Nella Fontaine Binckley (1860-1951) in the Studio: New York City, 1906

STUDIO NOTES

If all artists possessed the picturesque personality and adaptability as to posing which distinguishes Miss Nella Fontaine Binkley [Binckley], they might easily discard models and pose for each other. Upon entering Miss Binkley’s studio one notes many portraits of this clever artist, whose likeness to Mme. Sarah Bernhardt [1844-1923] is most striking, particularly at night in the delicately shaded glow of the studio lights. One portrait is by Edmund Russell [1858-1923; possibly painted of her by him in San Francisco], another by Henry Lawrence Wolfe [1878/81-1911, when he went missing in Italy] a third by De Takach [Bela De Takach, 1874-1947]. In all of these, individuality of both artist and subject is manifest.

Miss Binkley’s is a winning personality: charming address and a Southern accent give a touch of delicacy. Versatility in all the many branches of art in which she excels has not lessened concentration in any one of these. A portrait from life of the grandson of the famous Sioux chief, Sitting Bull [1831-1890], in all his regalia of paint and feathers, attests success in oil. Posters of La Loie Fuller [La Loïe Fuller, dancer, 1862-1928], of a daughter [Annie Early Wheeler, the “Angel of Santiago,” 1868-1955] of Gen. Joe Wheeler [1836-1906] in the costume of a Red Cross nurse, of many prominent actors and well-known personages give a small idea of her liking for that line of work.

A study of Mr. De Takach, which was made at night, shows him musing over a half-smoked cigarette – his blonde personality strongly defined and remarkably handled. Across the studio one suddenly discovers a painting, which if life size would be startlingly deceptive. An open door and just without a woman’s figure. The reflection of the sun’s glare upon the panes of glass in the door, the daintiness of the woman’s garb, the sense of distance, the bright sunshine, the garden in the background, all go toward making this a never-to-be-forgotten piece of work.

On the easel was one of the last studies for “Smoke and Bubbles,” the second book by John William Sargent [he may have been the same person as the friend of Houdini with this identical name, ca. 1853-1920] for which Miss Binkley has supplied the illustrations. The first Sargent book was called “Toasts” and eighty sketches by this versatile artist [Toasts for the Times in Pictures and Rhymes, 1904]. “Smoke and Bubbles” [Smoke and Bubbles, 1906] will have eighty-three illustrations, and the amount of thought shown therein in addition to the technique displayed goes far toward the success of the book.

Then Miss Binkley’s “play” work was exhibited – leather, burnt and lace effects. Unique jackets, artistic wing-like shoulder capes of strange smoky hues, dainty blues or dusty reds. Odd collars, cuffs, belts, purses, trimmings, adorned with beads or buttons of oddly contrasting colors, with the usual compliment of portieres, draperies, wall ornaments likewise record her artistic expression in the articles meant for daily use. After this one is not surprised to learn that Miss Binkley’s designs for artistic jewelry are much in demand. In fact, Miss Binkley has covered so much ground so excellently as to be notably prominent in the art world.

HELEN AVERY HARDY

From: Daily Attractions in New York. Advance Information of Art Exhibitions, Lectures, Concerts, Churches, Theatres, Railroads, Pullman Accommodations, Points of Interest, Where to Dine, etc. (1906), p. 27. 

More about Nella Fontaine Binckley (1860-1951) and her work here.