1883 Sheet Music Knights Templar March San Francisco California Britton & Rey
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1883 Sheet Music Knights Templar March San Francisco California Britton & Rey:
1883 SHEET MUSIC KNIGHTS TEMPLAR MARCH CONCLAVE SAN FRANCISCO CALIFORNIA BRITTON REY
DESCRIPTION: Original 1883 Sheet Music; San Francisco Souvenir; The Knight Templar Grand Entrée March [At the Triennial Conclave August, 1883]; Blue wrappers [with Programme of the Conclave for August 20th to 27th and San Francisco ads at back for Arpad Haraszthy & Co. Champagne and other wines, Bradley & Rulofson’s Photograph Gallery and Nicoll the Tailor]; It measures 14 by 10-1/2 inches [too large for my scanner to reproduce in its entirety]; 4 pages of music; Britton & Rey [SIGNED] were the printers of the front cover and the back cover [beneath the blue wrappers]; the front cover [Templars design] and back cover [lithographed views around San Francisco] was done by A. F. Mathews (SIGNED) [see biographical information below for him and Britton & Rey]. Published by Henry Marsh, piano agent (San Francisco); the blue wrapper was printed by Frank Eastman & Co., San Francisco.
One of the most elaborate early San Francisco lithographed sheet music designs produced.
CONDITION: very good plus condition with the blue wrapper split at fold and separated from the music itself.
Printer: Britton & Rey: The leading lithographic printers in San Francisco during the second half of the 19th century, Britton & Rey published a very large number of views of California, printed both in large format and post cards, as well as commercial work that included maps, stationery and stock certificates. The firm became known as the western Currier & Ives. Joseph Britton (1825-1901) was born in Yorkshire, England, and came to America in 1835 with his family, living in New York City. He had become a lithographer in New York by 1847. In 1849 he traveled to California to seek his fortune in gold mining, but then went to San Francisco where he started a lithography business, probably in 1851, and then joined with C. J. Pollard in 1852 for a brief period. Later in 1852 Britton formed a partnership with the lithographer Jacques Joseph Rey (1820-1892). Rey was born in Bouxwiller, Alsace, France, and apparently was trained in art and lithography. He migrated to California around 1850. In the partnership with Britton, Rey was chiefly the artist who traveled around sketching views and designing prints, although Britton designed views as well. Britton was the chief lithographer who also ran the business side of the firm. Some of their views were probably based on photographs taken by others. In addition, the firm printed lithographs designed by other artists, such as Thomas Almond Ayres (1816-1858), George Holbrook Baker (1824-1906) Frederick August Wenderoth (1819-1884) and Charles Christian Nahl (1818-1878), and printed work designed by other lithographers, such as the firm of Kuchel and Dresel. Designers employed by Britton & Rey included Arthur Frank Mathews (1860-1945), who later became a well-known San Francisco artist and teacher
Lithographer: Arthur F. Mathews (1860–1945) was an American Tonalist painter who was one of the founders of the American Arts and Crafts Movement. Trained as an architect and artist, he and his wife Lucia Kleinhans Mathews had a significant effect on the evolution of Californian art in the late 19th and early 20th centuries. His students include Granville Redmond, Xavier Martinez, Armin Hansen, Percy Gray, Gottardo Piazzoni, Ralph Stackpole, Mary Colter, Maynard Dixon, Rinaldo Cuneo and Francis McComas.
Mathews was born in Markesan, Wisconsin, and lived there until he was six years old. His father, Julius Mathews, was an architect and moved the family to San Francisco in 1866. Like his brothers Walter and Edgar, Mathews learned architecture from his father; he then studied painting at the California School of Design, where he was influenced by Virgil Macey Williams. In San Francisco he also worked as a designer and illustrator at a lithography shop [Britton & Rey]. He studied art in Paris at the Académie Julian from 1885 to 1889, where he was influenced by the academic classicism of his teachers Gustave Boulanger and Jules Lefebvre, the tonalism of James Abbott McNeill Whistler, and the symbolism of Pierre Puvis de Chavannes.
MATHEWS LIFE IN SAN FRANCISCO: Upon his return from Paris, Mathews taught life classes at the San Francisco Art Students League and the California School of Design. He became director of the latter in 1890, and in 1894, married Lucia Kleinhans, one of his art students. He continued to teach there until the great 1906 San Francisco earthquake. Following the earthquake, he and Lucia opened the Furniture Shop in San Francisco. There he could unleash his combined skills as a craftsman, designer and painter. They also opened Philopolis Press and published the monthly Philopolis magazine, which promoted Arts and Crafts aesthetics in the rebuilding of the city. Among his many mural commissions was a twelve-panel series in the State Capitol Building, Sacramento.
“Afternoon Among the Cypress” is in the permanent collection of the New York Metropolitan Museum of Art is typical of Mathews' landscape paintings of the Monterey Peninsula; Spring Dance at the Smithsonian American Art Museum is one of his many paintings of female figures in semi-classical attire. His work is extensively represented in the Oakland Museum of California.
Mathews was a master of many media: oil painting, watercolor, pastel, gouache and fresco. He and Lucia designed detailed interior decoration schemes in what became known as the California Decorative Style. They created a variety of furniture, boxes, carved and painted picture frames and many other decorative objects, and even large stained glass windows.