Over the years members of the club often wondered if there were more of the “panels” than just one. Then a few years ago another one showed up and now a third.
When this next item came up for our viewing pleasure at convention I remember just staring and staring at it. WOW! Would I or could I ever find an item like this. This is so cool I thought as I looked at it with utter amazement. Because I had studied Cohen’s book I knew that it existed but up until that moment I just really never thought about it being so large. Many a person walked by it that day and I wondered to myself and now out loud to you, “did we become so complacent looking at the other pieces that we forgot to really look?” We know from previous newsletters that all of the editors have commented on Carl V. Helmschmied (What does that V stand for?) as truly one of Charlies main artists and all of the books that have been put together have also indicated that fact. Whether it was Wilfred Cohen, Elsa Grimmer, or Jeanne Parsons they all told us about this wonderful artist.
I talked about Carl and his artistry in newsletter #70, but now we are into a completely different facet of his work.
The glass portion is fifteen inches wide and twenty-one and one-half inches tall, this is a big piece when you include the frame that is twenty inches wide and twenty-seven inches tall and three inches wide. Painted on Opal glass and I truly think it was then fired. When looking at this “panel” it is very impressive in or out of the frame. The colors are very vibrant and the signature is crisp and clear. Beautiful Oak frame, twenty-four inches wide, thirty inches tall and the width of the wood is four and one-fourth inches.
Twenty-one and one half inches wide and twenty-eight and a quarter inches tall with a three and one half inch frame holds this panel. Notice the difference between them. Both are Venetian scenes but the one on the left has not made it quite as far in the water, there looks like there are two people running the “Gondola”, one doing all of the work and the other barking out orders. The covered bridge is much more evident in the one on the right and also the signature more visible as it is in black while the other one is etched in and very difficult to see. Not the same scene but both are wonderful in their own right. This one is signed like this, “C. F. Monroe, Meriden Conn. By CVH”
The top photos are of the very first panel that we saw at the third convention. The next panel was acquired a few years ago and the third framed panel just showed up on an online auction in October of 2018.