03 Jul Collector’s Eye: More Than Local

Deborah and Warren Wadsworth like a good art-inspired rabbithole. Over the decades that they’ve been collecting art, they have also been gathering provenance and meeting artists and their families. While it may border on obsessive, they and the small group of collectors committed to the history of art in Colorado happily lose themselves in the minutia, then meet regularly to discuss what they’ve turned up.

Lest you think all that knowledge is only available for a select few, fear not. Deborah has just completed a comprehensive, beautifully written book on the artist John E. Thompson [1885-1942] and the many artists he influenced. Trained in Europe for 12 years, Thompson brought that knowledge to the U.S. and became a pivotal figure in art through teaching and participation in exhibitions. So important was Thompson, that his presence in the early 20th century can still be felt today, which is why the Denver Art Museum curators selected an exhibition titled John E. Thompson and Colorado Modernism to coincide with the publication of Deborah’s book.

We caught up with the Wadsworths to talk about the book and see how things have changed in their own collection.

WA&A: As a couple, you are highly committed collectors. Not only do you collect, but you just published a book on John E. Thompson. What prompted you to write a book on this artist?

Deborah Wadsworth: I didn’t actually know I was writing a book for a long time. We’ve always loved researching the artists in our collection; the research has been one of the most rewarding aspects of our collecting. And, of course, my parents knew John Thompson (my dad since childhood) so I grew up around his art and hearing family stories about him.

We both feel strongly that local artists contribute so much richness to understanding and appreciating one’s surroundings and culture. When you allow yourself to see through someone else’s eyes, it’s eye opening.

So, it was sort of a natural outgrowth of that appreciation to want to share what we knew of such an important local artist. Other collectors offered both encouragement and expertise. Finally, the book is finished and in my hands!

WA&A: When did you start collecting, and what was your first purchase?

D.W.: We each came into our marriage with a “dowry” of one piece of art. Warren had a big Angelo Di Benedetto abstract and I had (surprise!) a John Edward Thompson.

The first piece we bought was Birger Sandzén’s block print Sunshine Creek. Warren bid for it at an estate auction and we were thrilled. We still have it and hang it with our other Sandzén prints when we put them up. We change out what we have hanging several times each year.

WA&A: What helped you define your collection?

D.W.: Well, we knew we couldn’t afford French Impressionists so we focused on art that we liked, could afford, and could find. We finally decided to focus on Colorado historic artists. Initially, we chose a time bracket of 1860 to 1920, but as our interest widened, we widened the time frame into the 1960s.

I have to confess that we’re not totally disciplined. We’ve bought small pieces on our travels as souvenirs, and we own works from several contemporary artists including Leon Loughridge and Merrill Mahaffey.

WA&A: What considerations go into acquiring a work of art?

D.W.: First, appeal. We only buy things we’re willing to hang. Second, affordability. We try to stick to a budget. Third, pertinence to Colorado, at least most of the time.

WA&A: Do you ever sell things? If so, why?

D.A.: We’ve sold duplicates of prints. Occasionally, we’ve sold pieces from an artist when we found a better example. But most often, pieces leave our collection when they are given as gifts to friends and family or to various Colorado institutions such as the University of Denver or the Denver Public Library. For example, we once found a WPA piece, and, knowing we couldn’t legally keep it, we got it conserved and donated it to the Denver Public Library.

WA&A: What are some of the lessons you’ve learned over the years that might help other collectors who are just starting out?

D.W: The thrill of the hunt has been huge fun for us. We’ve rummaged through thrift stores, estate sales, auctions, garage sales, and on-line sites. The people we’ve met including pickers, gallery owners, and artists have been not only precious resources, but interesting and welcoming people.

The research has been equally amusing. We’ve learned so much history, heard so many interesting stories, and felt like we met so many artists who each portrayed Colorado in their own way.

We’ve had the privilege of visiting with students from the University of Denver and Metropolitan State University. Their enthusiasm and energy are infectious. To starting collectors, we’d say what my parents taught me. With a bit of hunting, anyone can find art they love and can afford.

WA&A: Your book and research helped influence an exhibition at the Denver Art Museum — this is quite an honor. Beyond the recognition as collectors, what does this show mean to you and to the artists in the show?

D.W.: JR Henneman, director and curator of the Petrie Institute of Western American Art, has produced a superb show of Thompson’s work, all sourced from local collectors. In her years at the DAM, she has studied Colorado art and its role in Western art as well as in the larger realm of American art. She brings this knowledge to assessing Thompson’s pertinence and accomplishments. It’s a local show, but more than that.

For us, it’s the fulfillment of many years of hoping to see Thompson’s work return to the Denver Art Museum. He exhibited at the DAM for more than 25 years, acted as a member of the board of trustees, and was honored with a memorial show after his death. We couldn’t be more delighted to see this contemporary recognition of Thompson’s work and to have our book available at the same time.

WA&A: Where do you find art to add to your collection? (Are you still collecting?)

D.W.: Embarrassingly, we are still collecting. We just bought a lovely Colorado landscape that Warren spotted in a charity shop in Santa Fe.

But we’ve also purchased small paintings in England, France, Italy, South America, etc., which were of interest as souvenirs of our travels. We have a small washroom dedicated to our travels, hung salon style with those painted souvenirs.

The hunt continues. We can’t help ourselves.

Curator and writer Rose Fredrick shares her extensive knowledge about the inner workings of the art market on her blog, The Incurable Optimist, at rosefredrick.com.