Laura Clubb and Oklahoma’s Art Collection

On a visit to the Philbrook Museum of Art, most likely like other first-time visitors, I was immediately amazed by the 72-room Italian Renaissance mansion and its 23-acre garden. However, I agree with what the former director of the Nelson-Atkins Museum of Art said “what counts in a museum is above all the quality of the art that it houses.” When Waite Phillips, the oilman who donated his eleven-year old Villa Philbrook to the City of Tulsa as an art center, the family’s art collection was not as strong as the house. The fabulous collection was strengthened through a few important donations in the next seven decades. If major art institutes in the northeast amassed their unsurpassable collections during the gilded age through key figures in railroad and finance, many Midwest art museums benefit from the new wealth built upon black gold. In case of the Philbrook Museum of Art, it involves a woman from a town now permanently under water: Laura Clubb.

I had never heard of Laura Clubb before my visit. The first painting that I encountered was familiar –a William Bouguereau. “The Shepherdess” was THE painting that I could never forget after I saw it for the first time a few years ago at another mansion-related art center, the Frick Art Center in Pittsburgh. In an age when craftsmanship has been devalued, and idealism is given in to uncertainty and vulgarity, the direct gaze of the shepherdess has an almost therapeutic calming effect on the viewers, that can bring internal harmony out of the incongruity between the untamed beauty and hardship of living.

I was grateful to have the chance to see the shepherdess again. Then naturally, I checked the label – it was a gift of Laura A. Clubb.

At that point I hadn’t thought twice about who Laura Clubb might be. It was only with increasing frequency as I wandered through the halls of the mansion that the question came to mind: who was this great art collector?

Almost all of my favorite American paintings in the collection were there after a donation by Ms. Clubb. I began to wonder how fun it would be if I could have talked to her in person. (I knew that would not be possible as she donated the bulk collection to the Philbrook Art Center in 1947.) To some degree a collector gets to know an artist on a personal level. Though the artists, William Merritt Chase, Worthington Whittredge and William Bouguereau may not be living, those who spend a lot of time with art knows it can speak. And who has more time to spend with it than one who lives with it?

Enquiring of museum staff, I was given just a glimpse of who Ms. Clubb was—a woman who owned a hotel that once housed all of the paintings. A printout that was provided explained the rest.

Clubb was a schoolteacher who lived on an Oklahoma ranch with her husband Ike. She had attended Northwestern University in Evanston, Illinois where she studied history, literature and art. Little did she know she would one day be able to buy the paintings in her books. The couple continued to grow their ranch and one of the tracts added in 1922 turned out to contain a vast oil deposit.

Ike and Laura split the proceeds down the middle and used it in their own way. He looked at real estate, she went for the art. Soon paintings, antiques, rugs, books and linens filled her home, which she opened to visitors. That space proved inadequate so it expanded into Ike’s hotel. There paintings by Inness, Sargent, Home, Chase, West, Gainesborough, Constable, Stuart and others. Expectedly the hotel became aa center for art and artists. On September 20, 1930, Harlow’s Weekly called it the “finest private collection of paintings in the world.” The hotel register recorded visitors from England, Germany, China and India. She continuously bought and sold paintings through galleries in New York, Chicago, St. Louis and Kansas City.

Several California museums sought the collection, but Clubb felt the money had come from the Oklahoma soil and it was here where it should stay. Ike and Laura both passed away in the hotel in 1951. The hotel was closed, reopened as a nursing home and later flooded for the creation of a lake.

So that’s the story of Laura Clubb, one of the great, but accidental art collectors of the 20th Century. It was Charles M. Schwab who commented his success was half luck. In this case we’re lucky it came to someone with an appreciation for art and a desire to give a lasting gift to the people of Oklahoma.

Below is a picture of the Clubb Hotel at its prime time.

About Art After X

With the death of President Kennedy in 1963, America changed. As hard as it is to minimize that sentiment, the effect of Dallas was even greater. The same year saw the merging of the Dallas Museum for Contemporary Arts, which had been central to the art scene, and the Dallas Museum of Fine Arts. Douglas MacAgy, then the director of DMCA, not only opposed the merger, but also declined to directorship of the combined museum. The regionalist movement which had been strong for decades, was giving way to more of an interest in what was going on nationally, and internationally. Like it or not, Dallas was on the national stage.

When the Kennedy’s arrived in Fort Worth, local collectors had decorated a hotel room with internationally-renowned works. While the president and his wife learned a great deal about the ability of Texans to collect major art, there was little they could glean about the local scene in this era-defining city.

With this in mind, we have begun a project to look not back at the art scene in Dallas, but foreword from 1963. We are interviewing gallery owners, curators and others involved in the art scene then, but this will be a story told mostly through interviews with artists active in the city from that point into the 1980s.

The result will be a book with a video component.

We hope you will join us in our journey. The hashtag for the project is #artafterx and the url artafterx.com will point to the latest updates on this weblog.

7 comments

Laura Clubb was my great grandmother. I never met her but my 79-year-old mother spent much of her childhood in the hotel. She gives talks about Laura and loves to tell others about her grandmother!

Your article about my grandmother, Laura Clubb was very nice. Thank you. She was a great lady and I was privileged to grow up among her fabulous collection. I was old enough to really appreciate the paintings and hated to see them moved to Tulsa, but it was the right thing to do. I would be happy to talk to you about her life at any time.

My late mother, Betty Flynn, grew up in Kaw City, and was a student of Laura Clubb. When she visited us in Tulsa, we often went to Philbrook so that she could could view the paintings that she studied on Sundays in the hotel as a young girl. It is nice to see your article on Laura Clubb. When I told friends about her it sounded like a crazy fairy tale.

My name is Deborah and I have just recently been learning all about my family roots and who I was related too on my mothers side. My Grandmother Ramona Rutherford is the niece to Laura Clubb. My Great Grandfather Chalres Rutherford was Laura’s brother. I am so proud to be a part of this family and I want to say thank you for sharing my Great Aunt Laura’s art collection with the world. This is truely a amazing story and you have helped fill in the gaps of my family history. My Grandmother Ramona was given some of Aunt Laura’s art collection. One of these pieces of art was then passed down to me. I would love to discuss with you the pieces that were given to my Grandmother. I do hope you get in touch. Much Respect,
Deborah Swan

Laura Clubb was my Great Grandmother, Annette Pittman, my mothers sister who has produced an amazing historical record of the family. My mother Cindy Carter, an art teacher of +20 years taught me about the wonderful world of art and just how deep it was in our family. I read about Laura Clubb, and I am proud to be a part of it. Her donations to the museum are a wonderful gift to the world to share and teach us all. It’s a great feeling to have people comment so positively about her.

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