to the
J. William Fosdick Salon
Featuring His Studios
and His Societies and Exhibitions

Italian-born composer, conductor and singing teacher Alberto Randegger was widely known for his textbook entitled Singing published in 1879 that is still in use today. He made his career promoting opera and new works of British music in England during the Victorian era.
1905 Randegger Concert in J. William Fosdick's Studio in the Atelier Building in New York City Adapted from an article segment in the Timely Musical Comment. Bio excerpt on Randegger courtesy of Wikipedia.

This small item in the newspaper highlights one more aspect of the prominent social milieu
of J. William Fosdick and his wife Gertrude Christian Fosdick.

The following little piece was published in 1902 when J. W. Fosdick's novel "The Honor of the Braxtons" was being introduced. Unfortunately, it does not specify which First Lady it was who dubbed him with a nickname. Perhaps, considering the time frame mentioned, it was Frances "Frank" Cleveland, who was known to be a very popular hostess in her time.

Literary News Item City and state Volume 12, Philadelphia: 2 January 1902, p. 252.

Thanks once more to Google Books and a second article featuring J. Wm. Fosdick's studio apartment in the Atelier Building, this time from a 1907 issue of Architectural Record, we now have two additional images (below), each with helpful descriptive captions. The 1907 picture of his studio below, however, has been cropped top and bottom.

In the first one (Ada Rainey's 1914 article), where the ceiling edge and a lamp are visible, by calculating the things we can readily estimate, we had estimated the height of the room to be probably at least fifteen feet. However, now that we have still two more accounts—from historian Jeff Richman (quoted above) and Bob Hill, Gertrude Fosdick's cousin (quoted following)—it seems the ceiling included a slanted skylight and soared an astonishing twenty-six feet.

*** UPDATE—24 August 2011: Mr. Robert E. Hill of Richmond, Virginia, offers us here, in his own words, his firthand description of the luxurious "ATELIER" apartment of J. William and Gertrude Christian Fosdick, remembered from his own visits there during the 1950's:

"I was particularly interested in the article describing the Fosdick apartment and seeing the picture of the fireplace, however murky. That's exactly what I remember. I have always been somewhat reluctant to try to describe that apartment, for fear of being accused of gross exaggeration, or at least hyperbole. I've never since seen anything quite like it.

One entered onto a balcony overlooking this huge, 2- story space. Straight stairs led down to the main floor and on the left a vast, slanted skylight dominated one wall (presumably north facing).

I particularly remember three things: the fireplace (pictured), the tapestry (mentioned) and a magnificent mahogany highboy, with broken pediment and flame finials. The rest of the astonishing decorative art objects and furnishings were consistent with the few shown in the picture.

Cousin Gertrude's eyesight had failed considerably and shades were drawn over much of the skylight to keep out the brightness. This gave the place a muted and almost gloomy aspect.

At the time of my visits she had a companion living with her, a Miss Sparrow. "She's English, you know", I was told by Cousin Gertrude with a twinkling eye. I also recall that there were several of her small bronze sculptures on a console table, but unfortunately I remember nothing specific about them."

In a follow-up dialogue, Bob Hill goes into still more detail about the intriguing configuration of the rooms in the Fosdicks' beautiful studio. Refer to the two images immediately below to see what he is describing.

"To answer your specific question about the dining room, the door visible on the left in the photo leads, on the same level, into the main room. As one stood facing the fireplace, the dining room was directly (90 degrees) to the right. Along the same wall, in the corner (about 45 degrees) was a hallway leading back into the living quarters. I did go into the dining room, but never into the living quarters so have no idea how it was configured. Since the dining room was only one story tall, perhaps there was a bedroom above the dining room. But that is pure conjecture. The entry balcony, however, was no more than a balcony. No other room was visible at the same entry level."

J. William Fosdick's Studio in the Atelier Building in New York City Adapted from the article, "Some Interesting Studio Apartments" in the Atelier Building, 33 West 67th Street, New York from the Architectural Record, Vol. XXI, January–June, 1907, pp. 385–388.

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Although Ada Rainey talked in her article about the triptych, she did not name it. She did, however, note that it was no longer there because the work was part of the Evans collection at the Smithsonian in Washington, D.C.

In truth, because William T. Evans donated that work to the National Gallery of the Smithsonian in 1910, the photograph illustrating Ada Rainey's article must have been at least four years old when it was published in 1914*. And Fosdick must have hated to see his 9-foot-by-13-foot triptych depart, because his studio must have looked most impressive with those three grand panels there.

* In light of the 1907 article found in 2009, it now seems that those photographs of J. Wm. Fosdick's studio were at least seven years old. It is also believed that Fosdick's Joan of Arc triptych also spent some time on loan to the Boston Art Museum, so he may have had them in his studio for only a limited time.

Apparently in 1922 there was "trouble in paradise" even in that idyllic studio. Fosdick wrote two editorials of complaint to the New York Times that year. One was about the noise on Sundays from the hydroplanes passing overhead when people wanted to enjoy sitting on the rooftops of their buildings. This one below indicates his landlord was allowing entrance to some less than satisfactory tenants who were "ruining the neighborhood." No one likes bad neighbors.

New York Studios Editorial in the New York Times Published 19 September 1922.

Sunset Hill House The Nutshell, J. William Fosdick's Summer Studio was one of the cottages at Sunset Hill House Located in the town of Sugar Hill, in the White Mountains of New Hampshire, U.S.A. Adapted from a period photograph of what was the original Sunset Hill House until 1974. Today Sunset Hill House is a country inn. At the link here, read the history of it as told by its present owners.

Excerpts from a July 1905 New York Times column "IN THE WHITE MOUNTAINS":

"BRETTON WOODS, N.H., July 8. — The season here was given a decided impetus. There came with Saturday the greatest influx of visitors ever known on a single day in the White Mountains. The New York train brought fifteen carloads of visitors, to the hills, and from Conway to Colebrook every station sent its full quota of holiday makers laden with golf sticks, tennis racquets, fishing tackle, and other outing paraphernalia...."

"J. William Fosdick, the New York artist, has rented the Nutshell to friends, as he is obliged to remain in New York this Summer."

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Excerpt from a July 1912 New York Times column "THE SEASON AT SUGAR HILL":

"Old Friends Largely Make up Colony At This Favorite Beauty Spot"

"Seek the whole world over and you will find no such view as greets one from the Sunset Hill house at Sugar Hill, supremely beautiful in its color masses, simplicity, majesty; strangely fascinating under subtle influence of sun and shadow, dawn and dusk.

For the season now well begun, many affairs are planned, golf leading in outdoor sports, with social affairs radiating from the usual Saturday evening dances,....

Among the first of the cottagers to arrive was Mr. J. William Fosdick, the artist, who is at his studio, the Nutshell.

Mrs. Edwin B. Holden and family of New York, return to the Vista.

Professor and Mrs. F. H. Hill and family of Carlton College, Northfield, Minn., are among the new comers.

Dr. and Mrs. W. H. Haskin, and Mr. and Mrs. W. J. Parslow of New York lease the Adams villa. Mr. and Mrs. George Stevenson and family of Philadelphia, are at Glamorgan Cottage."

A Visitor at J. William Fosdick's Summer Studio "The Nutshell" in the White Mountains of New Hampshire Adapted from a black-and-white photograph, published in Puritan Magazine, July 1897, p. 225.

Excerpt on J. William Fosdick's Summer Studio "The Nutshell" in the White Mountains of New Hampshire Excerpt adapted from the article The Founder of a New Art in Puritan Magazine, July 1897, p. 225.

J. William Fosdick Posing at Work in an Earlier Studio in New York City Located at 58 West 57th Street (near Carnegie Hall) Adapted from a circa 1890 black-and-white photograph

Another View (at Another Time) of J. William Fosdick's Earlier Studio in New York City Located at 58 West 57th Street (near Carnegie Hall) Adapted from a black-and-white photograph, published in Puritan Magazine, July 1897, p. 224.

J. William Fosdick's Summer Studio or Atelier circa 1893 Adapted from a drawing by him on p. 216 in an 1893 article in The Monthly Illustrator entitled THE SUMMER STUDIOS OF AMERICAN ARTISTS, pp. 209–224.

Apparently before J. William Fosdick had his summer studio cottage in New Hampshire called "The Nutshell," he had a very rustic one that he had fashioned himself. The article excerpted here above, replete with small original drawings rendered by the artists themselves of their respective summer studios, failed to mention where exactly Fosdick's was located. This one, referred to only as his"atelier" in the caption did not appear to have been given its own special moniker as his later one had.

J. William Fosdick at Work In a makeshift studio in a schoolhouse in the summer of 1884 Adapted from an illustration on p. 121 in an 1892 article by Franklin Smith in Frank Leslie's Popular Monthly entitled Etching With Fire.

In 1884, J. Wm. Fosdick sailed from Paris, where he was studying,
back to New York to do a special job—a commission for E. D. Adams
for a frieze in his New York City house. The panels were sent to a
workshop he set up in Massachusetts. Read the story at the link here.

His Societies and Exhibitions, also Lectures

It was thanks to J. Wm. Fosdick's listings in the various magazine and newspaper articles and announcements, year books, and catalogues of the various societies and organizations to which he belonged that we learned of his studio and residential addresses over the years and the exhibitions in which he participated.

And it was thanks to his participation in many of those societies, no doubt, that he was able to meet and work for major entrepreneurs of his time and their architects, in addition to fellow artists and others, such as publishers and the press, who were essential in recommending, contracting, publicizing, and promoting his work.

Many of these organizations also provided venues for exhibitions, as well as catalogues. Following is a list of the societies to which J. William Fosdick was known to be a member. In some, he is listed as a non-resident member in one section showing an address other than New York City, and listed again in a separate section as a resident member showing an address in New York City. In most of these organizations he was not only an active member but one of the officers. Where this is the case, his position(s) held are noted in parentheses after each:

The New York Architectural League (Secretary)

The National Society of Mural Painters (Secretary)

The Copley Society (President and Lecturer)

The National Society of Craftsmen, New York (Director, Vice President)

The National Arts Club, New York

The Arts and Crafts Society of America (President)

The New York Camera Club (Judge and Lecturer)

Julian's Ancients (Les Anciens de Julian)
Also known as the American Alumni of the Julian Academy (Founder, President)
Organized in 1908; annual reunions held in the Hotel Brevoort.

*** UPDATE—14 June 2010: Thanks to Google Books, the E-Museum has discovered a newly published book Ernest Clifford Peixotto: American Artist. Lovingly written by the artist's nephew and namesake, it is the biography of another great artist, who, like J. William Fosdick, studied at the Académie Julian.

Excerpt, p. 200, from the book Ernest Clifford Peixotto: American Artist By the artist's nephew and namesake, Ernest D. Peixotto Published by PublishAmerica, Baltimore, Maryland, U.S.A., 2010.

*** UPDATE—2 July 2011: From the New York Tribune is a 1908 article JULIAN'S 'ANCIENS' REVIVE MEMORIES describing a reunion and a stereopticon slide show of pictures of J. William Fosdick and old friends, all who studied at the revered and fondly remembered Académie Julian in Paris.

Reunion of Julian's Anciens at the Atelier Café

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1889 Exhibition at the Galleries of the
American Art Association in New York City

and the

1889 Exhibition at the St. Louis Museum of Fine Arts

Although as yet no catalogue has been discovered for the New York 1889 Exhibition of Burnt Wood Panels by J. Wm. Fosdick, held in the Galleries of the American Art Association, research has revealed that Fosdick returned to America in 1888 with the works he had shown in Paris upon finishing his studies there. Encouraged by his professors from the Académie Julian, he began showing them in the United States in New York and St. Louis. Therefore, it seems safe to say that the 28 works shown in St. Louis and listed in their catalogue, linked here, should accurately represent his works shown in New York City, as well.

1893 World's Columbian Exposiition
at the Art Palace in Chicago

The Art Palace Exhibit building at the 1893 World's Columbian Exposition in Chicago, Illinois, United States of America

According to the catalogue for this exhibition, on p. 133, J. William Fosdick exhibited his "burnt wood drawing" from 1888 entitled Lady Godiva, which was number 2695 and hung on the east wall of the north court, near the entrance to the staircase at the northeast of the Rotunda. This work can be viewed at the link for the 1889 Exhibition in St. Louis in the previous entry.

Atlanta Exposition, 1895