to the Salon of
J. William Fosdick (1858–1937)
Featuring his
1890 Panel "Rose"

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Rose By J. William Fosdick, 1890 Pyrography on wood panel, 14-1/2" wide by 19-1/2" high Digital image courtesy of the owner

Rose, detail of the inscription and signature, verso By J. William Fosdick, 1890 Inscription verso reads: Costume XVIII. Cent. "Rose." This original design was burned on wood with red-hot irons by J.W. Fosdick New York 1890. Pyrography on wood panel, 14-1/2" wide by 19-1/2" high Digital image courtesy of the owner

Rose, detail of the 'logo' signature By J. William Fosdick, 1890 In the upper right hand corner of the panel, recto, is a signature monogram of the letter F and a little salamander; below that is N. York 1890. Pyrography on wood panel, 14-1/2" wide by 19-1/2" high Digital image courtesy of the owner

Rose By J. William Fosdick, 1890 Pyrography on wood panel, 14-1/2" wide by 19-1/2" high Digital image courtesy of the owner

American art collector Stuart Trott from the State of New York acquired this beautiful 1890 wood panel by J. William Fosdick at a country auction in the 1970s. It is entitled "Rose" and inscribed in detail on the back of the panel, as shown in the second image above.

The distinctive 'logo' signature in the upper right hand corner of the panel (also shown above in a detail) has been observed on other panels by J. Wm. Fosdick; however, this is the first time we recall seeing it with the date 1890 and the city of New York—the others were all from 1888 and done in Paris. Conjecture has it that the little salamander was Fosdick's symbolic choice for his logo design, because of its fabled connection to fire originated by Paracelsus, and its propensity to move in and out of fire.

Update, November 2011: Reminiscing in a 1909 article, Fosdick affirms the salamander as his logo:

"The writer, who twenty-four years ago founded the Art of Fire Etching in this country, has ...[kept] ever in mind the motto of King Francis I of France which always surrounds the Salamander emblazoned upon his shield—'I burn but I purify.'"

Because of the unusual inscription on the verso, something rarely seen on Fosdick's panels, but also unusual because of what he wrote first, i.e., "Costume XVIII Cent." we see what may imply this work is part of a series on costumes, or that Fosdick is illustrating first and foremost a costume rather than the person portrayed. This mysterious portrait has been the subject of much discussion and conjecture, and we are hopeful something additional will turn up to help us solve the many mysteries surrounding it.

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If you have any questions or any information regarding this decorative panel from 1890, or other works by J. William Fosdick, please e-mail Stuart Trott and the E-Museum Curator.

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Featuring his 1890 Panel "Rose."

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