Ella Condie Lamb: Charles Lamb, Pt. 1

"The Dewey Arch," New York City

"A separate biography would be needed to fully describe the life and career of Charles Lamb.  However, since he must be part of this one, it seems prudent to summarize his achievements rather than weave them into a presentation of the art and life of Ella, his wife. Charles' business career, his passionate involvement with the City Beautiful Movement, his visionary ideas for city planning, his drive to promote fine public art, his avid participation and service in the influential art societies of New York, his public speaking, his strong personality, his need for action and his drive for recognition, all are dazzling.

Together Charles and Ella met the desires of the public, and necessarily the tastes of the era, in order to make a living for themselves and their four children. 

Charles was the second son of five children. This older brother was named Osborn, after Charles came Fred, then Dick and finally Agnes. The parents were strong, artistic and industrious people, desirous that their children be cultured, well educated and above all, well trained in art. Their lives revolved around each other and the family business, the J & R Lamb Studios. At the age of sixteen, Charles became an apprentice at the business and helped his father run the firm, which provided 'everything for the church' including stained glass windows, marble statuary, mosaics, and much more. 

At night Charles studied architecture and took courses at the Art Students League in drawing and laying out designs. His family sent him to study the great architecture, cathedrals, and museums of Europe, and he had become one of the chief designers for J & R Lamb Studios. He had developed a deep appreciation of artistic traditions of the past along with a compelling vision of how beautiful and inspiring the environment of the city and its public art could and should be. By the time he married Ella at twenty-eight, he was a self confident architect-designer who sought the finest in art. 

When one reads a list of his accomplishments throughout his lifetime, one wonders if there were enough hours in the day for Charles to attend to all his enterprises and positions of leadership and creative ideas. Here is a list of just a few:

• President of the Art Students League, 1886-87
• An organizer of the American Fine Arts Society and on the original Board of Trustees as Treasurer.
• Vice-President of the Architectural League for two terms
• 2nd Vice-President of the National Sculpture Society for two terms
• Designer, architect, and supervisor of construction for the Dewey Arch in New York City
  
• An organizer of the National Arts Club, insisting that there be equal entry for women
• The designer, architect, and supervisor of construction for the Dewey Arch
• Active in New York politics
• A major participant in the organization of the Pan-American Exposition in Buffalo, NY
• President of the Municipal Arts Society, 1906 and 1907
• Director of the Merchants Association of New York and chairman of its City Planning Committee, which presented extensive schemes for improvement in New York
• A major contributor to the City Beautiful movement and published comprehensive plans for city improvement and for reclamation of the waterfront.
• Director of the Boy Scouts of America and lifelong friend of its founder, Dan Beard."

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Seeley.)

Ella Condie Lamb: Honeymoon in Europe

Ella Condie Lamb's Sketch of Bruges

"'Before they [Ella and Charles Lamb] were married,' recalled their son, Donald, 'Mother got pneumonia and had taken to bed. A doctor said she ought to have a long sea voyage. They decided to get married and have the sea voyage be their honeymoon. Mother and Father were married right there in her bedroom. They left on their honeymoon and by the time they got back, she was well.'

Their letters back home are laden with historical references and detailed descriptions of all they were seeing in Holland, Belgium, Paris, and London. 'I send you some grasses that you may have part of our wanderings. They are from Egmond and Marken,' she wrote her mother-in-law.

In Bruges, Belgium, Ella made a small sketch of a canal. Beneath are her notations for color: houses - sienna; roofs - red tiles; bridge - warm gray; second house - dark gray sienna; gray sky; walls - yellow gray; distant house - suggestion of purple; dark purple shadow in bridge and walls; changing light on surface of the water - reflections with less color. She was enchanted with the beauty of this 'Venice of the north.' 

In Holland she noted, 'The girls are dressed like their mothers, in many petticoats, thick woolen waists embroidered in high colors... a high white cap that covers all the hair, except a bit that sticks out straight over the forehead, and two long curls, that hang on each side of the face... One woman smiling invited us to inspect her house. It was scrupulously clean with rows of Dutch plate along the walls. Finally the woman sat down and posed while I made a little sketch.'

Of Paris: 'We have seen more art and gotten more ideas in the last week than in a year in New York.'

In London they met up with a number of artists: 'I shall be happy to see you, ' wrote Burne-Jones, and there was a cordial letter from Mary Watts, wife of George Frederick Watts. 'I write to say for him that we are here for the Autumn and shall have much pleasure in showing you and Mrs. Lamb the work now here.' And what could be more English than a cup of tea? Walter Crane wrote from his home in Beaumont Lodge, Shepard's Bush, 'My dear Mr. Lamb, I am glad to hear you are in London and your bride is with you... I should be very pleased to see you both if you could look in some afternoon about 5 and have a cup of tea.'

Charles noted that 'Today we closed our London by calling upon Mr. Alma-Tadema and being received in a royal way - shown all over his London house and studio - and at last being sent off with two etchings and two photos with his signature on each.'

But Ella longed for home. 'We do not think anything we have seen will be pleasanter than the big room at the mountain, with the logs you promised, and the home faces around it.'" And so they returned to the States.

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Seeley.) 

Ella Condie Lamb: Charles Lamb

"Charles [Lamb] with Beret" by Ella Condie Lamb

"Upon her return to the United States Ella found a position as art instructor in a 'school for young ladies' in Bergen Point, New Jersey. Her business card lists her teachers: M.M. Collins and Courtois, Paris; Messrs. Wm. M. Chase, Walter Shirlaw, C.Y. Turner, New York. Chase also sent his recommendation as following: 'I take pleasure in presenting my former pupil Miss Ella G. Condie as one fully competent to teach the Art of Drawing or Painting.'

Ella had now known Charles Lamb for several years. They had studied at the Art Students League, he had visited her in France, and had accompanied her with her friends to the Netherlands and to England. Only 5'1", with long blond hair and blue eyes, exceedingly talented and dedicated to her art, Ella seems to have fascinated Charles from almost the moment he met her. Their son, Condie, recalled that his father often said he had married 'the best student at the Art Students League.' No longer a student, Ella was now a mature professional artist.

Charles was a handsome, outgoing man and Ella, though cautious, had become enamored of him. She had begun to realize that he was somewhat of a dynamo with a complicated personality. The decision as to whether or not to marry him loomed before her and she would not be hurried into making it. She had to proceed at her own gait and she put him off, knowing she needed to retreat, not only to make a decision about Charles, but also to find her own stride in life as well as in art. 

For two years Ella continued with her teaching, painting and exhibiting her work.

Then in a love letter written on thin tissue-like paper from Ella to Charles, and carefully preserved by him, she acknowledged her love for him and what that meant to her. Instead of dedicating herself solely to achieving supremacy in art, she chose married life: 'I wonder if you really know what it means - it means that the greatest joy that can come to a woman has come to me - that the highest station in life that can be given her has been given to me - that the richest possibilities that can be opened before her have been opened to me. You do not mind if I am not a great artist?' Of course, he did not mind.

Her father wished her and Charles 'their 'full share of those greatly to be admired blessings, Health, Happiness and Contentment, in whatever part of life's great drama you may be called upon to participate.' 

After June 16, 1888, Ella Grace Condie signed her paintings, 'Ella Condie Lamb.'" 

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Seeley.)

Ella Condie Lamb: Paris

Sketches from Paris by Ella Condie Lamb

"Ella Condie Lamb and Miss Metcalf settled into Paris at 44 Rue Madame. She enrolled in classes taught by Collins and Courtois in the Colarossi Academy. Here she learned the rudiments of sculpture and wrote home in a somewhat discouraged tone:

'I have been modeling in clay as usual and I feel I must learn something, although I will have nothing to show you, as things get broken up and the clay reused, and I could not get the casts home even if the things were good enough to be taken.' 

This study deepened her understanding of the workings of the human body. New strength and power appear in her life drawing at this time. Her increased ability in life drawing can be seen in one of the few surviving drawings from her time in Paris. She described one of the models, '...the garcon at school is an old man, with a splendid head of shaggy grey hair - a model - named Arc Angelo. I always want to call him Michelangelo or else Arch Angel.'

Though the paper is extremely brittle and yellowed, Ella's Parisian drawings demonstrate the development of her natural skill and the reason for which Charles de Kay, art critic for 'The New York Times,' praised Ella's 'faultless drawing.' She had a very happy time in Paris, not only because of her art lessons but also with friends who happened to be there at the same time. As well as her girlfriends, these included Dick and Charles Lamb whom she had met in New York. 

She did not stay the entire year but wanted to go home. 

'I have bought my ticket (with Mr. Lamb's kind assistance, who sails himself tomorrow)... I shall be home,' she penned, 'if all goes well, Sunday after next and sit with you in our pew at church. I do not know where you are going to put me at first - with you at Austin's or with Kittie - but will find out when I come. Until then good-bye - love to all - and so very much to yourself. From your daughter, Ella G. Condie'

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Seeley.)

Ella Condie Lamb: A Conflict of Interests

"Portrait of Mary Dale" by Ella Condie Lamb

"Ella Condie Lamb's father, James, offered to pay for another year of study in Europe. Ella's reply is an important letter because it eloquently expresses her understanding of herself and her personality, and because it shows that she sees clearly the consequences of the choice she must make. A sense of plight blends with common sense: it would not be possible to be a famous artist, to be 'truly great,' which to her meant to create, not imitate, while at the same time live a traditional family life. She has come to realize that one must give up everything to be 'great,' including 'all my most womanly instincts.'

One cannot help but be moved by her gentle effort to set forth that reality to the father who saw the potential for greatness in his gifted daughter: 

 

January 25, 1885

My dear Papa, This morning I received your letter containing the startling proposition of my staying abroad until the summer of '86.

 

Please do not think that the time and money spent in my coming abroad have been wasted so far, as regards an art education. I feel sure that I have gained more in doing what I have been doing - namely - seeing the good and grand examples of art in the galleries, museums and buildings, in taking in new ideas about all sorts of things and in having a little time to myself in which to get those ideas a little straightened, than I should have gained had I actually been at work at an art school which probably would not have differed essentially from the League.

 

It is the fine pictures and the surroundings of the Art schools here that make them superior. We have found that Herkomer's school was not a success and now that I have your permission, I am all ready to start for Paris, only waiting money and directions about same...

 

As for my staying another year, I cannot at present bear to contemplate the idea of being away from home another long year - but that possibility can be decided after two or three months at a Paris school.

 

I have had all the conceit taken out of me by seeing things here - not of my powers of imitation - but, I have learnt that that is not all that is needful - and to be truly great, one must be able to create - and interpret - Nature.

 

Papa, were I a boy, and able to give up all my time, future and interest and duties, for years and years to the one pursuit, I would not feel so - but, as I am a girl, and as there always have been duties, so I suppose there always will be duties, to divide my time and energies.

 

By all this, I do not mean that my studies are useless, oh no! I always will work whenever I have the chance - but I do not want you to expect as much from me as if I were a boy and could give up everything for it.

 

You know it is one of my greatest wishes to have a home - and so unless I lose all my most womanly instincts and feelings I am afraid I shall never be a 'great artist,' in the sense of making a name and fame for myself - although, as I always have, so will I always try to work, whenever I can. 

 

I cannot tell you how much good this winter is doing me, not only in the art sense, but in every other! But, I cannot yet say I would like to stay another year...'"

 

Her letter gives us valuable insight into the values of that time and helps us understand some of the issues that faced female artists.

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Seeley.) 

Ella Condie Lamb: The Herkomer School

"House in Watford, England" by Ella Condie Lamb

"In the fall of 1884, Ella Condie Lamb traveled to England to study at the art school of Sir Hubert von Herkomer, situated in Bushey, near London. Unfortunately, she quickly realized that she was not going to make progress while at the Herkomer school. Not long after his return to New York, her father received a letter from Ella explaining the situation in detail:

'My dear Papa, Ever since you left it has been growing more and more unbearable at the school. We would start in the morning feeling like work ... and then in would come Mr. Herkomer to criticize. I don't mind how severe they were - that was nothing - they were not as severe as those I have been used to, but he would say I must do certain things - and others I must not do -  which all my teachers had instructed me as being the best way. He would talk as if I were not trying and leave me without an idea to start fresh on after having pulled all my work down as being totally wrong. Then he contradicted himself so that I got not to trust him. Always the same tone he assumed was of complete authority, as, you must do so and so whether you know why or not, - 'Don't follow your own reason but mine,' - whereas Mr. Chase and all the others always said, 'Do nothing I tell you because I tell you, not until you can see it so yourself!' 

So Ella made a decision to leave the school, describing her actions to her father:

'This morning we screwed up our courage and went to tell Mr. Herkomer for we had learnt he was a man who would not be thwarted and would be savage with the idea of anyone disagreeing with his judgment. Well we got in and got out and told him simply and politely that we would have to leave the school because we could not submit to the rules and could not stay and disobey them - that the influence of the work was bad and that the strain was too much for me. He gave us a good talking to and ended by saying it was not honorable.... We went away shaking hands with him at the door. We went into the school to get our things - when he passed us in the hall with a look of perfect fury on his face.'

Ella went on: 'And now my plan, subject to your approval, is this: to stay on in Bushey until the spring as before and work quietly at home here on models from the village or at still life.' Ella filled sketchbooks with country landscapes and village lanes. She went frequently to the British museum and produced several accurate studies of the draped figures of the Elgin Marbles. Very much on her own, writing in detail of all she sees and does, she expresses bewilderment at the shifting sense of identity which came from many new experiences and from the increase in confidence in her artistic powers. 'I find myself wondering if I be really I,' she wrote to her father. 'Papa, always do I thank you for giving me such Wonderful Opportunities.'"

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Seeley.) 

Ella Condie Lamb: Further Studies at the League

"Dick Lamb" by Ella Condie Lamb

Ella Condie Lamb wrote more on her instruction at the Art Students League:

'J. Carol Beckwith had the Antique and the men's morning Life class ... and C.Y. Turner the women's Life in the afternoons. Less picturesque than either Chase or Beckwith, he was sturdy and sincere and gave us good sound instruction. I learned to study the balance of a figure's masses, to see it as a whole - to 'think not of your drawing but only of what you are looking at...' There were also the evening lectures. Thomas Dewing, just back from Paris, on composition, J. Scott Hartley on anatomy, Frederick Dielman on perspective, and three or four special and inspired talks from George Inness.

From England came the great Hubert Herkomer, to paint portraits... He talked to us also. Tall, his skin dead white, with black eyes and straight hair that hung, intensely black, over his forehead, he was compelling and hypnotic - until he aroused one's antagonism.'

Life class, portrait class, sketch class, seven hours a day, five days a week. It was an intense but fulfilling time.

At this time a catastrophic event occurred in the Condie family. Ella's beloved mother became fatally ill. Ella, being the only daughter still at home, became her nurse. The center of her sheltered, cultured, loving world would soon be taken from her, her sisters, and her father. 'That year of 1883 I gladly gave up most of my study,' she wrote, 'to take care of my mother, who was fast leaving us. In October a 'beautiful, unselfish and noble life' came to an end.

Her father proposed that his talented daughter pursue her studies in Europe. 'My days at the League ended in 1884 ... days and friends I so vividly remember,' she penned, then added that perhaps the most vivid of those friendships were those made with Fannie Abbot, Dick Lamb, and with his brother Charles (of whom we shall hear more). But she bid farewell and departed for London and Paris."

To be continued

(Excerpts from "Ella's Certain Window" by Barea Lamb Steeley.)