

Add: ‘’Robert W. Service invited his best friends to visit him in his house in Lancieux (Britany), among them: his Scottish friend Archibald Ker Bruce, journalist and manager of the Reuter’s Paris office and the Armingtons. Archibald Ker Bruce took photographs of Caroline Armington on the beach; one of them is showing Caroline and Germaine in bathing suits!’’.

Page 87, 1915‘’ Add: ‘’Frank Armington paints the portrait of Germaine Service titled ‘’Embroidering Lady’’ with the dedication:’’ to my friend Service (Robert) very cordially.’’

Page 87, 1918 ‘’… (Caroline’s plate for Pont Neuf de 1918 is purchased by Paul Saury, the Directeur administrative de la Société Française des Beaux Arts)’’

Should read: …’’ by Paul Samy, Directeur administratif ’’…..

The Société Française des Beaux-Arts was initially created in April 1894 under the name Société Populaire des Beaux-Arts. It officially changed its name in October 1920. Its aims were to encourage artists and to educate the people to arts.

It seems that it stopped temporally its activities during the First World War and was then active until 1939.

Its members were eligible to receive a print each year for the price of their modest membership fees.

In 1914 it had approximately 8000 active members (Approximately 7000 in 1938). This may explain the high number of this print that is available on the market.

Page 88, 1925 ‘’Caroline’s plate for Pont St. Michel et Notre-Dame de Paris (1925) is purchased by the Société Française des Beaux Arts)’’

Should read : ….’’ ‘’Le Pont St. Michel et Notre Dame de Paris No 2 ’’ and ‘’ Plate for the Société Française des Beaux Arts, purchased by the society for its members.’’

It seems that it stopped temporally its activities during the First World War and was then active until 1939.

Its members were eligible to receive a print each year for the price of their modest membership fees.

In 1914 it had approximately 8000 active members (Approximately 7000 in 1938) This may explain the high number of this print that is available on the market.

Page 88, 1926 ‘’Caroline’s plate (and 1 print) of La Rue Saint Yves à Chartres (1926) is purchased by Mrs. Alden Scott Boyer, who presents the 2 items to a college for advanced students, called the Principia, in St.Louis.’’

Principia Archivist and Special Collections Librarian in 2019 confirmed that no information could be found about this donation by Mrs. Boyer despite the fact that Principia has records for the donation of a Japanese print by Mrs.Boyer in 1932.

Page 89, 1939 ‘’ On 25 October, three days after arriving in New York on the Manhattan, Caroline dies of a heart attack ….’’

Her death certificate (No 21915) states: ‘’ Death Place: 35 5 Ave., New York City, Manhattan, New York, USA. Cause of Death: Generalized Arteriosclerosis; Hypertension; Heart Disease (Death Date: 25 October 1939). Burial Place: NY and NJ Crematory (Burial Date: 28 October 1939).’’

N.Y. & N.J. Crematory, New York and New Jersey Crematory; 4101 Kennedy Blvd North Bergen, NJ 07087 has informed us that: ‘’ In going through our records we have found that the cremated remains of Caroline Armington were picked up by the Funeral Home of W.A. Walters on 10/30/1939.This is all the information that we have in our records, we do not know what happened after that. We do not know that funeral home, they are probably out of business.’’

No information about the Funeral Home of W.A. Walters has been found so far.

The Church of the Ascension in New York at Tenth Street and Fifth Avenue where Caroline’s funeral service was held on 28 October 1939 has informed us on December 23, 2020 that: ‘’ We checked the records of our columbarium for Caroline Armington (Oct 28, 1939) and were not able to discover anything.’’

On January 19, 2021, the archivist for the Church of the Ascension informed us (in addition to the confirmation of the date of Caroline funeral service and of her cremation at the N.Y. & N.J. Crematory): ’’Our records show that the funeral service for Frank Armington took also place at the Church of the Ascension in New York and that he was also incinerated at the N.Y. & N.J. Crematory.’’

In February 2021, the Office Mgr. of the N.Y. and N.J. Crematory reported to us that Frank Armington was cremated on September 23, 1941 and that ‘’his remains were send by parcel post to the Funeral Home of W.A. Walters’’. So we are still seeking information about the records and archives of the Funeral Home of W.A. Walters.

So, so far, the final resting place of Caroline Armington remains unknown (as that of Frank Armington).

Page 89, Memberships, Caroline Armington ; 1927 Société des Gravures Français, should read : Société des Graveurs Français.

Add: 1914, New York Society of Etchers.

Page 91, ‘’Paris, Salon des Artistes Français, 1908, Caroline exhibits 13 etchings’’

The 13 etchings of Bruges were exhibited in 1909. As per the SAF records, she did not exhibit any etching in 1908. SAF confirmed that Caroline Armington exhibited some etchings titled ‘’Vues de Bruges’’ in 1909 at the Salon des Artistes Francais (see below). We have also found other evidences (in newspapers and other publications) that these etchings of Bruges were exhibited in 1909.

Page 91, ‘’Paris, Salon des Artistes Français, 1909, Caroline exhibits.’’

Add : SAF confirmed. ‘’No 4314, Vues de Bruges (Belgique) (eaux-fortes)”.

Page 91, ‘’Paris, Salon des Artistes Français, 1910, Caroline also exhibits.’’

Add : SAF confirmed. ‘’No 4534, La Seine, Paris, (eaux-fortes originales)”.

Page 91, ‘’Paris, Salon des Artistes Français, 1911, Caroline exhibits…. and etchings.’’

Add : SAF confirmed. ‘’No 4352, Six eaux-fortes originales; Vues de Paris”.

Page 91, ‘’Paris, Salon des Artistes Français, 1912, Caroline exhibits etchings.’’

Add : SAF confirmed. ‘’No 4553, Six vues du Canada; eaux-fortes originales.” and : ‘’No 4554, Neuf vues du Canada; eaux-fortes originales.”

Page 92, ‘’Chicago, Chicago Society of Etchers, 1923: Caroline exhibits.’’

Frank or Caroline Armington’s name does not appear as an exhibitor nor as an exhibiting member in the 1923 February 1 to March 11, 1923 exhibition catalogue.

Page 92, ‘’New York, New York Society of Etchers, 1913, January: Frank exhibits…’’ This was in 1914.The exhibition catalogue is tilted ‘’ First Annual Exhibition of the New York Society of Etchers, January sixth to thirty-first, 1914’’. Caroline Armington’s etching wrongly titled ‘’La Rue de l’Échelle, Paris’’ instead of ‘’La Rue de l’Échelle, Constantine’’ is listed in the exhibition catalogue. Frank exhibited ‘’Méditation’’.

Page 94, ‘’Public Collections’’

This list has been updated and augmented. See table on this site.

Page 97, ‘’Print No 5. Porte sur le Canal, Bruges…./…The Art Gallery of Peel also own an impression with the inscription: To Net and Roy with best wishes. Acc. no 78.2.1.’’ This print seems to be a ‘’color print’’. It is recorded in Caroline Armington’s Etching Record Book for the year 1909 (without a number) Therefore, it should be numbered CA-012-4-C as per our numbering system.

Page 99, Print No 51, ‘’ Acc. No.: 87.27.11’’: should be Acc. No.: 81.27.11

Page 103, Print No 80:

Should be ‘’State V/V’’ instead of ‘’State IV/IV’’ (State V is not mentioned in Caroline Armington’s Etching Record Book. On state V, the signature ‘’C. Armington’’ has been added in the plate). To add ‘’Initialed and dated in plate: CHA 1912’’

Page 106, ‘’Print No 105: Although Caroline did not assign a number to this print…’’

The number 105 was assigned to this print by Caroline Armington in her Etching Record Book. . Title should read: ‘’Une Rue, Vieux Biskra’’ and not: ‘’Une Rue Vieux, Biskra’’. Contrarily as stated, there were 3 states, a planned edition of 50 and 57 impressions for this print.

Page 107, ‘’Print No 124:’’

Based upon the information given, this print is from the plate etched in 1909, is recorded in Caroline Armington’s Etching Record Book for the year 1909 (without a number) and should be numbered CA-10-4 as per our numbering system.

Page 108, ‘’Print No 144: Edition of 50 planned; Total number of impressions: unknown’’

Should read Edition of 75 planned; Total number of impressions: 82 as recorded in Caroline Armington’s Etching Record Book.

Page 126, Prints No 269, ‘’En Vieux Coin, Caudebec-en-Caux’’:

Should read ‘’Un Vieux Coin, Caudebec-en-Caux’’.

Page 132, ‘’289. Pont Royale, Paris’’ Should read: ‘’Le Pont Royal, Paris’’.

Pages 154 and 155, Prints No 535 to No 539 inclusive, ‘’Acc. no.: 985.003.001’’:

Should read Acc. no.: 985.003.002 to 985.003.006 respectively.

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Marilyn Baker, “WILKINSON, CAROLINE HELENA (Armington)”, in Dictionary of Canadian Biography, vol. 16, University of Toronto/Université Laval, 2003

Marilyn Baker, « WILKINSON, CAROLINE HELENA (Armington) », dans Dictionnaire biographique du Canada, vol. 16, Université Laval/University of Toronto, 2003

http://www.biographi.ca/en/bio/wilkinson_caroline_helena_16E.html.

Baker, Marilyn. Formerly professor of art history, University of Manitoba, Winnipeg, Manitoba.

‘’Caroline was also adept at negotiating contracts that had the potential to generate multiple prints. In September 1920 she finished a commission for the Aero Club of America to etch the Wilbur Wright monument (unveiled the previous July) in Le Mans.’’

‘’Mme Armington était également douée pour négocier des contrats qui pouvaient l’amener à produire de multiples estampes. En septembre 1920, elle termina pour l’Aero Club of America une eau-forte du monument Wilbur Wright, dévoilé au mois de juillet précédent au Mans.’’

We have been told by the DBC/DCB that this was reported in an article of the Winnipeg Telegram newspaper dated September 1rst 1920.

We have not been able so far to verify that source.

In 1923, the Aero Club of America was renamed National Aeronautic Association (NAA).

In Mach 2021, the Director of the NAA advised us that there is no artwork of Caroline Armington in the art collection of the NAA nor that there is any record of a commission of the Aero Club of America for the etching of the Wilbur Wright monument in Le Mans by Caroline Armington.

In 1923 and 1924 various articles in two Dayton newspapers mentioned that the French government had commissioned Caroline Armington to etch the Wilbur Wright monument in Le Mans.

Some of these articles mentioned that the plates were destroyed after making 50 prints. No explanation was given for the destruction of the plates. One article reported that the plates were given to the French government.

Caroline Armington Etching Record Book mentions that two etchings of this monument were produced in 1920 (CA-230 and CA-231).

Notes for these etchings in the Etching Record Book do not refer to the Aero Club of America nor to the French government. In addition, they mention that the plates were destroyed after 30 prints for CA-230 (28 prints for CA-231) and that most of the prints were destroyed in 1930.

Therefore, it can be assumed that Caroline Armington was not commissioned by the Aero Club of America or by the French government for these etchings or that any of these commissions did not materialize.

By the notes contained in the Caroline Armington Etching Record Book, there would be only 16 to 18 prints of No 230 and 13 or 14 prints of No 231 in existence.

So far, we have found only very few prints of these two rather rare etchings.

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A. McKenzie Brockman

Caroline and Frank Armington

(Deux-Montagnes, Québec, November 1985); A publication of the Montreal Print Collectors Society.

‘’E. Tuller, former secretary of the American Baptist Church and friend of the Armingtons,……’’

‘’…so, according to E. Tuller, who with his wife Rose, was a friend and an admirer of the Armingtons, ….’’

‘’…. Shortly before his death Frank expressed to Mrs. Rose Tuller the desire to see….’’

These statements are rather surprising.

Edwin H. Tuller was born on December 11, 1913, in Hartford, Conn., the second son of an active Baptist family. He graduated from Colgate Rochester Divinity School in 1938.

Rose Catherine Walker was born on 19 May 1916, in Nunda, Livingston, New York.

Edwin and Rose married on 30 June 1938, in Rochester, Monroe, New York, in 1938.

They moved to Paris where Edwin did graduate work at La Faculté Libre de Théologie Protestante in Paris in 1938 and 1939.

In 1978, while in Paris, the Tullers made their collection of Caroline and Frank Armington prints available for sale.

In 1980, this collection was sold by Rose Tuller to PAMA.

Rose died on 5 October 1980, in Flemington, Hunterdon, New Jersey, at the age of 64.

Edwin died on August 25, 2009 in Cheswick, Pennsylvania, at the age of 95.

Also, it is not known when or how Rev. E.H. Tuller and his wife became ‘’owners or custodians’’ of Caroline Armington’s etchings, Etching Record Books, Visitors Register, Sales Book, photographs and Diary which are now in the collection of PAMA. Nor it is known from whom they acquired these documents.

‘’ Caroline eliminated one stage of the execution by doing her scenes directly on the waxed plate……/….. , since it required doing the picture backwards as though in a mirror.’’

This is not always the case. Some Caroline Armington’s prints are showing reversed images. See our catalogue numbers CA-17-1, CA-106, CA-142, CA-144 and CA-146.

‘’Eventually she turned out a total of 557 etchings and drypoints…..’’.

It is not known where this number comes from. It may be a typographical error (557 instead of 551).

In her Etching Record Books Caroline Armington has numbered her prints from number 1 to number 551. In addition, four prints have been assigned the numbers 146a, 273a, 353 bis and 417 bis and one print may have been assigned the number 7a (‘’Pont du Cheval, Bruges’’).

For some prints, Caroline Armington has not assigned a number to her print (despite the fact that we have found evidences that some of them have been printed).

In addition there are some prints for which a new plate was etched with the same title and no new number had been given in the Etching Record Book.

Finally, for the years 1909 to 1912, Caroline Armington’s Etching Record Book lists thirteen (13) prints with the note ‘’Color Print’’ or ‘’Color’’. It is assumed that Caroline Armington has etched a ‘’new’’ plate for these ‘’Color’’ prints despite the fact that none of them had been assigned a number or a note in her Etching Record Book (despite the fact that we have found evidences that some of them have been printed).

So far, one print which is not listed in Caroline Armington’s Etching Record Books has been found.

Based upon these elements we have calculated that she created approximately 600 etchings.

‘’In 1914 both artists entered prints in a showing in Chicago, entitled significantly, An Exhibition of Works by American Etchers’’.

It should be noted that both started to participate to that exhibition in 1912.

‘’The same year (1920) Caroline was elected a member of …. /…., and of the Chicago Society of Etchers.’’

It should be noted that Caroline and Frank Armington were shown as members of the Chicago Society of Etchers since 1913.

‘’In 1921 Caroline was commissioned by Princess Marie Louise of England to do a tiny Paris etching for Queen Mary’s doll house.’’

This was in 1922. Caroline Armington’s submittal letter to Princess Mary Louise is dated October 3rd, 1922. Frank Armington’s submittal letter is dated September 21st, 1922 and refers to Princess Mary Louise’s request of August 6th. Interestingly, it can be noted that it seems (based upon the contents of these letters) that Caroline Armington was not originally invited or commissioned by Princess Mary Louise to submit her work but that she did it at the suggestion of her husband (Frank Armington).(see CA-289).

Interestingly, in 1950, one print of this etching was given to Princess Elizabeth (the Queen Elizabeth II of England) for the birth of Princess Anne by Rose Tuller. She also donated one unsigned print of this etching in 1978 to the British Museum, London. We have found evidences that in the early fifties Rose Tuller had in her possession at least five prints of this etching. A note written by one lady who purchased one of them seems to indicate that in 1939, in Paris, Caroline Armington gave some of her prints to Rose Tuller for selling in the United States.

‘’Finally, their liner sailed from Lisbon, and docked in New York several days later, on Oct. 22.’’

As per the ship manifest, the Armingtons boarded the SS Manhattan in Le Verdon (near Bordeaux), France on October 15, 1939. They arrived in New York on October 22, 1939. They declared to be in transit, with Canada as their final destination. They also declared that they intended to stay at the Grosvenor Hotel in New York City.

The ship manifest does not seem to include Lisbon as port of call for this journey. It refers only to Cobh (Ireland) on Oct. 10, 1939, Southampton (England) on Oct. 12, 1939 and Le Verdon (France) on Oct. 15, 1939.