Edward Clark Potter

Enfield, Connecticut, is often associated with the manufacture of gunpowder and weapons, but it is also the place where Jonathan Edwards preached his famous sermon, “Sinners in the Hands of an Angry God.”  Edward Clark Potter, born in 1857, was raised in this small township just across the border from southern Massachusetts.  Educated in local schools and at the Williston Seminary in Easthampton, Massachusetts, young Edward defied his mother’s plans for him to enter the ministry and instead enrolled at Amherst College in Massachusetts for three semesters before heading to Boston in 1879 to study art.  A few years later he moved to Vermont to work at a marble quarry, overseeing stone cutting  there for Daniel Chester French, an established sculptor working in Boston.  In the late 1880s Potter studied in Paris with figure sculptor Antonin Mercié and animal specialist Emmanuel Frémiet.  He returned to the United States in 1890 and married May Dumont of Washington, D.C.  The couple started a family back in Potter’s hometown of Enfield.  His friend and mentor Daniel French encouraged Potter’s interest in modeling animals, and the young artist eventually earned a reputation as one of America’s leading animaliers by the turn of the twentieth century.

Potter and French collaborated on numerous commissioned projects, mostly statues of famous personalities on horseback with Potter being responsible for sculpting the horses.  Potter’s own five equestrian groups, including those representing Henry Warner Slocum and Philip Kearny, demonstrated his growing talent and ability to express the unity between the rider and his horse.  Potter won a gold medal at the Louisiana Purchase Universal Exposition in 1904 for the equestrian De Soto Sighting the “Father of the Waters.”  When his statue of a Civil War bugler on horseback was unveiled in 1915 in Brookline, Massachusetts, it was praised as innovative and unconventional.

Edward Clark Potter
Edward Clark Potter

Potter and his family preferred to stay in the rural countryside, where he could take care of the animals he raised and used as his subjects for sculpting.  However, Potter also enjoyed his proximity to New York where he was involved in the art community.  He was a charter member of the National Sculpture Society and took a leadership role in the National Academy of Design.  He also made significant original artistic contributions to New York City, including a marble statue of Zoroaster on the cornice of the New York Appellate Court House in Madison Square.  Surprisingly, his most famous sculpting contribution to New York, or any place for that matter, did not come in the form of a person or a horse.

Around 1910 Potter received a commission of $8,000 on the recommendation of Augustus Saint-Gaudens, one of America’s foremost sculptors of the day.  Potter teamed up with the Piccirilli Brothers, renowned marble carvers, to create two statues constructed of Tennessee pink marble.  The two pieces were originally named  Leo Astor and Leo Lenox, but sometime in the 1930s, Mayor Fiorello LaGuardia named them Patience and Fortitude, for the qualities he felt the citizens of New York would need to survive the economic depression.  Architecture critic Paul Goldberger praised the pieces as “New York’s most lovable public sculpture.”  These two majestic lions flank the Fifth Avenue and 42nd Street entrance to the New York Public Library.  Patience still guards the south side of the Library’s steps, and Fortitude maintains his position to the north.  As a tribute to the Lions’ popularity and all that they stand for, the Library adopted these figures as its mascots. They are trademarked by the Library, represented in its logo, and featured at major occasions.

To learn more, consult Top Cats: the Life and Times of The New York Public Library Lions by Susan G. Larkin. This publication surveys their history through photographs, cartoons, prints, original drawings, memorabilia, and lively tales.

Where the Grapes are Grown

About six years ago, my wife and I were on a business trip in Savannah, Georgia, with her boss.  We decided to have dinner at one of the best restaurants in the historic section of the city, a place called the Olde Pink House on Abercorn Street.  We didn’t have reservations but were fortunate enough to get a table in the basement bar, where there was a fire blazing in a large fireplace, and the light in the room was soft and low.  It was a very relaxed setting, with an old world kind of atmosphere, which is exactly what one should expect in one of the South’s oldest cities.  Our waiter was quite knowledgeable about their wine selection, so we asked him to decant a nice, dry wine to go with dinner.  He brought the bottle to the table, poured half the contents through the filter into the large decanter, swirled the liquid to release the bouquet, and allowed us to smell the wine before he poured each of us a glass.  I have now forgotten the variety (probably a merlot), but I do remember that it was just about the best glass of wine I had ever tasted.  We asked him about the brand, and he told us it was a Hess.  We had never heard of it, but we were determined to find out more about the winery.

Hess Winery
Entrance to Hess Winery

The Hess Collection winery is in the Mount Veeder area of Napa Valley in California.  Grapes have been cultivated on the property at least as far back as the 1870s.  From 1900 to 1929, the property was owned by Colonel Theodore Gier, who built a three-story building that would eventually hold the Hess Collection’s historic barrel chai and art gallery.  After a few more owners and continued development and expansion through the 20th century, a man named Donald Hess purchased 900 acres on Mount Veeder to begin the Hess Collection.  Over 600 acres are set aside as undeveloped land to support wildlife corridors, fish-friendly farming practices, and biodiversity.  The Hess Collection opened to the public in June, 1989, following a two-year renovation of the facility which includes 13,000 square feet of Donald Hess’s personal contemporary art collection.

In 2011, my wife and I took a fabulous vacation to San Francisco, which included several side trips.  One of our excursions was a drive up to Napa to pay a visit to the Hess Collection winery.  It was magnificent.  In addition to tasting several varieties and buying a case to take home with us, we also visited the incredible art gallery and gardens.  According to the website, “Donald Hess began collecting art in 1966. Today, the Hess Collection houses less than a quarter of a collection that is shown in museums worldwide. His collecting style is a personal endeavor driven by passion rather than monetary investment or current trends. He develops a close dialogue with an artist to better understand what drives him or her to create and he carefully limits his focus as a collector to 20 living artists whose work he faithfully supports long term. As is evident by the caliber of the collection, he collects with the uncanny ability to acquire works by lesser known artists who often go on to become well known and respected in their disciplines. His typical commitment to an artist spans decades and various stages of his career.”

Hess Winery garden
Gardens at Hess Winery

My wife and I drink wine fairly often.  We are nowhere close to being authorities, and we are certainly not wine snobs.  Grocery store brands work fine for us most of the time.  Our favorable impression of the wine we had that evening at the Olde Pink House may have had more to do with the company and the dining experience than the sophistication of our palates, but we liked it enough to search out where the grapes are grown, which gave us an even deeper appreciation for the brand.  The story of Donald Hess and his enterprise, which he has now passed down to the next generations, is a fascinating one.   Seeing the actual vineyards where a great bottle of wine originates presented us with a wonderful moment of connection that I’m sure we will remember for a long time.