Title in Caroline Armington’s etching record book: Le Quai Vert et le Beffroi à Bruges

Year: 1926

Number: 356

Size:

States: 3

Title on Print: Le Quai Vert et le Beffroi à Bruges

Initials or Signature and Date in Plate: C. Armington 1926 l.r.

Planned Edition: 100

Total Number of Impressions: 114

Numbers in Pencil: 

One dedicated "To my dear Frank from c.a." not numbered

61, 82, 90/100

Signature in Pencil: Caroline Armington

Dedication:

"To my dear Frank from c.a."

Caroline Armington’s etching record book contains the following notes for this print:

1st state 1 print destroyed

2nd 1

3rd 1 print each  Helen Louise Hayden, Win. Hayden

4 ep. d’essai on Jap. paper

1 for Frank on old paper

1 for Mrs. Louise Gebhard Conn Lanoka

6 epreuves d’essai 1/6 to 6/6

No 1 to 100

Plate crossed 1 print

Oct. 1932

Price in Caroline Armington’s etching record book: none.

Plate: plate was crossed in October 1932.

Collections:

PAMA

Exhibitions:

The Art Institute of Chicago, Chicago Society of Etchers, 1927 Exhibition with the title ‘’Le Quai Vert à Bruges’’.

Publications:

Comments:

 

Winfield Scott Hayden and Helen Louise Hayden Purchased prints No CA-352 to CA-357.

 

During the 1920s, Winfield Scott Hayden and Helen Louise Hayden were most probably an established couple living and working in the Midwest / Upper South region (predominantly tracked across the Kentucky, Indiana, and southern Illinois borders).

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In 1926, Mrs. Louise Gebhard Cann (whose name is often slightly misspelled or mistranscribed in archival documents as Conn or Lanoka/Janaka) was a prominent American writer, poet, and art critic living and working within the expatriate avant-garde community in Paris, France.

Her life and status in 1926 are defined by several key areas:

In November 1926, she was prominently highlighted in The New Yorker's "Paris Letter". The review lauded her for writing a "brilliant foreword" for an art exhibition catalogue, praising her unique ability to beautifully insert complex artistic theory into her prose.

By 1926, she was a well-known voice documenting modern European art. She regularly authored essays, books, and monographs on significant contemporary painters.

She was the wife of the celebrated Japanese avant-garde painter Yasushi Tanaka. The couple had married in Seattle in 1917 and relocated permanently to Paris in 1920 to escape the less-receptive American art market. In European circles, she was frequently referred to as Madame Tanaka.

She belonged to a very notable pioneer family from Seattle, Washington. Her father was Judge Thomas Hart Cann, a well-known local police court judge and civic official

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