Local Government and the Art World - Summer 2020
Editor's Note: Forty years ago several friends and I were enjoying a summer afternoon around the pool of Robert Plant Armstrong, one of my mentors and noted Africanist and what I call to his disapproval, an aesthetic philosopher. After his trilogy of The Affecting Presence, Wellspring, and the Powers of Presence, Bob was certainly qualified to answer a question from one of his guests. What is art? I had been in the art business five long years and was along with my friends amused at such a naive and silly question. Now forty years later I have gained some wisdom and have begun to appreciate the complexity and nuances of that question. It is, therefore, not often that categorically reject a description of what art is. Last May the Dallas News reported: "DALLAS — Dallas leaders have decided to sell a statute of Confederate Gen. Robert E. Lee that was removed from public view nearly two years ago. The Dallas City Council on Wednesday designated the 1935 sculpture by Alexander Phimister Proctor as surplus property to be sold to the highest bidder. City leaders say the buyer must pay at least $450,000. That’s what it cost to move the bronze sculpture from a park in September 2017 and put it into storage. The statue was appraised at $950,000. Dallas authorities say that much money could pay for the planned removal of a Confederate War Memorial." Undoubtedly, the label of "surplus property" was used to convey that the council's action were justified as merely processing useless equipment. Expedient probably yes but it certainly sent a clear message why politicians are not experts in the art world and should seek the help and expertise on knowledgeable people. So who did they turn to? Lone Star Auctions in Fort Worth Texas that specializes in government auctions selling "the jewelry, gold and silver, fine art, antiques and collectibles seized and forfeited nationally for the U.S. Marshals Service as well as forfeited vehicles locally in several USMS districts. In addition, we sell surplus vehicles, heavy equipment, and miscellaneous surplus for the State of Texas. We also have sold the unclaimed contents from safe deposit boxes for the states of Texas, California, Colorado and others. For city and county governments and school districts, Lone Star sells surplus vehicles and equipment, police pursuit vehicles, unclaimed property, impounded vehicles, seized vehicles, office equipment and furniture and much more." Now you ask why did the city council not go to auction house specializing in fine art? Were Heritage, Sothebys, Christies even contacted? I have contacted Lee Kleinman, Dallas City Council member for District 11 for information regarding the appraisal process. Kleinman strongly supported the removal and sale of the Robert E. Lee sculpture.
Although the city council is a political body, I don't this article political. I consider it common sense which for whatever reason we seem to be lacking at the moment. I will make two points. First had I been given the opportunity, I am not sure how I would have voted on the removal of the statue. Had there been a referendum we all could have studied the issues and cast our ballots to determine the direction of our state. That's what we do in Texas. Second as a council if you have decided to make a command decision, have the moral courage to be completely transparent. Show us the invoices on the removal of the statue and the plinth, the storage fees, the appraisal contract, the appraisal, the auction house contract, and finally the settlement sheet with the auction house. Why wouldn't these documents all be released for the public record?
1. The truly fantastic monumental Alexander Phimster Proctor
equestrian statue of Robert E. Lee was sold June 5, 2019, by FSO Auctions in online sale that generated a winning bid of $1,535,450 ($1,435,000 plus 7% buyer’s commission). The buyer was Holmes Law Firm, Addison,
Texas, according to several news stories. Addison Attorney Ronald L. Holmes, possibly represented a client but there has been no comment to date. Alexander Phimister Proctor (1860-1950) was a renowned sculptor, sought by many cities, art patrons, and institutions for his monumental bronzes. His Robert E. Lee sculpture is one of his best known along with ‘Pioneer Mother’ in Kansas City, ‘Pair of Tigers’ guarding the entrance to Nassau Hall at
Princeton, Theodore Roosevelt’s equestrian statue as a Rough Rider in Portland, Oregon, and many others. Proctor was the first sculptor to create monumental equestrian sculptures portraying cowboys and Indians. His works immortalized statesmen, pioneers, lawmen, women, and animals. Today, Proctor bronzes grace cities from New York, Princeton, N.J., and Washington, D.C., to Chicago, Dallas, Denver, San Francisco, and Portland, Ore.. Proctor collaborated with America’s most famous sculptor Augustus Saint- Gaudens (1848–1907) in creating the equestrian portions of General John Logan’s statue in Chicago and General William Tecumseh Sherman’s statue in New York City.
Among the “Big Three” of Western sculpture of this era— Proctor, Frederick Remington (1861–1909), and Charles Russell (1864–1926)—Proctor was the only one with formal art training, and his output was prolific.
Remington and Russell bronzes currently bring in millions of dollars and for pieces only 30-40 inches. A Saint-Gaudens post-life reduction of the “Victory” portion of New York’s Sherman monument sold at Christies for
over $2,000,000 in 2017. Proctor is not as well-known as Remington, Russell, or Saint-Gaudens. There are however many good sculptors who are not household names worldwide who have similar comparable sales on small pieces, whose monumental pieces have sold for much more than the price achieved in this restricted online auction with only four “approved” participants. I keep my pulse on the Civil War marketplace and was totally unaware of this auction; I just happened to be in Dallas a few days later and saw it in the news. Dallas lost a true artistic treasure. Just as I was unaware, many serious buyers outside Dallas were unaware as well. I emailed one very important Dallas art and historical collector who had no knowledge of the sale. In my opinion, if Dallas had done their due diligence and consigned this into an art auction where it would have received national and international exposure, even with the stated restrictions, the price realized would have been higher. Indeed, it is almost impossible to get realistic market value from only four “approved” bidders in an auction company not associated with art world. From LSO Auction website: “Lone Star is a full-service firm providing a full range of auction services to all levels of “Equestrian statue of Confederate General Robert E. Lee, astride his horse, Traveller, in the park that surrounds the headquarters of the Dallas Park Board in Oak Lawn section of Dallas, Texas.” This large monumental sculpture shows General Robert E. Lee riding his horse, Traveller, slightly ahead of another smaller horse with a young man, who represents all Confederate soldiers. The horses appear to be moving at a slow and steady pace. Proctor studied several photographs of Confederate soldiers to create this composite version of the young soldier’s face; he also studied many photographs of General Lee to sculpt the face and used Lee’s original uniform as a model for the clothing. General Lee holds his famous slouch hat in his hand while the soldier behind wears a kepi. (Library of Congress) “Alexander Phimster Proctor 1936” signature on the bronze base. President Franklin Delano Roosevelt unveiling the Lee monument on June 12, 1936. Dallas society attended the June 12, 1936, unveiling. The artist named his new Lincoln-Zephyr “Traveller” in honor of Lee’s famous mount. Proctor was famous for his equine sculpture; he also completed William Tecumseh Sherman’s horse in collaboration with Augustus St. Gauden’s famous
gilded bronze across from Plaza Hotel in New York City. September 2019 Civil War News 29 government: city, county, state and federal. We have sold virtually every type of commodity for various government entities in
cities around the U.S… Lone Star sells the jewelry, gold and silver, fine art, antiques and collectibles seized and forfeited nationally for the U.S. Marshals Service as well as forfeited vehicles locally in several USMS districts. In addition, we sell surplus vehicles, heavy equipment, and miscellaneous surplus for the State of Texas….unclaimed contents from safe deposit boxes… surplus vehicles and equipment, police pursuit vehicles, unclaimed
property, impounded vehicles, seized vehicles, office equipment and furniture and much more.” The controversy over Confederate, and other politically “out of favor,” monuments has brought an interesting new set of appraisal assignments to me. Most Confederate monuments have little intrinsic value as art as many were mass produced by just a few companies whose cast metal soldiers were sold for Union and Confederate memorials with only minor differences to insignia designating US or CS. This was not the case with the sale of this over-life, 6,500 pound, 9 x 5 x 12 foot bronze which has great artistic merit by a renowned sculptor. This Lee is among the
greatest equestrian statues extant. Taliban/ISIS and other groups in the Middle East recently and currently remove “offensive” monuments by demolition or putting them into the international art market. You cannot change history, but you can take it out of public view. Regardless of political views, more Confederate monuments will be coming to market. A few have been privately sold and relocated, most are just removed from public view and stored. I am
not aware of an auction of similar property previously. Appraisals of mass-produced monuments entail a “production cost” approach to reproduce, or cost to remove and re-install. Appraisals of fine art sculptures such as Proctor’s bronzes are valued like other fine art by a comparable sales approach. At least four bidders wired the $50,000 deposit required by Dallas City Council for bidding in the sale of the Lee bronze. Other terms of sale stated, the monument had to be removed within five days and the buyer “agrees to enter into a Bill of Sale with the City that will require that he/she shall not publicly display the item in the City of Dallas, and that the purchaser shall secure this restriction contractually with any subsequent purchaser if the Sculpture is later sold.” These restrictions no doubt limited participation. This first monumental Proctor bronze ever marketed
may have sold for more if it were offered in a more art-savvy venue such as New York City.
John Sexton is certified appraiser with International Society of Appraisers (ISA-CAPP) and Accredited senior appraiser with American Society of Appraisers (ASA). He authenticates and evaluates other rare and valuable
historic items as well. His website is www.civilwardealer.com. He is coauthor of the book Confederate Bowie Knives (2012) by Jack Melton, Josh Phillips and John Sexton, that was published by Mowbray Publishing, Inc.
Send “Ask The Appraiser” questions and photographs to civilwarappraiser@gmail.com.
2. Kay Kallos, Ph.D.
Public Art Program Manager
City of Dallas | DallasCityNews.net
Office of Arts and Culture | DallasCulture.org
1925 Elm Street, Suite 400
Dallas, TX 75201
O: 214-670-3281 |
kay.kallos@dallascityhall.com
Kay, I have reviewed the the appraisal and if asked to do an appraisal review I would have to conclude that the report missed the mark as to making a value determination based on current and appropriate comparable sales data. Clearly in the times we live the public auction market should not be the source for sales comparables of Confederate inspired art. Politically Christies and Sothebys would not touch this in a public sale and might be afraid to even consider this for a private sale. Not having the opportunity to sell the sculpture through a recognized auction house obviously significantly impacted the opportunity for Dallas to locate potential buyers. As to the appraisal the appraiser provided only table top sculpture comparables at auction. Clearly, some understanding of the current political situation should indicate that the public auction market is precisely where sales has been severely impacted. So not only did Banks fail to select a comparable sale of a sculpture of this scale, he also failed to include any data from private sales that he should have attempted to find. Appraisers that have been in the business at a high level know how to find private comparable sales.
I do not understand why the city of Dallas is contractually bound to a local online auction house to sell anything the City wants sold. Is there any other art that may be sold in the future? The city lawyers can do a lot better than this. This solution is either lazy or ignorant.. it certainly is not common sense.
During this exchange I appreciate your transparency on behalf of the city of Dallas. I was born in Dallas and take seriously the direction where the city appears to be heading. My point in pursuing this is not to get anyone; however, if the city of Dallas needs to sell art in the future, I hope we don’t repeat this mistake. If sales like this are required in the future, there are plenty of art experts in the Dallas/Fort Worth area that have been in business for decades that would be glad to assist the City.
3. Art history, artist’s intent, must be considered in fate of Confederate statue in Dallas’ Lee Park
Art critic: In discussions about the motivation of the people who commissioned Lee Park sculpture, few have considered the artist who created it
By Rick Brettell
10:17 PM on Sep 2, 2017
Better safe than sorry!
We have all read a seemingly endless series of letters and articles about "the statues" in Lee Park and downtown Dallas, and even the much more immediate series of letters and articles about the tragedies in Houston and the Texas coast has not stopped them.
I hear that the Dallas City Council is considering a resolution at next week's meeting that will call for the immediate removal of "the statues" and the equally immediate change of the names of all streets and public buildings in Dallas associated with known Confederates.
What can a lowly art critic add to this urgent debate? I have a simple answer. In all the discussion about the motivation of the people who commissioned the Lee Park sculpture for the Texas Centennial, I have read or heard almost nothing about the artist who created it -- Alexander Phimister Proctor (1860-1950). Surely he deserves some place in the debate.
A. Phimister Proctor, a New York sculptor who produced the equestrian statue of Robert E. Lee, is shown beside his new Lincoln-Zephyr which he has named "Traveler" after the Confederate General's horse. The sculptor has more equestrian statues in this country than any other noted artist. The Dallas statue was unveiled June 12, 1936 by President Franklin D. Roosevelt who also spoke at the Texas Centennial Exposition, at Fair Park, while in town that day.
A. Phimister Proctor, a New York sculptor who produced the equestrian statue of Robert E. Lee, is shown beside his new Lincoln-Zephyr which he has named "Traveler" after the Confederate General's horse. The sculptor has more equestrian statues in this country than any other noted artist. The Dallas statue was unveiled June 12, 1936 by President Franklin D. Roosevelt who also spoke at the Texas Centennial Exposition, at Fair Park, while in town that day.(DeGolyer Library / Southern Methodist University)
As his autobiography, Sculptor in Buckskin, makes clear, Proctor was a lifelong opponent of slavery and also championed the rights of American Indians and women in his public sculpture. In fact, he was the most important public sculptor of American monuments in the 20th century. Born in Canada and raised in Michigan and Colorado, he trained in New York and Paris and returned to the U.S. to make sculpture for the World's Columbian Exhibition in Chicago in 1893.
From there, his career took off, and he sculpted (for the equine-challenged sculptor Augustus Saint-Gaudens) the two great horses beneath the Union Gens. Lee and Logan on Fifth Avenue in New York and Grant Park in Chicago. He then went on to create monuments of bronco busters, American Indians, pioneer women, Theodore Roosevelt and other decidedly non-southern subjects. His last great work was the Mustangs, a symbol of freedom and collectivity, at the foot of the Texas State Museum on the campus of the University of Texas at Austin, created when he was in his 80s.
Proctor was thrilled to receive the commission to sculpt Lee and his soldier, calling it his masterpiece at the dedication in Lee Park in 1936 with the president of the United States, who was no racist. For Proctor, the idea of sculpting a general -- riding alongside a soldier with whom he served and who survived him -- was the chance to create one of the very few equestrian monuments in the history of art in which a leader shares his monument with someone nameless.
President Franklin D. Roosevelt seated in an automobile as he pulls a ribbon to unveil the statue of Robert E. Lee at Lee Park in Dallas, Texas, on June 12, 1936. (Dallas History & Archives Division / Dallas Public Library)
Not only was Proctor a major artist, but autobiography makes clear that he was opposed to slavery and the values that many ascribe to the sculpture he created. I know that emotions run high now and that we want to make decisions with the moral clarity that is not so easy when we react suddenly.
What do we know? Proctor was neither a racist nor a Southerner. Lee did free his slaves in 1862 and was president of a college in Lexington, Va., that made "Americans" out of "rebels." The sculpture is the only important equestrian monument in Dallas-Fort Worth, and it is anything but racist.
Of course, it raises strong emotions in many people -- but it cannot be associated only with the Texas of the Civil War, because the man who created it did so with a much larger and more important idea of America.
Surely, we must give Proctor some role in the conversation. His Gen. Lee is not the the Lee about whom we speak so easily today. Rather, Proctor, a northerner and an opponent of slavery, made a bronze monument not to racism, but to American unity after the Civil War.
Rather than rushing to remove or move it, let us all pause to think about what it meant to the man who made it. He deserves a say, even though he died 67 years ago.
And the committee appointed by the mayor to make recommendations on this important matter deserves time to learn about Proctor as well as about Lee and about slavery.
Editor's note: Rick Brettell is the founding director of the Edith O'Donnell Institute of Art History at the University of Texas at Dallas and a former director of the Dallas Museum of Art.
Rick Brettell, Special Contributor. Rick Brettell is a contributing writer and the former art critic of The Dallas Morning News. He is the founding director of the Edith O’Donnell Institute of Art History at the University of Texas at Dallas.
https://www.dallasnews.com/arts-entertainment/visual-arts/2017/09/03/art-history-artists-intent-must-be-considered-in-fate-of-confederate-statue-in-dallas-lee-park/
