Detail of “Fall” – Wheeler Williams 1934 (Photos by the author.}
We found Wheeler Williams! That probably means nothing to you. And it meant nothing to us at the time as well. But let us go back into our past for the full story.
The setting: spring, 2018, Kintnersville, PA: true to our mission of driving-for-deco, we headed out to Antique Haven. This is one of our go-to moderate sized stores. And rarely do we leave empty handed.
On this day, we saw a nice Art Deco half round side table. And displayed on top was a very interesting, very large (40 1/2in high), very heavy, and equally Art Deco statue. It didn’t take much discussion before both were in the car heading off to a new home.
The three faces of “Fall” (Photo by the author.)
Detail of the cast base. {Photo by the author.}
We try to research things we purchase as a way of increasing our knowledge and, when possible, to share that knowledge. Unfortunately, we could not find anything on either.
Martell Gallery – Three Seasons (Photo from Instagram)
Last autumn, Anthony was excited to see a series of these statues in the background of an ad for a high-end store in Florida. Unfortunately, there was no other information on them in the ad or on the dealer’s website
Wheeler Williams (Photo from americanart.si.edu}
Flash forward to 2024 and on a whim, I decided to try a reverse image search on the statue. Ta-da! We purchased a composite stone statue called “Fall” designed by Wheeler Williams and manufactured circa 1934.
The Four Season’s (Photo from artnet.com)
In 1932, Williams designed the series of the “Four Season”; cast in bronze. Later production copies, such as ours, were cast in metal, marble, cast stone or plaster.
Wheeler Williams was born in Chicago, Illinois in 1897. He studied sculpture at the Art Institute of Chicago. Transferring to Yale University, he took top honors graduating magna cum laude in 1922 with a Master of Architecture degree. That same year, Williams won dual honors: a medal for architecture from the American Institute of Architects, and for a sculpture (in collaboration with John Albert Wilson) from the Prix de Rome.
Talented in both disciplines, he opted to concentrate on sculpture over architecture. He spent the next 8 years at the École des Beaux-Arts in Paris, France, mentored by Jules Coutan.
In 1927, Wheeler Williams was invited to participate in the Pioneer Woman statue competition. He failed to win. However, you can see an enlarged, cast version of his entry in front of the Liberty Kansas Public Library. You an easily see the form’s similarity to the Four Seasons.
Muse of Missouri Fountain postcard (Photo from eBay.com)
Wanting to expand his exposure to the world, he opened a studio in New York in 1928, traveling between Paris and the U.S. Eventually taking up permanent residence in the U.S.A., he continued to sculpt both in New York and a copious amount in California.
Pediment of the Environmental Agency,1935, Washington D.C. (Photo from Wikipedia)
Williams flourished during the 1930s. Proficient in carved allegorical reliefs you can still see an example at the Interstate Commerce Building, Washington, D.C. He also produced work for the WPA (Federal Works Agency). Two of his works are viewable in the post offices on Canal Street, New York, and in Bay Shore, Long Island. He is also known for his life-like portrait busts.
For a list of some of his other public works, click here.
1936 Speed: Post office in Bay Shore, New York (Photo from US National Archives and Records Administration)
In 1937, Williams was a recipient of a Gould Medal at the Paris Exposition.
1939 Black Panther (Photo from pafaarchives.org)
Panthers flank the entrance to The Society of the Four Arts (Photo from palmbeach.floridaweekly}
He exhibited regularly at the National Academy beginning in 1938 and winning in 1940 the Ellin Speyer Memorial Prize for his Black Panthers. He served as president of the National Sculpture Society and helped to found and serve as president of the American Artist Professional League.
Prolific, he worked steadily through the 1940s and 1950s.
As a patriot, he served active duty in both world wars. However, there was a darker side to him. This fanatical patriotism manifested as a supporter of the House Un-American Activities Committee. His involvement was looking for “red” communists in the arts. He also participated as a trial juror on the Alger Hiss treason case.
1959 Robert A. Taft Memorial and Carillon Douglas W. Orr with Wheeler Williams (Photo from aoc.gov}
Many of Williams’ commissions during this period reflect as conservative viewpoint. An example of this is his work on the Robert A. Taft Memorial in Washington, D.C. The imposing tower is a work by Douglas W. Orr and the 10 foot bronze statue is by Williams.
After a long and undisclosed illness, Wheeler Williams died at the age of 74 on August 12, 1972 in Madison, Connecticut.
Memphis Brooks Museum of Art, Memphis, Tennessee (Photo by Thomas R Machnitzki)
In 1961, the Memphis Brooks Museum of Art in Memphis, Tennessee purchased a trio of the seasons consisting of “Spring, Summer, Fall”. Fabricated in Carrara marble, they were prominently displayed to the left of the entrance. However, on October 28, 2023, two of the statues, “Spring” and “Summer”, were badly damaged by in a hit-and-run when a van struck them.
Ironic that the only one not to fall, is, well, “Fall”.
Post accident (Photo from artnews.com Courtesy the Memphis Brooks Museum of Art)
The museum is working with experts to assess the extent of the damage and whether they can be repaired. As of the publishing of this article, only Fall is currently on display.
Thanks for coming along on our journey to finding Wheeler Williams.
The main entrance to the Brooklyn Museum on Eastern Parkway. Photo by Virginia Rollison from Timeout.com
The Brooklyn Museum, in its namesake borough of New York City, is a must destination for anyone with an interest in Art Deco. The museum’s collection encompasses many areas, but its decorative arts section is truly fantastic. Chris and I did visit the museum back 2016 and will revisit again once the pandemic is behind us. But the museum is currently open to visitors with reduced hours and limited number of admissions. Before visiting please check their website for their guidelines.
The Brooklyn Museum antecedents date back to 1823. The famed architectural firm of McKim, Mead and White designed the neoclassical building for the museum’s permanent home in the Park Slope section of the borough. Construction took place in stages between 1895 and 1927, with the museum doors opening in 1897. The museum is New York City’s third largest and holds over 1.5 million works in its collection. And the breadth of the their catalog is enormous. It embodies the artistic heritage of world cultures. It ranges from Egyptian and African art through works from the 17th, 18th, 19th, 20th and 21st centuries and disciplines from painting, sculptures and decorative arts. And the Brooklyn Museum’s collection of Art Deco and Modernist pieces is one of the best anywhere.
Museum of Arts and Science (Brooklyn Institute of Arts and Sciences; Brooklyn Museum), Brooklyn, New York, New York, 1910. (Photo by Geo. P. Hall & Son/The New York Historical Society/Getty Images)
The Williamsburg Murals
One of the major pieces of modernist art in the collection of the Brooklyn Museum are the Williamsburg Murals. During the mid-1930s, New York City Mayor Fiorello LaGuardia began a campaign to remove slum housing. Replacing them were new, low rent apartments having lots of natural light, green spaces and community rooms. One of the first of these projects, the Williamsburg Houses, was built between 1936 and 1937.
Williamsburg Houses street frontage. Photo by Nyholm, from Architectural Forum, May, 1938.
Open green space at the Williamsburg Houses. Photo by Nyholm from Architectural Forum, May, 1938.
Architect William Lezcase (1896 – 1969) wanted art work to be part of the basement community rooms. Commissioning artists through the WPA’s Federal Art Project four individuals created the works for these spaces. But these are very unlike the usual WPA murals going up concurrently in Post Offices across the United States. Unlike the local history theme of most WPA murals these are bold and abstract, reminiscent of Bauhaus art. The commission for these works went to four American abstract artists, Ilya Bolotowsky, Balcomb Greene, Paul Kelpe and Albert Swinden. These were the first public murals of this kind in the United States.
Untitled, oil on canvas. Williamsburg Mural by Albert Swinden, circa, 1939. Image from brooklynmuseum.org.
As the years passed the community rooms became offices or storage spaces and the murals suffering from neglect were painted over. Their rediscovery beginning in the late 1980s is an amazing story of art restoration. These murals on now on loan to the Brooklyn Museum from the New York City Housing Authority.
Untitled by Iyla Bolotowsky on display at the Brooklyn Museum. Image from tru-vue.com.
Below are a few of the great objects in the museum’s collection. Some of these pieces are on display in the Decorative Arts section on the fourth floor. While other not currently on exhibition are viewable in the Luce Visible Storage and Study Center on the fifth floor.
Ronson Touch-Tip
Louis V. Aronson. Cigarette Lighter, “Ronson Touch-Tip,” ca. 1935. Chrome and black-enameled metal, 3 3/8 x 4 3/8 x 2 1/4 in. (8.6 x 11.1 x 5.7 cm). Brooklyn Museum, Gift of David A. Hanks.
Catalog Description
“Ronson Touch-Tip” model, streamlined, tugboat shaped tabletop lighter (a) with wick holder (b). Flat chrome-plated base rounded at one end, square at the other end. Incised all around with two parallel bands painted black. Chrome-plated turret-like top rounded on one side. Side elevation of top is quarter round curved down in back to meet base. All the vertical planes of the top are painted black. Three parallel chrome bands curve around the sides of the front extending about 1/3 of the length. On the horizontal plane at very top are a knob (b) attached to a flint that fits into hole and a finger depressor to activate mechanism.
Polaroid Desk Lamp Model #114
Walter Dorwin Teague (American, 1883-1960). Desk Lamp, Model #114, ca. 1939. Aluminum, plastic, 12 3/4 x 11 1/2 x 10 1/4 in. (32.4 x 29.2 x 26 cm). Brooklyn Museum, H. Randolph Lever Fund.
Catalog Description
Desk lamp, Model #114. Low, hemispherical brown plastic (bakelite?) base with a cylindrical metal switch at the front and the lamp stem at the rear; wire cord attached through bottom rear of base. Stem is an aluminum cone tapering out from bottom, rising at a slight angle; four vertical slots at bottom rear of stem. Top of the stem is an irregularly shaped half circle punctured with circles and four screws with plastic heads that attach to the shade. Brown plastic shade in general shape of three-dimensional isosceles trapezoid with basically straight sides but rounded on all edges, and widest at the front. Shade slopes downward on top toward the front. Center of shade is slightly raised with four slots for ventilation along the rear and two on each side of the raised section. Interior of shade is spray-painted white and has two metal reflectors, curved one at back and flat one on inside top; underside covered with a thin, soft piece of green or brown plastic, held in place by a wire frame (intended to produce glare-free light).
E & J Bass Company Cocktail Glasses and Ice Bucket
Elsa Tennhardt (American, born Germany, 1899-1980). Stem Glass, Part of Five-piece Set, Patented 1928. Silver-plated brass, 4 7/8 x 2 3/4 x 2 3/4 in. (12.4 x 7 x 7 cm). Brooklyn Museum, Designated Purchase Fund.
Catalog Description
Cocktail glass on stem, silver-plated brass; part of a set with ice bucket, stem glasses, and salt and peppershakers. Glass has triangular base and irregularly shaped, curving stem that supports inverted cone-shaped bowl with three applied, triangular decorative motifs.
Russel Wright Coffee Urn
Russel Wright (American, 1904-1976). Coffee Urn, ca. 1935. Spun aluminum and walnut, 16 x 13 x 8 1/4 in. (40.6 x 33.0 x 21.0 cm). Brooklyn Museum, Gift of Paul F. Walter.
Catalog Description
Coffee Urn. Spun aluminum, wood. Spherical form on cylindrical stand. Spherical wood knobs on metal cylinders for handles, final, and pourer. Narrow cylindrical spout at base of sphere. Metal percolator basket with lid in interior.
Air King Radio
John Gordon Rideout (American, 1898-1951). Radio, 1930-1933. Plaskon (plastic), metal, glass, 11 3/4 x 8 7/8 x 7 1/2 in. (29.8 x 22.5 x 19.1 cm). Brooklyn Museum, Purchased with funds given by The Walter Foundation.
Catalog Description
Radio, plastic case with metal and glass parts. Rectangular, box-like form of light green plastic with two narrow steps attached to each side. The front decorated with series of seven vertical striations from top to bottom, and four horizontal ones near base. Black on/off and volume buttons to right and left near base and large green tuning knob at center of face. Near top is metal (brass?) plaque showing a male and a female figure in ancient dress placing their hands in middle of abstracted symbol (for radio wave?).
Revere Normandie Pitcher
Peter Muller-Munk (American, born Germany, 1904-1967). “Normandie” Pitcher, ca. 1935. Chrome-plated brass, 12 x 3 x 9 1/2 in. (30.5 x 7.6 x 24.3 cm). Brooklyn Museum, H. Randolph Lever Fund.
Catalog Description
“Normandie” pitcher of chrome-plated brass. Streamlined, in plan, a teardrop shape with a flat, strap handle curving out from lip of rounded rear side of pitcher, and down to same rounded side of base. Body of pitcher comes to a point at front end, forming a straight line running from pouring spout to base. Top of pitcher dramatically raking up from handle at rear to point of pouring spout.
Weil-Worgelt Study
The extent of the change in 1930s modernism in less than a decade is seen to best advantage by a comparison of the Williamsburg Murals to the Weil-Worgelt Study of 1930. The biomorphic forms of the murals would soon become a popular furniture trend starting in the late 1930s. While the study is an excellent of the pure early style of French modernism of the 1920s.
Alavoine of Paris and New York. Weil-Worgelt Study, ca. 1928-1930. Lacquer, glass, leather, veneered panels, 119 x 201 1/2 x 176 1/4 in. (302.3 x 511.8 x 447.7 cm). Brooklyn Museum, Gift of Raymond Worgelt,
Catalog Description
Designed by the New York office of the Parisian decorating firm Alavoine, this elegant study, made for an elite client, was a conservative interpretation of the Art Deco style; this can be seen in the geometric paneling of palisander and olive wood veneers and the large abstract lacquer panel, designed by Henri Redard and executed by Jean Dunand. A small, concealed bar, with etched glass walls that salute France, is hidden in the corner in defiance of Prohibition, which forbade alcohol consumption in the United States from 1919 to 1933. Interestingly, while this room was furnished in the Art Deco style, the public rooms in the rest of the Worgelt apartment were furnished in a more conservative French eighteenth-century-revival style.
Detail: Concealed bar, showing etched glass panel with stylized Parisian landmarks.
Detail of the abstract lacquered panel designed by Henri Redard and executed by Jean Dunand.
So if you love Art Deco and / or Modernism and you find yourself in Brooklyn, stop in at the Brooklyn Museum, you’re sure to enjoy your visit.