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Jane Piper

August 25, 2023

Jane Gibson Piper (1916–1991) was an American artist known for her abstract treatment of still lifes. Building on the French modernist tradition of Matisse and Cézanne, she gave color precedence over representation.[2] Shortly after her death a critic said "throughout her career Piper worked within a relatively narrow aesthetic range. She was interested in spatial organization and in creating space through color — concerns of another painter she admired, Henri Matisse. There's a sense of Matisse in her later work, but no indication that she was trying to imitate him; the resonance reflects shared concerns."[3] From her first exhibition in 1943 through the end of her life she was given a total of thirty-four solo exhibitions in Philadelphia, New York, and other East Coast galleries and her works have been collected by major museums including the Philadelphia Museum of Art, the Pennsylvania Academy of the Fine Arts, the Brooklyn Museum, the National Academy of Design, The Phillips Collection, and the Carnegie Museum of Art.[4]

Jane Piper
Formal portrait, 1935[1]
Born
Jane Gibson Piper

(1916-08-21)August 21, 1916
Philadelphia, Pennsylvania
DiedAugust 8, 1991(1991-08-08) (aged 74)
Philadelphia, Pennsylvania
Resting placeThe Woodlands (Philadelphia)
NationalityAmerican
Spouse(s)E. Digby Baltzell (1915–1996), American sociologist

Early life and training Edit

Piper was raised in a prosperous and well-connected Philadelphia family.[5] At the age of nine she spent a year at a pension in Cannes where, observing an amateur artist at work, she became infatuated with painting and afterwards convinced her reluctant father to enroll her in an art class.[6]: 79 [note 1] After a few years' study under the Philadelphia artist Grace Gemberling, she was able to study art as a boarder in a private school for girls, Westover School in Middlebury, Connecticut.[7]: 7 [8][9] Graduating in 1935, she returned to Philadelphia where she studied at the Pennsylvania Academy of the Fine Arts, first under Daniel Garber, whom she found to be too authoritarian, and then under Arthur Carles whose instruction she felt to be the most useful of all her teachers and whose artistic influence remained with her for the rest of her career.[6]: 79–80 [10] In 1936 she also enrolled for private study with the artist and collector Earl Horter. In his studio, her frequent close contact with paintings by Picasso, Braque, and Matisse made her aware of new possibilities in her own work.[7]: 12 [note 2] The influence of French Modernism on her work was also enhanced by informal study in Paris in 1937 and periods of study in the Barnes collection in 1938.[7]: 9–10 [note 3] Three years later she spent the summer months at the school Hans Hofmann conducted in Provincetown, Massachusetts.[7]: 12 [note 4] Piper appreciated Hofmann's instruction but preferred Carles's.[7]: 12 [note 5]

Exhibitions and critical reception Edit

Although Piper was a productive artist, fiercely devoted to her work, she had no need of income from sales and showed as frequently in non-commercial as commercial galleries.[12]: 20 [13] Her first appearance in a public exhibition occurred in 1931 when a painting of hers was included in a children's art show at a Philadelphia women's cultural organization called the Plastic Club. Grace Gemberling mounted the show to put works by her young students on display. Piper's contribution was in a set of pictures on the theme of jealousy. Reviewing the show, C. H. Bonte of The Philadelphia Inquirer found the work in general to be natural and spontaneous and the jealousy set in particular to be emotionally overwhelming.[14]

 
Jane Piper, "Composition in Red," 1942-43, oil on masonite, 28 x 36 inches

Piper's unnamed and unsigned painting of 1942-43, called "Composition in Red," indicates the style of her work at the beginning of her professional career. During her career she participated in exhibitions held by non-commercial organizations included group and solo shows at the Philadelphia Art Alliance, Pennsylvania Academy of Fine Arts, Woodmere Art Museum, Philadelphia Arts Festival, Philadelphia Center for Architecture, Cheltenham Art Center, Wallingford Community Center, and galleries in Friends' Central School, Swarthmore College, Lehigh University and New York Studio School.[note 6] A traveling exhibition, "Jane Piper: Retrospective Paintings, 1940–1985," was first mounted in James Madison University in 1985.[15] In 1943 Piper was given her first appearance in a commercial gallery. Remarkably, this debut was a solo exhibition. The venue was the Robert Carlen Gallery in Philadelphia.[24] She was given a second solo show at Carlen in 1959.[15] Her first solo exhibition in a New York commercial gallery was at the Bonestell Gallery in 1947.[25] Other commercial solo shows included the Dubin Gallery (Philadelphia, 1954),[26] Parma Gallery (New York, 1958),[27] Cherry Stone Gallery (Wellfleet, Mass., 1971),[15] Bodley Gallery (New York, 1981),[15] Mangel Gallery (Philadelphia, 1987),[28] and Rising Tide Gallery (Wellfleet, Mass., 1990).[15] Beginning in 1971, she also had eight solo exhibitions at the Gross-McCleaf Gallery in Philadelphia.[15] Throughout the course of her career, Piper was given thirty-four solo exhibitions in commercial and non-commercial galleries in Philadelphia, New York, and Cape Cod.[4][29]

 
Jane Piper, Untitled, 1961, oil on canvas, 28 x 34 inches

Piper's untitled painting of 1961 indicates the non-objective style of her work late in her career.

Critical reception of Piper's work was at first tepid but grew stronger as her career progressed. Reviewing her first show in 1943, a critic complained that the paintings were overly-abstract and decorative, "admirably adapted for the adornment of modern rooms."[24] In 1956 her paintings received praise as "poetic light-filled abstractions."[18] At the height of her career in 1983 a reviewer found that "her abiding lyrical connection with nature and the domestic environment, and pursuit of a unique, individual perception, place her firmly within a strong American tradition, although she remains spiritually separate from any trend or movement."[30] A few years later she was recognized for an "original, daring approach" that was "firmly in the tradition of great American still life painting."[19]

 
Jane Piper, "Fruit and Flowers," 1974, acrylic and charcoal on canvas, 40 x 60 inches

Piper's "Fruit and Flowers of 1974 shows her handling of objects in an abstract style.

In 1986 a curator who had organized a retrospective exhibition of her work wrote that "she retains a sense of wonder while developing ever new complex harmonies of form and color"[31] and a reviewer, calling Piper one of Philadelphia's best artists, said her paintings "with her preference for yellow, orange and red tints and clear blues and greens, give an original picture of her domestic environment and nature's bounty and profuse growth." This critic continued: "Clearly, this gifted artist has had success creating a living and working environment that has a direct relationship to her creative life as an artist."[32] In 2010, nineteen years after her death, Piper was called "one of Philadelphia's finest painters"[29] and three years later she was called "one of Philadelphia's most prominent modernist painters."[33]

Artistic style and working methods Edit

Her technique is modern. She abstracts through color her own essence of still life. Yet what is interesting and fulfilling about her work is that her original, daring approach is firmly in the tradition of great American still life painting.

—Victoria Donohoe, "Hard Decisions That Pay Off in an Artist's Constructions," The Philadelphia Inquirer, October 17, 1986[19]

In addition to the pervasive influence of her mentor Carles, Piper's early paintings were said to show the influence of Matisse and Cézanne. The influence of Carles and Matisse persisted as well in her late and final work.[9][34] Color appears as the organizing principle in most of her paintings from the first to the last.[2] Although constant reworking made it difficult to discern, her paintings were infrequently purely abstract.[30] In fact she was primarily a still life painter and almost always used objects in her studio as a starting point for each work.[19] Late in her career, a critic noted that her paintings were neither "abstract" nor "figurative," but something in between.[32] She herself said, "I was never conscious of painting representationally or not painting representationally. I was always involved in spacial forms, which naturally lead you somewhat into abstraction. You have to handle your responses to what you're seeing. I was putting down what I saw and how I felt about what I found as connecting links."[6]: 122 

In her work Piper wished to express her emotions rather than give a pictorial narrative.[31] At the height of her career she responded to the poems of Wallace Stevens valuing the way in which they expressed emotions "in a moment's clarity of thought."[9][note 7]

In addition to rich colors, her mature work was noted for her use of white pigment,[19][31][35] which she used as negative space in order to better define her subjects.[10] She was said, like Matisse, to be "interested in spatial organization and in creating space through color,"[3] and a critic appreciated her late paintings for the "space structured by color, using still-life motifs" that they conveyed.[29] Early in her career most of Piper's paintings were made in oil on canvas. Later, she mainly used acrylic colors which she liked because of the quality of the whites. The shorter drying time was also important to her as she repainted continually as her paintings evolved.[6]: 78 

A private person who worked in solitude, she worked intensely, believing, as Carles had maintained, that in painting "you put everything in your life into it."[36] Speaking of students she had taught, she said it took more than just talent to sustain a professional career: "You must be able to tolerate yourself for long periods of time, working in the isolation of a studio."[6]: 122  She was unusually disciplined and rarely took time off. Despite family responsibilities (raising two daughters and moving the family about as her husband's career evolved), she once said a six-month hiatus was the longest time she had spent out of the studio.[6]: 122 [12]: 20  "Observers should feel that the act of painting was effortless – that it happened, it just happened," she said in a 1977 magazine interview. "Which of course," she added, "is not true."[4] A few years later she said, "Painting is a pleasure, even though painful. It will always be a pleasure for me, because it is the thing I want to do the most."[7]: 17 

Collections Edit

Piper's paintings are held in the permanent collections of the Philadelphia Museum of Art, Pennsylvania Academy of Fine Arts, Brooklyn Museum, Carnegie Museum of Art, National Academy of Design, Phillips Collection, Provincetown Art Museum, Mount Holyoke College Art Museum, and Woodmere Art Museum.[4][23][33]

Art teacher Edit

She taught painting and drawing at the Philadelphia Museum of Art in the mid-1950s. From 1956 to 1985 she taught at the Philadelphia College of Art.[4] She also taught at the Pennsylvania Academy and the New York Studio School.[29] Of her teaching method she said, "In teaching I relate to the students one to one. I try to wait until they've done something, and then I talk to them about what they've done. I think they get much more from the setups or from looking at other paintings than they do from a lecture."[6]: 122 

Personal life and family Edit

Piper was born in Philadelphia on August 21, 1916.[15] Her father was Edmund B. Piper and her mother Elizabeth Gibson Piper. They were married in 1906 and settled in Williamsport, Pennsylvania.[37] Her grandparents on her father's side were members of an old and prominent family of Watsontown and neighboring Williamsport.[38] On her mother's side her grandparents were prosperous Williamsport merchants.[39] Edmund B. Piper was a well-known obstetrician and gynecologist who gained recognition for a forceps he designed (and which bears his name).[40] Elizabeth Gibson Piper led an active social life, her name appearing frequently in the society columns of The Philadelphia Inquirer. Piper had two older sisters, Helen E. and Eleanor L. Piper.[41] In 1925, Piper's mother and the three girls, aged eighteen, fifteen, and nine, spent the winter in France and it was there, at a pension in Cannes, that Piper decided she would become an artist.[6]: 79 [42] During the winter of 1933–34, following the elaborate activities required for the introduction to society of Helen and Eleanor as well as Helen's marriage to Henry B. Coxe, Piper's mother again took the three daughters to France.[42][43][44] In the meantime, the three had been names as principal beneficiaries in the will of a wealthy maiden aunt, Elizabeth L. Piper, each to receive $30,000 on their eighteenth birthdays,[13][45] and Piper had become a boarding student at Westover School in Middlebury, Connecticut.[46] In February 1935 Piper's father died at the age of fifty-four,[47] in May she graduated from Westover, and in November she was honored as a débutante when a Bachrach portrait appeared in the society pages of The Philadelphia Inquirer.[1][48] During the remaining years of the 1930s she was an active participant in Philadelphia society, participating in a charity ball,[49] being a bridesmaid in wedding ceremonies,[50] joining the Junior League, and entertaining friends at her mother's summer place in Eagles Mere.[51]

Piper was twenty-six when she married a Navy aviation cadet, E. Digby Bartzell, Jr., in the winter of 1943.[52] His family, like hers, was prominent in Philadelphia society and, like her, he had attended prestigious private boarding school. Subsequently he had obtained Ivy League undergraduate and graduate degrees and, following service as a military intelligence officer in the South Pacific, had become a highly-respected professor of sociology.[53][note 8]

Piper kept her maiden name for professional uses and her married name for other uses. She and Baltzell had two daughters, Eve, born in 1944, and Jan, born in 1948.[note 9] Following his discharge from the Navy in 1945, the young family moved from place to place as Baltzell's career evolved.[note 10] In 1963 Piper and Baltzell began spending summers in Wellfleet on Cape Cod and two years later, having bought a house there, Piper built a studio on the property.[7]: 13–14 

Piper died on August 8, 1991, less than two weeks before her 75th birthday, and was buried in Philadelphia's Woodlands Cemetery.[33][55] Baltzell died in Boston at age 80 on August 17, 1996.[23][56]

Further reading Edit

Jane Piper, Richard J Boyle, Bill Scott, and Hollis Taggart Galleries, Jane Piper : poetic distillations [exhibition], 9 May to 15 July 2005 (New York, N.Y. : Hollis Taggart Galleries, 2005)[7]

William P. Scott, "Continuity and Change: Conversations with Jane Piper," American Artist (v. 42, no. 436, November 1978, pp. 76–80, 122–124)[6]

Notes Edit

  1. ^ Of this experience Piper later said: "I was nine years old, and we lived in a pension in Cannes with mostly retired English people. There was a Victorian type of woman from Scotland with high shoes. She went out every day and did watercolors. She never spoke to anybody. I figured that she was the lady I wanted to get to know. I'd hang around her, and later she let me go out with her painting. I'd sit and watch her do watercolors. At Christmas she gave me a sable brush and explained to me how to take care of it, how very valuable it was."[6]: 79 
  2. ^ Largely self-educated, Earl Horter was an artist, printmaker, and collector whose acquisition of modernist art made his Philadelphia studio a valuable resource for budding artists such as Piper. In addition to the Europeans, Duchamp and Brancusi as well as the others mentioned, he acquired precisionist works by Sheeler as well as African sculpture and Native American artifacts.[11]
  3. ^ Regarding her time in the Barnes collection Piper later said, "I didn't know such paintings existed. I had seen some things that were involved with color abstraction, some Picassos and Bracques, but when I saw the Matisses I didn't know what hit me. The experience threw me into a whole new emotional world of color and feeling."[6]: 80 
  4. ^ In 1935 Piper befriended Moy Glidden in Daniel Garber's class in the Pennsylvania Academy of Fine Arts. The two frequently shared the same studio and attended the same classes until Glidden left Philadelphia in 1940. They both continued to study with Arthur Carles throughout this half decade and Piper remained close to Carles until his death in 1941.[12]: 20 
  5. ^ Of the two teachers Piper later wrote, "Carles and Hofmann understood each other very well, but Hofmann's method of teaching was so different from Carles. I felt I knew what Hofmann was talking about, but I did not understand the language he was using. I could have learned more from him than I did, but I thought Carles had said it all in simpler terms."[7]: 12 
  6. ^ Piper's paintings appeared in group and solo exhibitions of the Philadelphia Art Alliance in 1943, 1944, 1955, and 1967.[15][16][17] She was shown at the Pennsylvania Academy of Fine Arts in 1945, 1947, 1953, 1956, and 1986.[15][18][19] Other non-commercial appearances included the Friends' Central School (1943), Woodmere Art Museum (1983), Philadelphia Arts Festival (1962), Swarthmore College (1966), Lehigh University (1968), Philadelphia Center for Architecture (1971), Cheltenham Art Center (1986), Wallingford Community Arts Center (1986), and New York Studio School (1991).[15][20][21][22][23]
  7. ^ Regarding the influence of Wallace Stevens on her work Piper said, "He's creating structure with the imagery. He, like Matisse, is searching for the right sensation, to recognize the completion of a work."[6]: 79 
  8. ^ When he retired from the University of Pennsylvania, Baltzell received praise as "both inventor and exemplar" in his field. Called "a man of contradictions," he was called anti-egalitarian but also liberal in political affiliation, a member of the social elite but also a critic of the white Anglo-Saxon Protestant establishment which, he wrote, "has too often placed the desire for material comfort and security above the duties of political and intellectual leadership." He is remembered as the person who popularized the initialism "WASP."[54]
  9. ^ Eve became an architect and Jan a professional artist, like her mother.[54]
  10. ^ In 1945 the family moved from Philadelphia to New York where Baltzell studied for and achieved a Ph.D. in 1947. When he began teaching at the University of Pennsylvania, they returned to Philadelphia (1947) and then settled in Radnor, Pennsylvania (1948).[54] Their daughters having grown up and Piper being able to devote more time to painting, they moved back to Philadelphia in 1966 where they remained the rest of their lives.[12]: 22 

References Edit

  1. ^ a b "Society: About Weddings and Various Fetes". The Philadelphia Inquirer. Philadelphia, Penn. 1935-11-17. p. 2. Miss Jane G. Piper, photo by Bachrach. Miss Piper, a popular member of the younger set, is the daughter of Mrs. Edmund B. Piper of Spruce st.
  2. ^ a b Stan Mir (2016-12-24). "It's What You Make, Not What You Get; Color is the organizing principle of Jane Piper's work, which builds upon the tradition of early Modernist painting". Hyperallergic. Retrieved 2017-04-18.
  3. ^ a b Edward Soanski (1995-05-26). "BELATED RECOGNITION FOR A DISTINGUISHED ARTIST: THE WOODMERE MOUNTS A JANE PIPER RETROSPECTIVE". The Philadelphia Inquirer. Philadelphia, Penn. p. 46.
  4. ^ a b c d e Ralph Cipriano (1991-08-10). "JANE PIPER, 74; ART CAREER SPANNED 50 YEARS". The Philadelphia Inquirer. Philadelphia, Penn. p. 38.
  5. ^ "Manuscripts and Archives of the Historical Medical Library of The College of Physicians of Philadelphia | CPP | Edmund B. Piper papers". Retrieved 2017-05-14.
  6. ^ a b c d e f g h i j k l William P. Scott (November 1978). "Continuity and Change: Conversations with Jane Piper". American Artist. Billboard Publications, Inc. 42 (436): 76–80, 122–124.
  7. ^ a b c d e f g h i Richard J. Boyle; Bill Scott; Hollis Taggart Galleries (2005). "Jane Piper: Poetry and Place by Richard J. Boyle". Jane Piper: Poetic Distillations. New York: Hollis Taggart Galleries.
  8. ^ Scott Chalfant (2011). "www.hlchalfant.com" (PDF). Retrieved 2017-05-13.
  9. ^ a b c Richard J. Boyle. "Jane Piper: Winter in Philadelphia, Summer in Wellfleet". Provincetown Arts. Provincetown Arts Press, Inc. 2005: 66–67. Retrieved 2017-03-17.
  10. ^ a b "Oral history interview with Jane Piper, 1988 Jan. 16–17". Archives of American Art, Smithsonian Institution. 1988-01-16. Retrieved 2017-03-18.
  11. ^ "Earl Horter – Biography". Ro Gallery. Retrieved 2017-05-15.
  12. ^ a b c d Richard J. Boyle; Bill Scott; Hollis Taggart Galleries (2005). "Inspiration, Pleasure, Painting by Bill Scott". Jane Piper: Poetic Distillations. New York: Hollis Taggart Galleries.
  13. ^ a b "$128,192 Awarded to Son by Court". The Philadelphia Inquirer. Philadelphia, Penn. 1937-11-11. p. 6.
  14. ^ C. H. Bonte (1931-10-18). "In Gallery and Studio". The Philadelphia Inquirer. Philadelphia, Penn. p. 18. Some remarkable instances of children's work is now to be found at the Plastic Club in the output of Grace Gemberling's class ... Perhaps the most astounding manifestation of all among Miss Gemberling's pupils is the series of which "Jealousy" is the theme. Six of the students (all girls, need it be said), Jane Piper, Mary Maguire, Cecilia Drinker (a niece of Cecilia Beaux), Sally Fisher, Alida Loeb and Nancy Riddle have devoted themselves to the interpretation in paint of that emotion which has wrought such havoc in the world, and the results are in themselves emotionally overwhelming.
  15. ^ a b c d e f g h i j Richard J. Boyle; Bill Scott; Hollis Taggart Galleries (2005). "Chronology". Jane Piper: Poetic Distillations. New York: Hollis Taggart Galleries. p. 48.
  16. ^ "Five Artists Hold Exhibit". The Philadelphia Inquirer. Philadelphia, Penn. 1943-03-07. p. SO 14.
  17. ^ "Alliance to Exhibit for Yule". The Philadelphia Inquirer. Philadelphia, Penn. 1955-12-25. p. Society Section 1. As we walked through the Art Alliance's galleries this week, moving from the bright world and the sculptured pigment of Howard Silverman to the planned harmonies and discords in Jane Piper's poetic inferences and controlled color movements, we wondered how the layman adjusted to these differences in spirit and approach.
  18. ^ a b "Academy Honors List". The Philadelphia Inquirer. Philadelphia, Penn. 1956-10-21. p. Society Section 1. Every school of artistic thought is represented, from the well-disciplined impressionism of Daniel Garber, to the poetic light-filled abstractions of Jane Piper ...
  19. ^ a b c d e Victoria Donohoe (1986-10-17). "HARD DECISIONS THAT PAY OFF IN AN ARTIST'S CONSTRUCTIONS". The Philadelphia Inquirer. Philadelphia, Penn. p. 36.
  20. ^ "The Arts; Studios, Exhibits; Youthful Students Enjoy Work by Local Artists". The Philadelphia Inquirer. Philadelphia, Penn. 1943-04-25. p. SO 1.
  21. ^ Gerald B. Jordan (1986-03-08). "Museum Showing Its Collection From Cheltenham". The Philadelphia Inquirer. Philadelphia, Penn. p. D4.
  22. ^ Edward J. Sozanski (1986-09-11). "90 WOMEN'S ART BROUGHT TOGETHER IN WALLINGFORD". The Philadelphia Inquirer. Philadelphia, Penn. p. E5.
  23. ^ a b c "Jane Piper, 74 Still life artist, in Philadelphia". The Boston Globe. Boston, Mass. 1991-08-10.
  24. ^ a b "Jane Piper Engaged to E. Digby Baltzell, Jr". The Philadelphia Inquirer. Philadelphia, Penn. 1943-01-17. p. 2. Her Pictures are without specific titles and are merely classified as Abstractions, with attendant numerals for convenience sake. In designing, patterning and color they are admirably adapted for the adornment of modern rooms, though the artist does not think of her work in terms of decoration. Appreciation of such work as this is largely a matter of individual feeling and preference. It is certain to give pleasure to many beholders; to others it may convey little in the way of an impression. The only needful warning in regard to most of these pictures is not to look for a definite depiction of any special object.
  25. ^ "ART GROUP TO SHOW WORK BY MEMBERS: National to Offer Second Half of Annual Display—Museum to Open Print Exhibition". The New York Times. 1947-03-17. p. 20.
  26. ^ "Art Calendar". The Philadelphia Inquirer. Philadelphia, Penn. 1954-03-07. p. SO 15.
  27. ^ Dore Ashton (1958-10-02). "Art: Paintings by Barnet". The New York Times. p. 20.
  28. ^ Victoria Donohoe (1987-01-24). "N. C. WYETH MURALS OF PLYMOUTH COLONY GLOW IN RESTORATION". The Philadelphia Inquirer. Philadelphia, Penn. p. C3.
  29. ^ a b c d "Jane Piper: Paintings and Drawings from the Artist's Estate". Pennsylvania Academy of the Fine Arts. 2010-10-26. Retrieved 2017-03-18.
  30. ^ a b Andrew Geller (1983-09-25). "THE UNLOVED ART OF A REBEL GENIUS". The Philadelphia Inquirer. Philadelphia, Penn. p. 27.
  31. ^ a b c C. Brock (1987-01-15). "Jane Piper Uses Color for Impact". Palladian Times. Oswego, N.Y. p. 5.
  32. ^ a b Victoria Donohoe (1987-10-16). "WORK THAT REFLECTS THE ARTIST'S WORLD". The Philadelphia Inquirer. Philadelphia, Penn. p. 38.
  33. ^ a b c "Jane Piper Baltzell". The Woodlands. 2013-08-09. Retrieved 2017-03-18.
  34. ^ Edith Newhall (2016-12-23). "Art galleries: Jane Piper at Schmidt/Dean". The Philadelphia Inquirer. Philadelphia, Penn. Retrieved 2017-03-17.
  35. ^ Victoria Donohoe (1983-12-31). "A MOTHER-DAUGHTER EXHIBIT". The Philadelphia Inquirer. Philadelphia, Penn. p. D4.
  36. ^ Victoria Donohoe (1983-10-14). "ABSTRACTIONIST EDNA ANDRADE'S WORKS AT MARIAN LOCKS". The Philadelphia Inquirer. Philadelphia, Penn. p. E39.
  37. ^ "The Alumni". Princeton Alumni Weekly. 6 (21): 398. 1906-03-06. Retrieved 2017-04-15.
  38. ^ "Mrs. Harriet Watson Piper [death notice]". Gazette and Bulletin. Williamsport, Penn. 1894-10-19.
  39. ^ John Franklin Meginness (1892). History of Lycoming County, Pennsylvania. Unigraphic. p. 715.
  40. ^ "Manuscripts and Archives of the Historical Medical Library of The College of Physicians of Philadelphia | CPP | Edmund B. Piper papers". Retrieved 2017-05-27.
  41. ^ "Off to Europe". Philadelphia, Penn. 1925-10-01. p. 12.
  42. ^ a b "Society". Philadelphia, Penn. 1926-04-04. p. SO28. Mrs. Edmund B. Piper, with her daughters, Miss Helen E. Piper, Miss Eleanore L. Piper and Miss Jane Piper, of 1936 Spruce street, who have been spending the winter in Europe, will return to the country in June. Miss Helen Piper will be a debutante of next winter.
  43. ^ "Social and Other Themes of Interest". The Philadelphia Inquirer. Philadelphia, Penn. 1929-10-29. p. 12.
  44. ^ "Many Are Now Enjoying the Delights of Travel". The Philadelphia Inquirer. Philadelphia, Penn. 1933-02-05. p. 2.
  45. ^ "Leaves $100,000 Estate". The Philadelphia Inquirer. Philadelphia, Penn. 1928-07-05. p. B8. Leaving an estate valued at $100,000 and upward, Elizabeth L. Piper, 1936 Spruce St, who died June 29 at Williamsport Pa named her great-nieces, Eleanore Lear Piper, Helen Elizabeth Piper, and Jane Gibson Piper, and a nephew, Edmund Brown Piper, and his descendants, beneficiaries.
  46. ^ "People You Know". The Philadelphia Inquirer. Philadelphia, Penn. 1932-02-29. p. 5. Miss Jane G. Piper, daughter of Dr. and Mrs. Edmund B. Piper, ... who is attending Westover School, will arrive home on March 5 to spend the spring vacation with her parents.
  47. ^ "Dr. E. B. Piper". The New York Times. 1935-01-15. p. 19.
  48. ^ "Some Gay Dinner Parties to Honor Debutantes". The Philadelphia Inquirer. Philadelphia, Penn. 1935-09-08. p. 2.
  49. ^ "Plans Formed for Charity Ball". The Philadelphia Inquirer. Philadelphia, Penn. 1935-10-22. p. 10.
  50. ^ "MISS MURTON DU PONT IS WED IN DELAWARE: Daughter of Eugene E. du Pont Bride of W. S. Carpenter 3d". The New York Times. 1938-06-26. p. 32.
  51. ^ "Jane Piper to Give July 4th House Party". The Philadelphia Inquirer. Philadelphia, Penn. 1939-07-02. p. 6.
  52. ^ "JANE G. PIPER AFFIANCED: Westover Graduate Will Be Wed to Air Cadet E. D. Baltzell Jr". The New York Times. 1943-01-18. p. 20.
  53. ^ Ruth Seltzer (1983-01-21). "Dinner to Honor Ormandys". The Philadelphia Inquirer. Philadelphia, Penn. p. 21.
  54. ^ a b c Leonard W. Boasberg (1986-05-15). "A PENN INSTITUTION TO RETIRE WITH HONORS". The Philadelphia Inquirer. Philadelphia, Penn. p. C1.
  55. ^ "Jane Piper Baltzell, 08 Aug 1991". "United States Social Security Death Index," database, FamilySearch; citing U.S. Social Security Administration, Death Master File, database (Alexandria, Virginia: National Technical Information Service, ongoing). Retrieved 2017-03-17.
  56. ^ Tom Long (1996-08-19). "E. Digby Baltzell, 80; sociologist known as 'upper-class populist'". The Boston Globe. Boston, Mass. p. B5.

August 25, 2023
jane, piper, jane, gibson, piper, 1916, 1991, american, artist, known, abstract, treatment, still, lifes, building, french, modernist, tradition, matisse, cézanne, gave, color, precedence, over, representation, shortly, after, death, critic, said, throughout, . Jane Gibson Piper 1916 1991 was an American artist known for her abstract treatment of still lifes Building on the French modernist tradition of Matisse and Cezanne she gave color precedence over representation 2 Shortly after her death a critic said throughout her career Piper worked within a relatively narrow aesthetic range She was interested in spatial organization and in creating space through color concerns of another painter she admired Henri Matisse There s a sense of Matisse in her later work but no indication that she was trying to imitate him the resonance reflects shared concerns 3 From her first exhibition in 1943 through the end of her life she was given a total of thirty four solo exhibitions in Philadelphia New York and other East Coast galleries and her works have been collected by major museums including the Philadelphia Museum of Art the Pennsylvania Academy of the Fine Arts the Brooklyn Museum the National Academy of Design The Phillips Collection and the Carnegie Museum of Art 4 Jane PiperFormal portrait 1935 1 BornJane Gibson Piper 1916 08 21 August 21 1916Philadelphia PennsylvaniaDiedAugust 8 1991 1991 08 08 aged 74 Philadelphia PennsylvaniaResting placeThe Woodlands Philadelphia NationalityAmericanSpouse s E Digby Baltzell 1915 1996 American sociologist Contents 1 Early life and training 1 1 Exhibitions and critical reception 1 2 Artistic style and working methods 2 Collections 3 Art teacher 4 Personal life and family 5 Further reading 6 Notes 7 ReferencesEarly life and training EditPiper was raised in a prosperous and well connected Philadelphia family 5 At the age of nine she spent a year at a pension in Cannes where observing an amateur artist at work she became infatuated with painting and afterwards convinced her reluctant father to enroll her in an art class 6 79 note 1 After a few years study under the Philadelphia artist Grace Gemberling she was able to study art as a boarder in a private school for girls Westover School in Middlebury Connecticut 7 7 8 9 Graduating in 1935 she returned to Philadelphia where she studied at the Pennsylvania Academy of the Fine Arts first under Daniel Garber whom she found to be too authoritarian and then under Arthur Carles whose instruction she felt to be the most useful of all her teachers and whose artistic influence remained with her for the rest of her career 6 79 80 10 In 1936 she also enrolled for private study with the artist and collector Earl Horter In his studio her frequent close contact with paintings by Picasso Braque and Matisse made her aware of new possibilities in her own work 7 12 note 2 The influence of French Modernism on her work was also enhanced by informal study in Paris in 1937 and periods of study in the Barnes collection in 1938 7 9 10 note 3 Three years later she spent the summer months at the school Hans Hofmann conducted in Provincetown Massachusetts 7 12 note 4 Piper appreciated Hofmann s instruction but preferred Carles s 7 12 note 5 Exhibitions and critical reception Edit Although Piper was a productive artist fiercely devoted to her work she had no need of income from sales and showed as frequently in non commercial as commercial galleries 12 20 13 Her first appearance in a public exhibition occurred in 1931 when a painting of hers was included in a children s art show at a Philadelphia women s cultural organization called the Plastic Club Grace Gemberling mounted the show to put works by her young students on display Piper s contribution was in a set of pictures on the theme of jealousy Reviewing the show C H Bonte of The Philadelphia Inquirer found the work in general to be natural and spontaneous and the jealousy set in particular to be emotionally overwhelming 14 Jane Piper Composition in Red 1942 43 oil on masonite 28 x 36 inchesPiper s unnamed and unsigned painting of 1942 43 called Composition in Red indicates the style of her work at the beginning of her professional career During her career she participated in exhibitions held by non commercial organizations included group and solo shows at the Philadelphia Art Alliance Pennsylvania Academy of Fine Arts Woodmere Art Museum Philadelphia Arts Festival Philadelphia Center for Architecture Cheltenham Art Center Wallingford Community Center and galleries in Friends Central School Swarthmore College Lehigh University and New York Studio School note 6 A traveling exhibition Jane Piper Retrospective Paintings 1940 1985 was first mounted in James Madison University in 1985 15 In 1943 Piper was given her first appearance in a commercial gallery Remarkably this debut was a solo exhibition The venue was the Robert Carlen Gallery in Philadelphia 24 She was given a second solo show at Carlen in 1959 15 Her first solo exhibition in a New York commercial gallery was at the Bonestell Gallery in 1947 25 Other commercial solo shows included the Dubin Gallery Philadelphia 1954 26 Parma Gallery New York 1958 27 Cherry Stone Gallery Wellfleet Mass 1971 15 Bodley Gallery New York 1981 15 Mangel Gallery Philadelphia 1987 28 and Rising Tide Gallery Wellfleet Mass 1990 15 Beginning in 1971 she also had eight solo exhibitions at the Gross McCleaf Gallery in Philadelphia 15 Throughout the course of her career Piper was given thirty four solo exhibitions in commercial and non commercial galleries in Philadelphia New York and Cape Cod 4 29 Jane Piper Untitled 1961 oil on canvas 28 x 34 inchesPiper s untitled painting of 1961 indicates the non objective style of her work late in her career Critical reception of Piper s work was at first tepid but grew stronger as her career progressed Reviewing her first show in 1943 a critic complained that the paintings were overly abstract and decorative admirably adapted for the adornment of modern rooms 24 In 1956 her paintings received praise as poetic light filled abstractions 18 At the height of her career in 1983 a reviewer found that her abiding lyrical connection with nature and the domestic environment and pursuit of a unique individual perception place her firmly within a strong American tradition although she remains spiritually separate from any trend or movement 30 A few years later she was recognized for an original daring approach that was firmly in the tradition of great American still life painting 19 Jane Piper Fruit and Flowers 1974 acrylic and charcoal on canvas 40 x 60 inchesPiper s Fruit and Flowers of 1974 shows her handling of objects in an abstract style In 1986 a curator who had organized a retrospective exhibition of her work wrote that she retains a sense of wonder while developing ever new complex harmonies of form and color 31 and a reviewer calling Piper one of Philadelphia s best artists said her paintings with her preference for yellow orange and red tints and clear blues and greens give an original picture of her domestic environment and nature s bounty and profuse growth This critic continued Clearly this gifted artist has had success creating a living and working environment that has a direct relationship to her creative life as an artist 32 In 2010 nineteen years after her death Piper was called one of Philadelphia s finest painters 29 and three years later she was called one of Philadelphia s most prominent modernist painters 33 Artistic style and working methods Edit Her technique is modern She abstracts through color her own essence of still life Yet what is interesting and fulfilling about her work is that her original daring approach is firmly in the tradition of great American still life painting Victoria Donohoe Hard Decisions That Pay Off in an Artist s Constructions The Philadelphia Inquirer October 17 1986 19 In addition to the pervasive influence of her mentor Carles Piper s early paintings were said to show the influence of Matisse and Cezanne The influence of Carles and Matisse persisted as well in her late and final work 9 34 Color appears as the organizing principle in most of her paintings from the first to the last 2 Although constant reworking made it difficult to discern her paintings were infrequently purely abstract 30 In fact she was primarily a still life painter and almost always used objects in her studio as a starting point for each work 19 Late in her career a critic noted that her paintings were neither abstract nor figurative but something in between 32 She herself said I was never conscious of painting representationally or not painting representationally I was always involved in spacial forms which naturally lead you somewhat into abstraction You have to handle your responses to what you re seeing I was putting down what I saw and how I felt about what I found as connecting links 6 122 In her work Piper wished to express her emotions rather than give a pictorial narrative 31 At the height of her career she responded to the poems of Wallace Stevens valuing the way in which they expressed emotions in a moment s clarity of thought 9 note 7 In addition to rich colors her mature work was noted for her use of white pigment 19 31 35 which she used as negative space in order to better define her subjects 10 She was said like Matisse to be interested in spatial organization and in creating space through color 3 and a critic appreciated her late paintings for the space structured by color using still life motifs that they conveyed 29 Early in her career most of Piper s paintings were made in oil on canvas Later she mainly used acrylic colors which she liked because of the quality of the whites The shorter drying time was also important to her as she repainted continually as her paintings evolved 6 78 A private person who worked in solitude she worked intensely believing as Carles had maintained that in painting you put everything in your life into it 36 Speaking of students she had taught she said it took more than just talent to sustain a professional career You must be able to tolerate yourself for long periods of time working in the isolation of a studio 6 122 She was unusually disciplined and rarely took time off Despite family responsibilities raising two daughters and moving the family about as her husband s career evolved she once said a six month hiatus was the longest time she had spent out of the studio 6 122 12 20 Observers should feel that the act of painting was effortless that it happened it just happened she said in a 1977 magazine interview Which of course she added is not true 4 A few years later she said Painting is a pleasure even though painful It will always be a pleasure for me because it is the thing I want to do the most 7 17 Collections EditPiper s paintings are held in the permanent collections of the Philadelphia Museum of Art Pennsylvania Academy of Fine Arts Brooklyn Museum Carnegie Museum of Art National Academy of Design Phillips Collection Provincetown Art Museum Mount Holyoke College Art Museum and Woodmere Art Museum 4 23 33 Art teacher EditShe taught painting and drawing at the Philadelphia Museum of Art in the mid 1950s From 1956 to 1985 she taught at the Philadelphia College of Art 4 She also taught at the Pennsylvania Academy and the New York Studio School 29 Of her teaching method she said In teaching I relate to the students one to one I try to wait until they ve done something and then I talk to them about what they ve done I think they get much more from the setups or from looking at other paintings than they do from a lecture 6 122 Personal life and family EditPiper was born in Philadelphia on August 21 1916 15 Her father was Edmund B Piper and her mother Elizabeth Gibson Piper They were married in 1906 and settled in Williamsport Pennsylvania 37 Her grandparents on her father s side were members of an old and prominent family of Watsontown and neighboring Williamsport 38 On her mother s side her grandparents were prosperous Williamsport merchants 39 Edmund B Piper was a well known obstetrician and gynecologist who gained recognition for a forceps he designed and which bears his name 40 Elizabeth Gibson Piper led an active social life her name appearing frequently in the society columns of The Philadelphia Inquirer Piper had two older sisters Helen E and Eleanor L Piper 41 In 1925 Piper s mother and the three girls aged eighteen fifteen and nine spent the winter in France and it was there at a pension in Cannes that Piper decided she would become an artist 6 79 42 During the winter of 1933 34 following the elaborate activities required for the introduction to society of Helen and Eleanor as well as Helen s marriage to Henry B Coxe Piper s mother again took the three daughters to France 42 43 44 In the meantime the three had been names as principal beneficiaries in the will of a wealthy maiden aunt Elizabeth L Piper each to receive 30 000 on their eighteenth birthdays 13 45 and Piper had become a boarding student at Westover School in Middlebury Connecticut 46 In February 1935 Piper s father died at the age of fifty four 47 in May she graduated from Westover and in November she was honored as a debutante when a Bachrach portrait appeared in the society pages of The Philadelphia Inquirer 1 48 During the remaining years of the 1930s she was an active participant in Philadelphia society participating in a charity ball 49 being a bridesmaid in wedding ceremonies 50 joining the Junior League and entertaining friends at her mother s summer place in Eagles Mere 51 Piper was twenty six when she married a Navy aviation cadet E Digby Bartzell Jr in the winter of 1943 52 His family like hers was prominent in Philadelphia society and like her he had attended prestigious private boarding school Subsequently he had obtained Ivy League undergraduate and graduate degrees and following service as a military intelligence officer in the South Pacific had become a highly respected professor of sociology 53 note 8 Piper kept her maiden name for professional uses and her married name for other uses She and Baltzell had two daughters Eve born in 1944 and Jan born in 1948 note 9 Following his discharge from the Navy in 1945 the young family moved from place to place as Baltzell s career evolved note 10 In 1963 Piper and Baltzell began spending summers in Wellfleet on Cape Cod and two years later having bought a house there Piper built a studio on the property 7 13 14 Piper died on August 8 1991 less than two weeks before her 75th birthday and was buried in Philadelphia s Woodlands Cemetery 33 55 Baltzell died in Boston at age 80 on August 17 1996 23 56 Further reading EditJane Piper Richard J Boyle Bill Scott and Hollis Taggart Galleries Jane Piper poetic distillations exhibition 9 May to 15 July 2005 New York N Y Hollis Taggart Galleries 2005 7 William P Scott Continuity and Change Conversations with Jane Piper American Artist v 42 no 436 November 1978 pp 76 80 122 124 6 Notes Edit Of this experience Piper later said I was nine years old and we lived in a pension in Cannes with mostly retired English people There was a Victorian type of woman from Scotland with high shoes She went out every day and did watercolors She never spoke to anybody I figured that she was the lady I wanted to get to know I d hang around her and later she let me go out with her painting I d sit and watch her do watercolors At Christmas she gave me a sable brush and explained to me how to take care of it how very valuable it was 6 79 Largely self educated Earl Horter was an artist printmaker and collector whose acquisition of modernist art made his Philadelphia studio a valuable resource for budding artists such as Piper In addition to the Europeans Duchamp and Brancusi as well as the others mentioned he acquired precisionist works by Sheeler as well as African sculpture and Native American artifacts 11 Regarding her time in the Barnes collection Piper later said I didn t know such paintings existed I had seen some things that were involved with color abstraction some Picassos and Bracques but when I saw the Matisses I didn t know what hit me The experience threw me into a whole new emotional world of color and feeling 6 80 In 1935 Piper befriended Moy Glidden in Daniel Garber s class in the Pennsylvania Academy of Fine Arts The two frequently shared the same studio and attended the same classes until Glidden left Philadelphia in 1940 They both continued to study with Arthur Carles throughout this half decade and Piper remained close to Carles until his death in 1941 12 20 Of the two teachers Piper later wrote Carles and Hofmann understood each other very well but Hofmann s method of teaching was so different from Carles I felt I knew what Hofmann was talking about but I did not understand the language he was using I could have learned more from him than I did but I thought Carles had said it all in simpler terms 7 12 Piper s paintings appeared in group and solo exhibitions of the Philadelphia Art Alliance in 1943 1944 1955 and 1967 15 16 17 She was shown at the Pennsylvania Academy of Fine Arts in 1945 1947 1953 1956 and 1986 15 18 19 Other non commercial appearances included the Friends Central School 1943 Woodmere Art Museum 1983 Philadelphia Arts Festival 1962 Swarthmore College 1966 Lehigh University 1968 Philadelphia Center for Architecture 1971 Cheltenham Art Center 1986 Wallingford Community Arts Center 1986 and New York Studio School 1991 15 20 21 22 23 Regarding the influence of Wallace Stevens on her work Piper said He s creating structure with the imagery He like Matisse is searching for the right sensation to recognize the completion of a work 6 79 When he retired from the University of Pennsylvania Baltzell received praise as both inventor and exemplar in his field Called a man of contradictions he was called anti egalitarian but also liberal in political affiliation a member of the social elite but also a critic of the white Anglo Saxon Protestant establishment which he wrote has too often placed the desire for material comfort and security above the duties of political and intellectual leadership He is remembered as the person who popularized the initialism WASP 54 Eve became an architect and Jan a professional artist like her mother 54 In 1945 the family moved from Philadelphia to New York where Baltzell studied for and achieved a Ph D in 1947 When he began teaching at the University of Pennsylvania they returned to Philadelphia 1947 and then settled in Radnor Pennsylvania 1948 54 Their daughters having grown up and Piper being able to devote more time to painting they moved back to Philadelphia in 1966 where they remained the rest of their lives 12 22 References Edit a b Society About Weddings and Various Fetes The Philadelphia Inquirer Philadelphia Penn 1935 11 17 p 2 Miss Jane G Piper photo by Bachrach Miss Piper a popular member of the younger set is the daughter of Mrs Edmund B Piper of Spruce st a b Stan Mir 2016 12 24 It s What You Make Not What You Get Color is the organizing principle of Jane Piper s work which builds upon the tradition of early Modernist painting Hyperallergic Retrieved 2017 04 18 a b Edward Soanski 1995 05 26 BELATED RECOGNITION FOR A DISTINGUISHED ARTIST THE WOODMERE MOUNTS A JANE PIPER RETROSPECTIVE The Philadelphia Inquirer Philadelphia Penn p 46 a b c d e Ralph Cipriano 1991 08 10 JANE PIPER 74 ART CAREER SPANNED 50 YEARS The Philadelphia Inquirer Philadelphia Penn p 38 Manuscripts and Archives of the Historical Medical Library of The College of Physicians of Philadelphia CPP Edmund B Piper papers Retrieved 2017 05 14 a b c d e f g h i j k l William P Scott November 1978 Continuity and Change Conversations with Jane Piper American Artist Billboard Publications Inc 42 436 76 80 122 124 a b c d e f g h i Richard J Boyle Bill Scott Hollis Taggart Galleries 2005 Jane Piper Poetry and Place by Richard J Boyle Jane Piper Poetic Distillations New York Hollis Taggart Galleries Scott Chalfant 2011 www hlchalfant com PDF Retrieved 2017 05 13 a b c Richard J Boyle Jane Piper Winter in Philadelphia Summer in Wellfleet Provincetown Arts Provincetown Arts Press Inc 2005 66 67 Retrieved 2017 03 17 a b Oral history interview with Jane Piper 1988 Jan 16 17 Archives of American Art Smithsonian Institution 1988 01 16 Retrieved 2017 03 18 Earl Horter Biography Ro Gallery Retrieved 2017 05 15 a b c d Richard J Boyle Bill Scott Hollis Taggart Galleries 2005 Inspiration Pleasure Painting by Bill Scott Jane Piper Poetic Distillations New York Hollis Taggart Galleries a b 128 192 Awarded to Son by Court The Philadelphia Inquirer Philadelphia Penn 1937 11 11 p 6 C H Bonte 1931 10 18 In Gallery and Studio The Philadelphia Inquirer Philadelphia Penn p 18 Some remarkable instances of children s work is now to be found at the Plastic Club in the output of Grace Gemberling s class Perhaps the most astounding manifestation of all among Miss Gemberling s pupils is the series of which Jealousy is the theme Six of the students all girls need it be said Jane Piper Mary Maguire Cecilia Drinker a niece of Cecilia Beaux Sally Fisher Alida Loeb and Nancy Riddle have devoted themselves to the interpretation in paint of that emotion which has wrought such havoc in the world and the results are in themselves emotionally overwhelming a b c d e f g h i j Richard J Boyle Bill Scott Hollis Taggart Galleries 2005 Chronology Jane Piper Poetic Distillations New York Hollis Taggart Galleries p 48 Five Artists Hold Exhibit The Philadelphia Inquirer Philadelphia Penn 1943 03 07 p SO 14 Alliance to Exhibit for Yule The Philadelphia Inquirer Philadelphia Penn 1955 12 25 p Society Section 1 As we walked through the Art Alliance s galleries this week moving from the bright world and the sculptured pigment of Howard Silverman to the planned harmonies and discords in Jane Piper s poetic inferences and controlled color movements we wondered how the layman adjusted to these differences in spirit and approach a b Academy Honors List The Philadelphia Inquirer Philadelphia Penn 1956 10 21 p Society Section 1 Every school of artistic thought is represented from the well disciplined impressionism of Daniel Garber to the poetic light filled abstractions of Jane Piper a b c d e Victoria Donohoe 1986 10 17 HARD DECISIONS THAT PAY OFF IN AN ARTIST S CONSTRUCTIONS The Philadelphia Inquirer Philadelphia Penn p 36 The Arts Studios Exhibits Youthful Students Enjoy Work by Local Artists The Philadelphia Inquirer Philadelphia Penn 1943 04 25 p SO 1 Gerald B Jordan 1986 03 08 Museum Showing Its Collection From Cheltenham The Philadelphia Inquirer Philadelphia Penn p D4 Edward J Sozanski 1986 09 11 90 WOMEN S ART BROUGHT TOGETHER IN WALLINGFORD The Philadelphia Inquirer Philadelphia Penn p E5 a b c Jane Piper 74 Still life artist in Philadelphia The Boston Globe Boston Mass 1991 08 10 a b Jane Piper Engaged to E Digby Baltzell Jr The Philadelphia Inquirer Philadelphia Penn 1943 01 17 p 2 Her Pictures are without specific titles and are merely classified as Abstractions with attendant numerals for convenience sake In designing patterning and color they are admirably adapted for the adornment of modern rooms though the artist does not think of her work in terms of decoration Appreciation of such work as this is largely a matter of individual feeling and preference It is certain to give pleasure to many beholders to others it may convey little in the way of an impression The only needful warning in regard to most of these pictures is not to look for a definite depiction of any special object ART GROUP TO SHOW WORK BY MEMBERS National to Offer Second Half of Annual Display Museum to Open Print Exhibition The New York Times 1947 03 17 p 20 Art Calendar The Philadelphia Inquirer Philadelphia Penn 1954 03 07 p SO 15 Dore Ashton 1958 10 02 Art Paintings by Barnet The New York Times p 20 Victoria Donohoe 1987 01 24 N C WYETH MURALS OF PLYMOUTH COLONY GLOW IN RESTORATION The Philadelphia Inquirer Philadelphia Penn p C3 a b c d Jane Piper Paintings and Drawings from the Artist s Estate Pennsylvania Academy of the Fine Arts 2010 10 26 Retrieved 2017 03 18 a b Andrew Geller 1983 09 25 THE UNLOVED ART OF A REBEL GENIUS The Philadelphia Inquirer Philadelphia Penn p 27 a b c C Brock 1987 01 15 Jane Piper Uses Color for Impact Palladian Times Oswego N Y p 5 a b Victoria Donohoe 1987 10 16 WORK THAT REFLECTS THE ARTIST S WORLD The Philadelphia Inquirer Philadelphia Penn p 38 a b c Jane Piper Baltzell The Woodlands 2013 08 09 Retrieved 2017 03 18 Edith Newhall 2016 12 23 Art galleries Jane Piper at Schmidt Dean The Philadelphia Inquirer Philadelphia Penn Retrieved 2017 03 17 Victoria Donohoe 1983 12 31 A MOTHER DAUGHTER EXHIBIT The Philadelphia Inquirer Philadelphia Penn p D4 Victoria Donohoe 1983 10 14 ABSTRACTIONIST EDNA ANDRADE S WORKS AT MARIAN LOCKS The Philadelphia Inquirer Philadelphia Penn p E39 The Alumni Princeton Alumni Weekly 6 21 398 1906 03 06 Retrieved 2017 04 15 Mrs Harriet Watson Piper death notice Gazette and Bulletin Williamsport Penn 1894 10 19 John Franklin Meginness 1892 History of Lycoming County Pennsylvania Unigraphic p 715 Manuscripts and Archives of the Historical Medical Library of The College of Physicians of Philadelphia CPP Edmund B Piper papers Retrieved 2017 05 27 Off to Europe Philadelphia Penn 1925 10 01 p 12 a b Society Philadelphia Penn 1926 04 04 p SO28 Mrs Edmund B Piper with her daughters Miss Helen E Piper Miss Eleanore L Piper and Miss Jane Piper of 1936 Spruce street who have been spending the winter in Europe will return to the country in June Miss Helen Piper will be a debutante of next winter Social and Other Themes of Interest The Philadelphia Inquirer Philadelphia Penn 1929 10 29 p 12 Many Are Now Enjoying the Delights of Travel The Philadelphia Inquirer Philadelphia Penn 1933 02 05 p 2 Leaves 100 000 Estate The Philadelphia Inquirer Philadelphia Penn 1928 07 05 p B8 Leaving an estate valued at 100 000 and upward Elizabeth L Piper 1936 Spruce St who died June 29 at Williamsport Pa named her great nieces Eleanore Lear Piper Helen Elizabeth Piper and Jane Gibson Piper and a nephew Edmund Brown Piper and his descendants beneficiaries People You Know The Philadelphia Inquirer Philadelphia Penn 1932 02 29 p 5 Miss Jane G Piper daughter of Dr and Mrs Edmund B Piper who is attending Westover School will arrive home on March 5 to spend the spring vacation with her parents Dr E B Piper The New York Times 1935 01 15 p 19 Some Gay Dinner Parties to Honor Debutantes The Philadelphia Inquirer Philadelphia Penn 1935 09 08 p 2 Plans Formed for Charity Ball The Philadelphia Inquirer Philadelphia Penn 1935 10 22 p 10 MISS MURTON DU PONT IS WED IN DELAWARE Daughter of Eugene E du Pont Bride of W S Carpenter 3d The New York Times 1938 06 26 p 32 Jane Piper to Give July 4th House Party The Philadelphia Inquirer Philadelphia Penn 1939 07 02 p 6 JANE G PIPER AFFIANCED Westover Graduate Will Be Wed to Air Cadet E D Baltzell Jr The New York Times 1943 01 18 p 20 Ruth Seltzer 1983 01 21 Dinner to Honor Ormandys The Philadelphia Inquirer Philadelphia Penn p 21 a b c Leonard W Boasberg 1986 05 15 A PENN INSTITUTION TO RETIRE WITH HONORS The Philadelphia Inquirer Philadelphia Penn p C1 Jane Piper Baltzell 08 Aug 1991 United States Social Security Death Index database FamilySearch citing U S Social Security Administration Death Master File database Alexandria Virginia National Technical Information Service ongoing Retrieved 2017 03 17 Tom Long 1996 08 19 E Digby Baltzell 80 sociologist known as upper class populist The Boston Globe Boston Mass p B5 Retrieved from https en wikipedia org w index php title Jane Piper amp oldid 1168360747, wikipedia, wiki, book, books, library,

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