Barney Ebsworth, Art Collector

NEWS RELEASE 3 March 2000 For Press Inquiries Only (202) 842-6353 NATIONAL GALLERY OF ART ACQUIRES SHEELER'S "CLASSIC LANDSCAPE," DOVE'S "MOON," AND THOMPSON'S "TREE" GIFTS FROM MR. AND MRS. BARNEY A. EBSWORTH Washington, D.C. -- It was announced this week by Earl A. Powell III, director, National Gallery of Art, that the Gallery has acquired from Mr. and Mrs. Barney Ebsworth of Saint Louis, Missouri, Charles Sheeler's Classic Landscape (1931), a masterpiece of precisionist painting; Arthur Dove's Moon (1935), an outstanding example of abstraction inspired by nature; and Bob Thompson's Tree (1962), a hallucinatory scene inspired by Goya, that is evocative of folk art and the artist's African heritage. The Ebsworth collection is considered to be one of the premier private holdings of American modernist art. Both paintings can be viewed in the exhibition Twentieth-Century American Art: The Ebsworth Collection, on view in the Gallery's East Building, 5 March through 11 June 2000. "This is only the most recent example of how the Ebsworths have been steadfast friends of the Gallery, which has benefited especially from their keen interest in our twentieth-century American paintings," said Powell. Sheeler (1883-1965) was a master of both painting and photography. Classic Landscape depicts a scene from the Ford Motor Company's River Rouge Plant near Detroit, which the artist had visited in 1927 on a photographic commission from the company. Sheeler called the subject "incomparably the most thrilling I have had to work with" and went on to produce several watercolor and oil paintings inspired by the River Rouge Plant. Classic Landscape is the best known of these and has been exhibited widely. It is a work of remarkable clarity and order, with extraneous details suppressed and the forms of buildings and other structures expressed as boldly simplified geometric forms. To Sheeler, this industrial scene was comparable to the highest architectural achievements of the classical past. Dove (1880-1946), a resourceful and imaginative individual and artist, was among the artists championed by renowned photographer and art dealer Alfred Stieglitz. After a highly experimental artistic phase in the 1920s and grinding poverty in the early 1930s, Dove returned to his family home in Geneva, New York. With support from collector Duncan Phillips, Dove entered a very productive period, during which he painted Moon. A tree covers the glowing moon with shades of brown, yellow, green, and red ranging in intensity from pale muddy tones to richly saturated hues. Painted with short, thinned, almost translucent brushstrokes over hues of different intensity, the surface appears luminous. Thompson (1937-1966), an African American artist and Kentucky native, has been likened to a meteor for his brilliant but brief life in art. He received his formal art training at the University of Louisville and continued his career in New York City and Europe. He started out as an abstract painter, but later shifted to figurative expressionism. Tree, executed during his time in Paris in 1962, is a fauve-hued painting derived from Goya's fantastic and moralistic etchings, Los Caprichos (1799). Thompson morphed Goya's figures, except the angel, into primitive animalistic forms, emphasizing their bestiality and sexual violence. Barney Ebsworth has been a member of the Gallery's Trustees' Council and co-chair of its Collectors Committee since 1996. In 1997 the Ebsworths gave the Gallery Or (1973), its first work by Pat Steir. In 1998 they funded the purchase of another painting by the same artist, the lyrically beautiful Curtain Waterfall (1991), and made a partial and promised gift of Georgia O'Keeffe's Black White and Blue (1930), one of the finest works from a rich period in her career.

FOR IMMEDIATE RELEASE CONTACT: Linda Williams, SAM Public Relations (206) 654-3166; email: pr@SeattleArtMuseum.org Outstanding Collection of American Modernist Art Comes to Seattle Art Museum Twentieth Century American Art: The Ebsworth Collection Aug. 10-Nov. 12, 2000 SEATTLE, Nov. 9, 1999�A wide-ranging and exciting cross-section of American painting from the World War I era through the 1960s will be on view in Twentieth-Century American Art: The Ebsworth Collection at the Seattle Art Museum, Aug. 10-Nov. 12, 2000. Collected by Barney A. Ebsworth, an executive who resides in St. Louis and summers in Seattle, the more than 70 works in the exhibition include masterpieces by Alexander Calder, Willem de Kooning, Arthur Dove, David Hockney, Edward Hopper and Georgia O�Keeffe. A small number of exceptional sculptures and works on paper will also be on view. The Ebsworth Collection comes to Seattle from the National Gallery of Art in Washington, D.C., where it can be seen from March 5-June 11, 2000. The Seattle Art Museum will be the only other venue for the exhibition. "We are very pleased to be able to present this exciting collection on the West Coast," says Trevor Fairbrother, SAM�s Deputy Director of Art/Jon and Mary Shirley Curator of Modern Art. "Barney Ebsworth has had an uncanny ability to recognize major art before it is fashionable, and his collection is outstanding." In recent years, Ebsworth has collected works from the 1950s and 1960s, including important works be Andy Warhol and Wayne Thiebaud. The Ebsworth Collection is organized by the National Gallery of Art, Washington, D.C., and curated by Nicolai Cikovsky, Jr., Senior Curator, and Franklin Kelly, Curator of American and British Painting. In Seattle, the installation and programming will be overseen by Trevor Fairbrother. The exhibition is accompanied by a catalog, which will be available in February 2000. It includes an essay by Professor Bruce Robertson of the University of California, Santa Barbara, as well as entries by Cikovsky, Kelly and other staff of the National Gallery.

20th-Century American Art: The Ebsworth Collection August 10 through November 12, 2000 On view at the Seattle Art Museum from August 10 through November 12, 2000, Twentieth-Century American Art: The Ebsworth Collection includes more than seventy works from one of the premier important private collections of American modernism. The National Gallery of Art in Washington, D.C., organized the exhibition and published the catalogue; SAM is the exhibition�s only other venue. Visit the National Gallery of Art web site for additional online resources about this exhibit. Barney A. Ebsworth, who splits his time between St. Louis, Honolulu, and Seattle, first became interested in art while he was stationed in Paris during the Korean war. Originally interested in European art, Mr. Ebsworth began collecting American modernism in the early 1970s, a relatively new field of collecting at that time. In nearly three decades, Mr. Ebsworth has amassed a collection that is recognized as one of the top 200 world-wide. He and his wife, Pam, are both enthusiastic patrons of the arts: they have made many gifts to museums nation-wide, including a 1980 glass and steel Christopher Wilmarth work they gave to SAM in 1998. The Ebsworth collection covers the period from the seminal 1913 Armory Show in New York through the late 1960s. Beginning with William Glackens (1870-1938) and ending with David Hockney (b. 1937), the collection includes several dozen major paintings in addition to a number of works on paper and a group of sculpture. Many of the works in the Ebsworth collection show the influence of European painting on American modernism. One of the earliest works in the exhibition, Glackens� Caf� Lafayette (Portrait of Kay Laurell) (1914) recalls the style of Renoir. Andrew Dasburg (1887-1979), who submitted four works to the 1913 Armory Show, created Landscape (1913) after the style of C�zanne. Profoundly changed by the Armory Show, artists like Stuart Davis (1894-1964) completely shifted their painting styles. Influenced by cubist works he saw at the groundbreaking exhibition, Davis began creating works that used the flattened shapes of synthetic cubism. A trip to Paris in 1928 provided him with his signature subject matter of boldly colored Parisian street scenes. The Ebsworth collection also includes works by several artists in the circle of Alfred Stieglitz, photographer and owner of the galleries 291 and An American Place. These artists, including Arthur Dove (1880-1946), Marsden Hartley (1877-1943), John Marin (1870-1953), and Georgia O�Keeffe (1887-1986), all had a common interest in abstraction based on natural forms. Among the paintings from this group in the exhibition are O�Keeffe�s Black White and Blue (1930) and Dove�s Moon (1935). Edward Hopper (1882-1967) figures prominently in the Ebsworth collection, with two oil paintings and a watercolor. Among these works is one of his most famous canvases, Chop Suey (1929). In quintessential Hopper style, the painting shows city-dwellers in the interior of an urban building�here, a second-floor Chinese restaurant. Like many of Hopper�s figures, the two women seem disconnected despite their physical proximity. The work of several Precisionist painters also appears in the Ebsworth collection. Most prominent of these artists is Charles Sheeler (1883-1965), four of whose paintings are included in the exhibition. Sheeler, both a photographer and a painter, spent six weeks at the Ford Motor Company at River Rouge near Detroit. He made a photographic portrait of the plant; he also became interested in using similar subject matter in painting. Sheeler based Classic Landscape (1931), paired here with its 1928 watercolor, gouache and graphite study, on one of his River Rouge photographs. This work demonstrates Sheeler�s ability to combine precisely rendered realism with formal abstraction. The Ebsworth collection also includes the work of several important post-war artists, including Jasper Johns (b. 1930), Franz Kline (1910-1962), Jackson Pollock (1912-1956), and Robert Rauschenberg (b. 1925). Members of the New York School, both Kline and Pollock were important figures in the Abstract Expressionist movement. Johns and Rauschenberg were pivotal figures in the birth of Pop art in the 1950s. The Pop art works include paintings by Andy Warhol (1928-1987), Wayne Thiebaud (b. 1920), and a painted plaster relief by Claes Oldenberg (b. 1929). The work of these artists, representing, respectively, a Campbell�s Soup Can, a Bakery Counter, and a muscular arm that recalls the Arm and Hammer symbol, used familiar imagery in an attempt to break down the hierarchy between the "high art" of painting and the "low art" of consumer goods. Sculpture is an important component of the Ebsworth collection. There are outstanding works by Alexander Calder, Gaston Lachaise (1882-1935), Elie Nadelman (1882-1946), Theodore Roszak (1907-1981), and John Storrs (1885-1956). The sculpture dovetails with the paintings and works on paper, providing the viewer with a complete look at the development of modern American art. Like O�Keeffe and members of the Stieglitz circle, neoclassicist Nadelman exhibited his work at the dealer�s 291 gallery. The importance of the Ebsworth collection was recognized nationally when it was exhibited in St. Louis, Honolulu, and Boston in 1988. The collection has grown significantly in the interim and we are thrilled to be the first west coast showing of these exceptional works of art.

http://yp.washingtonpost.com/E/E/WASDC/0001/65/62/cs1.html The Collection of a Century: Home-Grown Modernists By Jo Ann Lewis Special to The Washington Post Thursday, March 2, 2000 Consider the risk: For 30 years, one by one, you collect the best American modernist paintings (1913-45) money can buy � O'Keeffes, Hoppers and Sheelers when you can get them, and Aults, Guglielmis and Slobodkinas when you can't. You figure someday you'll give them all to an unspecified museum. But first, the ultimate test � museums want to take a harder look. And the best paintings are removed from the walls of your sunken living room and cozy den and shipped off to the National Gallery of Art, where they're hung like Old Masters in six tall galleries usually reserved for such crowd-pleasers as Calder and Gauguin. Can these paintings � many still scorned as knockoffs of European avant-gardists like Picasso, Braque and Mondrian � survive such public scrutiny? Just such a collection � "Twentieth-Century American Art: The Ebsworth Collection" � goes on view Sunday in the National Gallery East Building. And, chances are, it will change a lot of musty preconceptions. This isn't the first time St. Louis travel tycoon Barney Ebsworth's collection has been subjected to the museum test. In 1987 there was an exhibition at the St. Louis Art Museum and then one in Honolulu. But much has changed since then, including major acquisitions that expand the collection well beyond its original parameters, which covered American modernist painting from the 1913 Armory Show to World War II. The collection now encompasses such postwar masters as Gorky, Pollock, de Kooning, Johns and Rauschenberg, who finally put American art on the world map. There are also some large showpieces that Ebsworth may have felt were needed to bolster public presentation of his collection, among them Andy Warhol's "Campbell's Soup With Can Opener" (1962), Wayne Thiebaud's delicious, frosting-slathered "Bakery Counter" (1962) and David Hockney's gigantic portrait "Henry Geldzahler and Christopher Scott" (1968-69), which hangs in Ebsworth's office. "I haven't abandoned American modernism; it abandoned me," says Ebsworth as he walks through his show, explaining his newly expanded purview. "I can no longer find paintings from the period that are good enough. And I want only the best." Trim, sunned and recently retired from Intrav, the luxury travel and cruise ship business he sold to a Swiss firm for $115 million, Barney Ebsworth, 66, flew in this week from his winter digs in Honolulu to celebrate what is, in effect, his international coming-out party. For though he's known to American museum curators as a potential lender � and is now listed among the world's top 100 or 200 collectors of American art � he has, until now, kept a low public profile. And it's never been clear exactly what he owns � apart from his most famous paintings, starting with Edward Hopper's dreamy, nostalgic scene of two women seated in a Chinese restaurant, titled "Chop Suey" (1929). A standout even in the Whitney Museum's recent "American Century" show, that painting was also shown here at the National Museum of American Art in 1993, along with several other Ebsworth masterworks by Marsden Hartley, Charles Sheeler, Arthur Dove and Joseph Stella. Ebsworth is a longtime supporter and former commissioner of NMAA. But now, for the first time, the whole collection is out for the world to see and for museum curators to start dreaming and drooling over. Some of the National Gallery's dreams have already come true: Ebsworth and his wife, Pam, revealed this week that they are giving three paintings to the gallery, including Dove's darkly romantic, nature-inspired "Moon" (1935) and Sheeler's precisionist masterpiece "Classic Landscape" (1931), a sleek, machine-age painting of the Ford Motor Co.'s then-new River Rouge assembly plant near Detroit, where the Model A was built. The painting is based on a Sheeler watercolor that Ebsworth bought long ago, thinking he could never own the painting. The watercolor and the painting hang together in this show, both inspired by Sheeler's earlier photographs of the new Ford plant, which he'd been commissioned to take for advertising purposes. Ebsworth has served on the National Gallery's Trustee Council and co-chaired its Collectors Committee since 1996, and he has made other gifts to the institution, including Georgia O'Keeffe's "Black White and Blue," one of his two important O'Keeffe abstract paintings. He has also donated a work by contemporary American artist Pat Steir and paid for the purchase of another for the museum. At last night's opening, he was to announce yet another gift � the huge, enigmatic painting "Tree" (1962), by the African American artist Bob Thompson, who died in 1966 at age 29. Scrubbed Honesty It should be said up front that there is nothing grandiose about this show or the 74 paintings and the handful of sculptures in it. Rather, the lesser-known works � like Ebsworth himself � project a sense of scrubbed honesty, eagerness and open-mindedness that, coupled with their generally high quality, gives them a fresh and captivating strength. Like every collector, Ebsworth favors what he calls A-plus pictures by A-plus artists such as Hopper and Sheeler. But he has also discovered great pleasures among what he calls the A-plus pictures by B-plus abstract artists. These include works by Jean Xceron, who worked as a custodian at the Guggenheim Museum and had a studio amid Kandinsky's paintings, and Suzy Frelinghuysen � a New York City Opera soprano � who made sophisticated Braque-like compositions incorporating corrugated cardboard. And Esphyr Slobodkina, better known as a children's book author, whose handsome abstraction "Ancient Sea Song (Large Picture)" (1943-45) hangs over the Ebsworths' bed. Then there's Byron Browne, whose mostly white, cubist-derived abstraction "Classical Still Life" (1936) manages to hold its own in the very first gallery, even though it's up against stunners like Marsden Hartley's "Painting No. 49, Berlin" (1914-15), a blaring symbolic homage to a German-officer friend killed in action in 1914. Browne's painting � like so many works here � clearly had its roots in the cubism of Braque, Picasso and Gris, making it typical of many of the American modernist abstractions painted after the Armory Show. It was that exhibition that introduced European avant-garde art to America, and many Americans tried to join the stylistic revolution, or went off to Europe to learn from the masters. It took 30 more years for American painting to find its own unique identity in abstract expressionism after World War II. And it was this largely unexplored � and long disdained � three-decade interim that Ebsworth's collection set out to reexamine. Looking at these works today, many of them for the first time, who could fail to see their freshness and sincerity? And who can now dismiss them, as history has done, merely because they pursued the new rather than inventing it? But American modernism as revealed in this show is also very wide-ranging and goes beyond abstraction to include figurative and surrealist paintings as well. But apart from the political surrealist O. Louis Guglielmi, whose work includes a haunting warning about fascism destroying the Brooklyn Bridge, it is the little-known abstract artists here who are the big surprise. A European Eye Ebsworth's interest in art began in Paris, where he was stationed during the Korean War. "I willed myself to France," he says, "and that's where I ended up." While there, he married and spent every weekend at the Louvre. "Even as late as 1970, I'm not sure I knew Hopper or O'Keeffe, and I was skeptical of abstraction. I came to American art with a European eye." As he prospered in the travel business, Ebsworth began buying 16th- and 17th-century Dutch paintings and 18th-century Japanese scrolls. But that ended abruptly after a 1972 visit to Rotterdam. "I was getting into the shipping business, and was taken by the owner of the Holland America line to see the collection of his uncle, who later founded the Boymans Museum. There were 17 Rembrandts! I thought to myself, 'You don't speak Dutch, and the great pictures are gone. I'll have to focus my collecting better.' " With the help of Charles Buckley, then director of the St. Louis Art Museum, Ebsworth focused on American modernism, then a collecting field of relatively new interest. His first acquisition is the only really old-fashioned-looking painting in this show: a 1914 portrait by "Ashcan" painter William Glackens that looks like a Renoir. Ebsworth's next purchase, a fine little 1913 Andrew Dasburg "Landscape," recalls Cezanne. "The best is the only thing I'm interested in," he recalls telling Buckley. "But first I had to learn what the best was. Charles helped me refine what I was going to do. We went to New York, and he introduced me to the best dealers: Stuart Feld, Joan Washburn, Annette Krashaar, Virginia Zabriskie: He put me on a safe footing by introducing me to people with great intellect, including curators." Today, he says, his chief requirement for buying a picture is "love and lust." The dicey subject of what Ebsworth ultimately will do with his collection is raised, and he says it has always been one that he wouldn't discuss. "But you get to be a certain age . . . "This was formed as a museum collection from the start," he says. "And I've been giving things away all along." He then lists the favored few: "I've given to the St. Louis Art Museum, the Honolulu Academy of Art, the National Museum of American Art, the National Gallery of Art, the Seattle Art Museum and the Currier Gallery of Art in Manchester, New Hampshire, in honor of Charles Buckley." He says he's never considered building his own museum: "No museums, no wings, no stipulations on what I give. My gifts are all unconditional � except, of course, I don't want the works to be sold. "I'll see what happens," he concludes. "I'm not going to sell them, that's for sure." EBSWORTH'S ART "Twentieth-Century American Art: The Ebsworth Collection" continues at the National Gallery East Building through June 11. It will then travel to the Seattle Art Museum for exhibit from Aug. 10 to Nov. 12. Collector Barney Ebsworth and National Gallery curator Franklin Kelly will informally discuss the collection Sunday at 2 p.m. in the East Building Auditorium. Admission is free. A fully illustrated catalogue with excellent descriptions of the works, as well as an introductory essay by California scholar Bruce Robertson, has been published ($49.95 hardcover, $39.95 softcover). The National Gallery East Building is on the National Mall at Fourth Street and Constitution Avenue NW. Hours are Mondays through Saturdays from 10 a.m. to 5 p.m. and Sundays from 11 a.m. to 6 p.m. Admission is free. More information is available on the gallery's Web site: www.nga.gov.

Ebsworth gets $81 million from Intrav sale to Swiss Cynthia Vespereny Barney Ebsworth will get $81.55 million in the sale of Intrav to a Swiss firm. Intrav, the deluxe travel company Ebsworth founded in 1959, is being purchased by Kuoni Reisen Holding of Zurich, which will pay $21.32 per share for Intrav, or $115 million. Ebsworth controls 3.825 million shares, or 74.8 percent of the company. The deal means an instant bounty of $4 million for Paul Duynhouwer, Intrav's president and chief executive officer, although most of his stake in the company is in stock options that normally vest over a period of years. Duynhouwer owns 46,000 shares valued at $981,000 under the deal and holds options on 260,000 shares. They would be valued at more than $3 million after paying $2.5 million to exercise the options. An incentive stock plan provides for accelerated vesting in the event of a change in control of the company. All options will be vested by the end of September, when the deal is completed, said Intrav spokeswoman Vanessa Tegethoff. The sale means a paycheck of $1 million for Chief Financial Officer Wayne Smith II, who owns just 400 shares but has options for 100,000, valued at $982,000 after paying $1.15 million to exercise them. Richard Hefler, senior vice president of sales and marketing, holds options on 28,000 shares. He can make $60,000 by exercising options granted since 1997 on 8,000 shares. The exercise price on the remaining 20,000, issued in 1995, could not be determined. Officers of Intrav could not be reached for comment. Intrav closed at $20 July 20, far from its 52-week low of $13.50. Among company directors, William H.T. Bush will get $405,000 for his 19,000 shares. Bush, the brother of former President George Bush, is chairman of Bush, O'Donnell & Co., an investment adviser in Clayton. John Biggs Jr., chairman and chief executive officer of Union Bank, will receive $42,600 for 2,000 shares, and Robert Chapman, chairman and chief executive officer of Barry-Wehmiller Cos., will get $12,800 for 600 shares. Ebsworth, who serves as chairman, will leave the company after the sale. Intrav's management will stay, and no layoffs are expected, said Tegethoff. Intrav will remain in St. Louis, she added. Intrav, which owns the Clipper Cruise Line, caters to affluent, sophisticated travelers looking for unusual trips. Among its offerings are around-the-world trips aboard the Concorde and African safaris. The Clipper Cruise Line features small vessels, which are attractive to travelers who already have done big-ship cruises. Kuoni Reisen said it hopes to strengthen its position in the United States through the acquisition. It currently has a sales office in Atlanta. Intrav went public in 1995. It reported earnings of $666,000, or 13 cents per share, on revenue of $25.9 million for the quarter ended March 31, compared to $985,000, or 19 cents per share, on sales of $26.7 million in the year-ago period.

3/6/2000 St. Louis article: Barney Ebsworth sold his travel company, Intrav, a year ago, but he's still taking his art collection on the road. Ebsworth and his wife, Pam Ebsworth, have given the National Gallery of Art in Washington, D.C., two major 20th century American paintings: Charles Sheeler's "Classic Landscape" and Arthur Dove's "Moon." The paintings are part of the couple's collection of more than 70 works of art, which are on loan for an exhibit at the National Gallery that opens March 5.

Art Appreciation A black-tie dinner at the East Building of the National Gallery of Art celebrated the museum�s most recent exhibition of artwork from one of the premier private holdings of American modernist work�that of Barney Ebsworth, an esteemed member of the Gallery�s Trustees� Council and co-chair of its Collectors Committee. Entitled �Twentieth-Century American Art: The Ebsworth Collection,� the exhibition of over 70 important paintings, sculptures, and drawings features such renowned artists as Georgia O�Keeffe, Edward Hopper, and Jackson Pollock, mixed in with the works of lesser-known talents like George Ault and Francis Criss. The result is a dramatic retrospective of the evolution of American Modernism. The exhibition will be on view through June 11, when it will then travel to the Seattle Art Museum.

Charles Sheeler, Classic Landscape (1931) Oil on canvas, 25 inches x 32.25 inches. The Collection of the Mr. and Mrs. Barney Ebsworth Foundation. William Carlos Williams Classic Scene A power-house in the shape of a red brick chair 90 feet high on the seat of which sit the figures of two metal stacks--aluminum-- commanding an area of squalid shacks side by side-- from one of which buff smoke streams while under a grey sky the other remains passive today--

Occasionally, the bidding in this sector was much more bullish. Christie's $180,000/250,000 estimate on a tiny, early Rauschenberg 'Combine' painting, for instance, was totally disregarded, mainly by St.Louis collector, Barney Ebsworth, who paid $1.3 million for it.

Twentieth-Century American Art: The Ebsworth Collection A lively discussion between collector Barney Ebsworth and Franklin Kelly, curator of American and British art, on the Ebsworth collection, one of the premier private holdings of American modernist art.     11 March 2000 Sorry about the above broken gifs, I'll fix 'em later. Terry

Barney made the 1998 ARTnews list of the top 200 art collectors in the world.

Ebsworth Collection: Twentieth-Century Art In America By: Robertson, Bruce // Other Seattle Art Museum // Other Brock, Charles Hardcover/Clothcover//Illustrated 312 pages This book showcases the extraordinary collection of modern American masterworks assembled by Barney A. Ebsworth, a St. Louis businessman. Publisher: Harry N. Abrams Inc ISBN: 0810966999 More General - Art titles: Previous | Index | Next OUR PRICE where delivery is to: USA/Canada: US$49.50 Australia/NZ: A$138.50 Other Countries:US$79.70

Die US-Schifffahrtsgesetze k�nnten die �bernahme der Luxusreisenfirma verhindern VON NADJA SIEBENMANN Z�rich - Wenige Wochen nachdem die Fusion zwischen Kuoni und First Choice gescheitert ist, schl�gt der Schweizer Reisekonzern erneut zu: Kuoni will den hochprofitablen US-Luxusreisenverk�ufer Intrav kaufen. Im Gegensatz zur gescheiterten Fusion mit First Choice hat Kuoni hier die Zustimmung der Aktion�re auf Sicher: Firmengr�nder Barney Ebsworth, der 75 Prozent der Intrav-Aktien besitzt, hat der �bernahme, die rechtlich als Fusion abgewickelt wird, zugestimmt. Die notwendige Zweidrittelmehrheit ist somit bereits �berschritten. Doch die geplante Fusion mit Intrav enth�lt eine andere Knacknuss, die ausgerechnet das Kerngesch�ft des amerikanischen Luxusreisenveranstalters betrifft: das �usserst lukrative Business mit Kreuzfahrten in den Gew�ssern vor den amerikanischen K�sten

'CLIPPER' PARENT INTRAV ACQUIRED BY A SWISS COMPANY: INTRAV, the St Louis, United States (US) based parent company of Clipper Cruise Line (CCL), was sold on 16 September to a Swiss group Kuoni Travel Holding Limited of Zurich for $US115M. INTRAV was founded in 1959 and today specialises in 'top of the market' escorted tours, including private-jet adventures, African safaries and small-ship cruising as conducted by CCL in remote areas such as Antarctica. According to Kuoni, INTRAV is highly profitable and in 1998 reported a turnover of $US126m, an operating income of $US10.3M, and a net income of $6.8M. Forecasts for 1999 are said to be "excellent". While INTRAV is a small company by US standards, industry observers in North America believe that the entry of a European company into their market is significant. Analysts see great potential for growth in US tourism to all parts of the world over the next decade as 'baby boomers' reach retirement age. Growth is anticipated as being particularly strong for relatively small-scale, remote area, operations offering natural 'experiences' with less crowding and high 'exclusivity', something INTRAV has specialised since its establishment. INTRAV founder Barney Ebsworth established CCL in 1982 and the two operated as separate companies until late 1996, when INTRAV having gone public the preceding year, bought CCL. Clipper first marketed Antarctic tours in 1993. While CCL's Antarctic operations are not likely to change signficantly in the short term, the company says that INTRAV and it "have a slate of innovative adventures planned for 2000 and beyond". These could involve additional activities in Antarctica. CCL currently operates four vessels, two of whom are scheduled to operate in the Antarctic and sub-Antarctic region in 1999-2000. One, the 5,000 tonne 'Clipper Odyssey', will conduct a single voyage to the Auckland Islands in the New Zealand sub-Antarctic in February. 'Odyssey', built in 1989 as the 'Oceanic Grace', was purchased by the company earlier this year and can carry up to 128 passengers. She visited the same region last season as 'Oceanic Odyssey'. The other Clipper vessel is the 122-passenger 'Clipper Adventurer'. It is scheduled to conduct nine Antarctic voyages between 13 November and 29 February. Seven of the nine are to the Antarctic Peninsula from either Ushuaia, Argentina, or Stanley in the Falkland Islands (Malvinas), while the other two also include visits to South Georgia and the South Orkney Islands. 'Clipper Adventurer' has operated in the Antarctic since 1994 , first as the 'Alla Tarasova', and for the past two seasons under its present name. Following its purchase of the vessel in 1998, CCL spent some $US16 million in refurbishing it for voyages to all parts of the world. The Kuoni Travel Group was established in 1906 by Alfred Kuoni a Swiss citizen and in addition to INTRAV, has holdings in nine European countries, Asia and India. Kuoni appointed one of its staffers, Ian Coghlan, as Chief Executive Officer of both INTRAV and CCL. He replaces former CEO Paul Duynhouwer who will be the majority owner and CEO of New World Ship Management Company, LLC, which has been formed to operate all four Clipper vessels, including the Bahamanian-registered 'Clipper Adventurer' and 'Clipper Odyssey', which operate in Antarctic and sub-Antarctic regions. Duynhouwer has the majority stake in CCL's other two vessels which are both US registered. [ANAN-6/02]

Falcon Mummy Case Egyptian, Ptolomaic Period, c. 332-30 B.C. Wood with polychrome and gilding Gift of Barney A. Ebsworth in honor of Sam and Mary Cooke, 1992 (6896.1)

AYNE THIEBAUD AMERICAN, BORN 1920 BAKERY COUNTER, 1962 OIL ON CANVAS 139.4 x 182.6 cm (54 7/8 x 71 7/8) CREDIT: COLLECTION OF Mr. AND Mrs. BARNEY A. EBSWORTH

Sheeler, Charles Classic Landscape 1931 Oil on canvas 24 3/4 x 32 1/4 in (63.5 x 81.9 cm) Mr and Mrs Barney A Ebsworth Foundation

Egypt, Thebes Third Intermediate Period, 22nd Dynasty, 945-880 B.C. Mummy Cartonnage of Amen-Nestawy-Nakht, Priest of Amon, Son of a Pa-di-Amen linen, plaster, and pigments 66 inches long Gift of Mr. and Mrs. Barney A. Ebsworth for the children of St. Louis 109:1989 -------------------------------------------------------------------------------- Amen-Nestawy-Nakht, a priest of Amun at Thebes, was given a very proper burial. His important position is reflected in the beautifully executed cartonnage, or painted plaster case, covering his linen-wrapped body. The style of painting evokes the beautiful reliefs and painted images so popular in New Kingdom tombs with elaborate coiffures, sumptuous detail, and fancy drapery. The sarcophagus of Amen-Nestawy-Nakht was discovered around 1860 in the Necropolis of Thebes, in what was then called the Valley of the Nobles. It still contains its mummy. .

9/14/2000 20th-CENTURY AMERICAN ART: THE EBSWORTH COLLECTION Over 70 works, mostly modernist, collected by Barney A. Ebsworth, who started out collecting 16th- and 17th-century Dutch paintings, but got discouraged when he realized that all "the great pictures [were] gone." There must have been some goodies left from the postwar era; Ebsworth acquired a nifty set of works--no real masterpieces, though--by (among others) de Kooning, Sheeler, and Hockney. Through Nov 12.

Operator: Clipper Cruise Line Year Built / Last Refurbished: 1984 / 1992 Length / Tonnage: 207 / 99 Number of Cabins / Passengers: 51 / 102 Officers / Crew: American / American Operating Area: Year-round USA and Caribbean Review by Mark H. Goldberg, TravelPage.com, Cruise Editor, and Christopher E. Smith, TravelPage.com, Associate Cruise Editor Good things do come in small packages....so it follows that a good cruise can be had on a small ship....and I like to call Clipper Cruise Line's vessels the Rolls Royces of the "explorer ship" class....that is, the kind of ship not suited to traveling the oceans, but designed for protected coastal waterways, rivers, canals and lakes. When it comes to service, accommodation and food, Clipper is the cream of the crop. Founded in 1982 by Barney A. Ebsworth, of St. Louis, Clipper quickly became known for taking 100 passengers at a time in style to some of the most remote and least visited ports in North America....places barred to any ship over 100 tons. That's what sets Clipper apart from the others....their cruises offer a pace similar to a leisurely motor trip where you are in charge of your itinerary. Clipper always docks close in to the main attractions of any port. So without muss or fuss, wander ashore....enjoy the scenery at your pace.....and breath a sigh of relief that where ever your ship takes you, the local color won't be tainted by 6 or 700 other passengers destroying the mood. No atrium, no casino, no techno colored cocktail lounge and no ballroom await you on the NANTUCKET CLIPPER or YORKTOWN CLIPPER. But then again, those things aren't available in your car, and since a Clipper Cruise is very similar to an ultra luxe motor trip, you wouldn't want to see them here anyway. But the one lounge on board is one of the finest living rooms you could ask for. Dubbed the Observation Lounge on both vessels, it is just that....with huge always clean windows with views to both sides and forward, I cannot think of a better location to enjoy the endless scenery you will enjoy on a Clipper cruise. The sofas are comfortable and designed for you to linger a little longer, and there's plenty of room to accommodate everyone for a port lecture, cocktail party or folklore presentation. As Clipper Cruises says, "naturalists and historians replace variety shows and bingo." You will find that the decor is soothing, restful, and has been finished to a high quality.....a lot of thought went into the design of the room, and as it is the one indoor venue aboard (not counting the dining room), that thoughtfulness is much appreciated. Of course, there is a small bar off to the side, and it is well stocked with a full selection of wines, beers and spirits priced between $2 and $5 per drink but people like me who never developed an appreciation for the products of the distiller's, brewer's or vintner's arts will also be happy to know that the bar also serves coffee, tea, juices and soft drinks. There's no charge for these soft drinks....I think that's a real nice Clipper touch... Ever mindful that many passengers will prefer to be outdoors on a Clipper Cruise, there is a narrow but useful wrap around promenade deck, where, during certain hours of the day, you are invited to work off some calories. So rest assured that while on board Clipper's ships, you needn't be resigned to a sedentary lifestyle. To that extent, these ships have no elevators. With so few passengers carried, you can expect a high level of quality, and because the ship is in port more than not, freshness of ingredients is always assured. The cuisine is decidedly American in nature....no, not burgers and franks, but regional cuisine of the highest order, thoughtfully presented and always delicious. Clipper chefs are graduates of America's most prestigious cooking school, the Culinary Institute. You cannot expect a never ending menu with selection after selection, but if you are at all fussy about what you eat, or your doctor has put the red light on certain food groups, Clipper, with advance notice, will be happy to accommodate you in any way they can.....but please don't ask them for pickled hummingbird wings or chocolate covered ants.

All meals are prepared to order and served a la carte.....there is never any skimping or cost cutting in these dining rooms. By the way, your meals are served in one sitting....and because Clipper attracts a fair number of singles and often sails with less than three persons booked into rooms that can serve as triples, couples who want to eat alone can often be served at a four top doing double duty as a table for two... Since the line has an open seating policy, you might want to know that Breakfast is served at 8:00AM, Lunch at 12:30PM and dinner at 7:00...Since early-risers tend to predominate aboard these small beauties, catering crew sets up a buffet in the Lounge early every morning so anyone waking up before the dining room opens at 8:00AM can eat. A few hours later a soup and sandwich buffet in the lounge attracts any number of people who want only a light bite at midday and every fan of the grape will be glad to know that the ships' wine lists feature bottled wine priced between $15 and $30 per bottle. Would you care for an inside cabin? Sorry.....Clipper Cruises wouldn't do that to you, especially on any of their scenic trips. So even in their least expensive digs, expect an outside view with two portholes. The cabins are cozy, beautifully fitted and comfortable.....but you'll prefer your cocktail party for a dozen people be held in the lounge....these cabins aren't designed for that. But they are designed for comfortable sightseeing...that is, most cabins have large windows so even if you cannot get out of bed at the crack of dawn, you can sightsee while you head rests on your pillow. All the cabins have showers in their admittedly tiny private bathrooms, all cabins have two lower beds (sorry, honeymooners), and all some have an upper pullman for a "fifth wheel". There is sufficient drawer and closet space, but don't overpack....besides, the onboard atmosphere stresses comfort, not formality, so a sport coat or cocktail dress is suggested only during the Welcome Aboard and Farewell parties. Though there is no laundry on board, the cruise director will bend over backwards to get your emergency cleaning done by a shoreside laundry, time permitting of course. So back to the cabins, for a moment. What's the best one to reserve? Well, some cabins have their doors opening out to the promenade deck....others are accessed by an inside corridor. Some have views onto the deck, with others right against the ship's side. The three least expensive cabin types have beds parallel to one another, while the three highest graded cabin types offer beds in an "L" shape.

My problem in deciding which cabin to select comes from the fact that all of them are good. There's no such thing as a bad location, and you are never far from anything on a Clipper. Be it my imagination or not, there seems to be a sense of extra space in the cabins fitted with the "L" shape beds. But because the most important feature to me on any ship is having a view, I'd be happy in any cabin here. And any of you who share my passion for collecting those nifty miniature toiletries..you know...the distinctly packaged soaps and shampoos will be pleased to find that Clipper has not forgotten to accommodate your hobby...the bathrooms are stocked with these little items and replenished as needed...Forgot your razors or other sundry item and need something while the ship is underway? No problem..the cruise director is able to help out and provide you with it. These Clipper ships are perfect extensions of a country club...ideal for people who love to golf (some Clipper cruises are themed as golf cruises and passengers always get good tee times at a nearby course when a Clipper is in port.) Anyone who ever answered to the name "preppy" ought to love a Clipper cruise. Most passengers are over 40, couples predominate....though cerebral 20 or 30 somethings might feel at home here too. A BIG HINT...if you choose Clipper, you might do well to leave the kids at home because the ships have no facilities to amuse them, and Clipper passengers tend not to coo over a stranger's infant. If you like bright lights, big show lounges, great production numbers, constant amusement and entertainment, these boats are not for you. A perfect Clipper passenger? ME!!!

In a few words.....Clipper itineraries are the greatest!!! Designed for the "been there, done that" travel set, each itinerary offers ports or in some cases stops where nature's wonders are the highlight. In the winter, cruises either seven or eleven nights will deliver you to some of the Caribbean and Central America's most exotic and off the beaten path ports. As the ship has no on board pool, passengers are invited to take a dip in the warm ocean, stepping right into the drink from the side of the ship. Snorkel gear is provided, so don't forget a swim suit. Other voyages offer days of exploration on the Orinoco River of Venezuela. The eight night Costa Rica itinerary takes all the headaches out of visiting that scenically stunning country.

During the spring, summer and fall, one of the Clipper ships pokes around the Sea of Cortez, makes Alaska cruises that will fulfill the naturalists among you, or visits in depth the San Juan Islands and out of the way ports in British Columbia. Pleasing choo choo enthusiasts, Clipper has come up with some fun rail/cruise adventures, which include destinations as far inland as Santa Fe, New Mexico! For east coast denizens, do not despair! In a variety of cruise lengths and seasons, Clipper comprehensively visits every worth while port from Jacksonville, Florida to the Great Lakes. Whichever Clipper itinerary you select, be assured that you will given plenty of time to really get to know a region. Only on a handful of Clipper trips does the ship remain "at sea" all day, and when it does, the passing scenery will be fascinating. Do you have to be physically fit ...

to get the most out of your Clipper Cruise? Well, it doesn't hurt, but even couch potatoes like me can have a fantastic time. But to get the most out of the trip, you should be prepared for a fair amount of walking.....but always at your pace. Clipper Cruise Line is a nonsmoking world now. You are invited to puff away outdoors, but that's the only place on board where you can do so. We love the well scrubbed all American crew, young, eager, and thoroughly capable...You didn't ask but I'll tell you anyway...tips are pooled and shared among crew (not officers) and the Line recommends an amount of $9 per person per day...Give more if you like...these people really do work hard and sure do appreciate it! A Clipper cruise is not recommended for first timers or anyone in search of anonymity....crew and fellow passengers get to know everyone by name in no time ....most people love that. Similarly, newcomers to travel might not be able to fully appreciate the point purpose and experience of a Clipper cruise, but anyone culturally aware and thirsty for knowledge ought to really enjoy it. The brochure rates don't look cheap, but tally up the costs for a air or motor trip to some of these places...making sure you've put into your budget first or deluxe class accommodations and fine dining every meal...suddenly, a cruise on Clipper looks pretty affordable, for what you get.

The above from http://www.cruiseserver.net/travelpage/ships/cl_nantuck.asp

http://www.artnet.com/magazine/news/tully/tully5-20-97.asp The most exciting moment in that overbaked sale, however, was the record set for Wayne Thiebaud's delightful and pastry-rich Bakery Counter (1962). It went for a record $1.7 million (est. $650,000-$850,000) to savvy St. Louis collector Barney Ebsworth. New York dealer Allan Stone first sold it in 1962 for $3,000.

"There was an article about Build-A-Bear in the newspaper and Barney Ebsworth with Windsor Capital, saw it and called me, saying he wanted to invest in the company," she states. "His call changed our destiny and has taken us to the next level." The other partners, Walnut Capital and Kansas City Equity Partners, followed. http://www.stlcommercemagazine.com/archives/april2000/cover.html

Ebsworth One of the minor miracles of art history is that, in the space of a relative instant, American artists moved from the back of the bus to the driver's seat of the 20th-century modernist movement. While our countrymen reacted with shock and outrage to the contemporary European paintings shown at the 1913 Armory Show in Manhattan, by the 1940s New York was the recognized center of the avant-garde. The extremely high-quality collection of Mr. and Mrs. Barney Ebsworth of St. Louis provides a splendid overview of American art throughout this vibrant evolutionary period and beyond. Twentieth-Century Art: The Ebsworth Collection is on display at the National Gallery of Art through June 11. The show features the work of artists like William Glackens, Andrew Dagsburg and Preston Dickinson who owe a manifest debt to their French counterparts. But we quickly encounter works by Americans who, while assuredly working along the same art historical continuum, forge off in new directions, developing styles we associate with them, rather than their influences. There are the oddly undulating neighborhoods of Charles Burchfield: a little scary, a little funny, a little disturbing, but absolutely unique, and the pared-down images of Arthur Dove and Georgia O'Keefe that tend to keep a foothold in visual reality, but explore the formal, abstract elements of art. Then we come to Pollack and de Kooning, New York School artists who helped establish America's creative primacy through their boldly-gestural, energetic abstract expressionist paintings, and then on to the likes of Andy Warhol, Wayne Thiebaud and Claes Oldenburg who took over with their deadpan images from popular culture. You'll see them all here, along with a few works of less renowned artists, but of equal talent. While the Ebsworths have not set out to create a comprehensive catalog of 20th-century American art, they have assembled an engaging synopsis of its highlights. http://www.jrnl.net/news/00/May/jrn0070500.html

http://www.newartexaminer.org/archive/junerubin.html The last two collectors we visited, Donald Bryant and Barney Ebsworth, have much in common. They are very successful businessmen, living in the exclusive Ladue section of the city, are listed in Artnews as top world collectors, and consider their collecting a kind of stewardship. Though they both are forthcoming�much like Donald Trump, the New York City real estate mogul�about the art of their deals, their styles differ. Bryant is a titan. His no-nonsense approach is that of a man totally in command. He likes to talk about first options, those deals in which he comes out on top, negotiating with artist's estates, and his extreme patience in waiting (sometimes for years) for the artwork he wants. On the other hand, Ebsworth, somewhat more reticent, likes to talk about "the one that got away." After passing a large Gaston Lachaise sculpture situated at the entrance of the Barney Ebsworth home, our minds still boggled from the Bryant collection, we were welcomed by our host, his wife, another art dog named Lily Langtree, and a silver tray holding mimosas. Ebsworth, who is in the travel business (he once owned Royal Cruise), after an all-too-quick introductory tour of his collection, which he described as concentrating on Modernism from 1913 to 1970, gave us free reign to explore as we would. The first and second floors were open to us, the third, verboten. Once again, we were regaled by a collection of Who's Who. Wherever we turned, paintings by O'Keefe, DeKooning, Pollock, Tooker, Birchfield, Hopper, Sheeler, Lautrec, Bierstadt, Marin, Gorky, Johns, Hockney, Thiebaud, and Warhol, to mention only a few, jumped out at us. In a kind of general consensus, we agreed to be absolutely stunned by the beauty of Joseph Stella's Tree of Life of 1919 and totally enamoured of an Alice Neel pastel of a young man sleeping. The surprise of this visit was a clandestine trip to the third floor where Ebsworth's wife Pamela (upon my pushy request) revealed Marsden Hartley's homoerotic self-portrait of the artist posing as a bleeding Christ in the Crucifixion. In wandering into a room to get a closer view of another painting, I ended up in Ebsworth's closet. It was most impressive: I counted 37 suits and 39 pairs of shoes before I stopped. Ebsworth, whose modus operandi is, "I try to get the best and then I try to top it," is something of a storyteller. His observation that curators and many dealers may be looking but aren't seeing, followed by numerous stories of paintings being mis-described and hung upside down, was particularly telling. It was his off-hand mention of the Hartley painting (though one of his favorite paintings, he hides it to placate his wife who finds it much too violent) that triggered my seeking it out. The Ebsworth collection will be traveling to the National Gallery of Art and the Seattle Art Museum next year. While I was smitten with Saint Louis and would certainly love to return (my actual viewing time at the museum and exposure to the city were far too short), it was the private collections that moved me, that set me to thinking about the nature of collecting, the fervor of private collections versus the muted coldness of public ones. Visiting these private collections, each assembled by a single intellect (if not eye), and fueled by individual desire, reminded me not of the Museum of Modern Art's languishing, permanent, committee-chosen, textbook collection (which few of us writers had visited in years), or for that matter, the Whitney Museum of American Art's, but of the many smaller, more personal museums where local minds hold sway. The Memorial Art Gallery in Rochester and the McNay Art Institute in San Antonio come to mind. By virtue of the size and the nature of its collection, The Saint Louis Art Museum may fall into this category too. It is in these museums and even more so in private collections that passion is given a running chance. It is here where surprises ring out, idiosyncracies are common, perversities permitted, new names discovered, old names in unexpected styles resurface, and paintings still breathe life. Ed Rubin is a writer on the arts and National Field Director of Audits & Surveys Worldwide in New York.

Washington University Olin School of Business Distinguished Alumni Award: Barney A. Ebsworth BSBA'56 Chairman Windsor, Inc. St. Louis, Missouri

http://www.kcstar.com/projects/canyonsuite/content/file/whatswrong.html Barney Ebsworth, a prominent art collector and a friend of both O'Keeffe's and Kemper's, came over from St. Louis for the dinner. Ebsworth had expected to marvel at some of O'Keeffe's first mature masterpieces. What came over him instead was a rather creepy feeling -- that these weren't O'Keeffes at all. "I was very afraid," Ebsworth said. "But it was a little late for me to say anything. They were hanging on my friend's walls." (KC Star article about the selling of the Canyone Suite)

http://www.tfaoi.com/newsm1/n1m223.htm The Collectors Committee Since 1975 the Collectors Committee has made possible the acquisition of one hundred eighty-nine works of art. Approximately half of the committee's acquisitions have been works by living artists. The committee was formed in 1975 under the leadership of Ruth Carter Stevenson, chairman of the Gallery's Board of Trustees from 1993-1997. It is currently chaired by Barney A. Ebsworth and Doris Fisher, both major collectors of twentieth-century art. Ebsworth, from St. Louis, is the owner of INTRAV, a travel company, and Clipper Cruise Lines. Fisher, who lives in San Francisco, is co-founder with her husband, Donald, of The Gap.

Yet there were lots that went so far above their estimates that even the experts seemed baffled. Robert Rauschenberg's "Untitled" (1954), one of the artist's earliest examples of his Combine series, was estimated at $180,000 to $250,000. It sold to Barney A. Ebsworth, a St. Louis collector for $1.3 million. As dealers were leaving the sale, many said they were confused about the evening's results. "It was too bad the estimate on the Twombly was so greedy," said Charles Cowles, the SoHo dealer. "But the market is sure strong for good pictures." http://www.tamu.edu/mocl/picasso/news/nytimes11109.html

jhttp://law.touro.edu/2ndCircuit/Pre95/91-9250.html TRAVELLERS INTERNATIONAL, A.G. and WINDSOR, INC., Plaintiffs-Appellees, - v.- TRANS WORLD AIRLINES, INC., Defendant-Appellant. Also in 1986, Travellers and TWA both experienced changes in management. Carl Icahn completed a takeover of TWA and became its chairman and chief executive officer. Later in the year, Gerald Herrod, the founder and chairman of Travellers, decided to sell his business. After Icahn turned down the opportunity to purchase Travellers, Herrod sold the company to Windsor, Inc., a Missouri-based company owned by Barney Ebsworth The business relations between TWA and Travellers soured early in 1987. Icahn implemented an aggressive policy to control costs and increase revenue margins in an attempt to reverse TWA's fortunes. TWA considered that the fees paid to Travellers for designing the Getaway brochures, and the costs of producing and distributing them, presented a cost-cutting opportunity, and that TWA would substantially increase its margin on pre-packaged tours if it brought the Getaway program "in house." In a contentious meeting held on August 5, 1987, Icahn offered to buy Travellers for the same price Ebsworth had paid in 1986, and Ebsworth refused. According to Ebsworth's testimony, Icahn then turned the conversation to Travellers' precarious reliance upon TWA as its "only customer" and threatened to cancel the joint venture agreement unless Ebsworth sold his company to TWA.

SigEp Citation The Fraternity's recognition of a brother who has excelled in his career field. The Citation, an embossed scroll, is awarded to a select few alumni at each Grand Chapter Conclave. Barney A. Ebsworth (1989), Missouri Beta, Washington University-St. Louis, '57; Founder, Chairman, Intrav, international travel company. (1989), Missouri Beta, Washington University-St. Louis, '57; Founder, Chairman, Intrav, international travel company.

The New York Times reported that Barney A. Ebsworth, the St. Louis collector, was the buyer of an early, small and fine Robert Rauschenberg at the auction for $1.3 million, way over its estimate of $180,000 to $230,000. http://www.thecityreview.com/f99c20e.html

Dragon Tales - September 20 - October 3, 1998: The Church ... ... a year of rehabbing, the Alec W. Ebsworth Memorial House at 7062 Emma is ready for occupancy. The house was donated by Mr. and Mrs. Barney A. Ebsworth in 1997. ...

AUGUST 2000 August 10, 5:30pm - LECTURE - Conversation with Barney Ebsworth: Opening Night Lecture - In conjuction with the exhibition, "Twentieth Century American Art: The Ebsworth Collection", Mr. Ebsworth will discuss his collection with Trevor Fairbrother, Deputy Director of Art/Jon and Mary Shirley, Curator of Modern Art. Tickets: $7, students/seniors $2. Seattle Art Museum, Plestcheeff Auditorium, 100 University Ave, Seattle, WA, tel (206)654-3100. [May 00]

Kuoni/INTRAV Deal Finalized ST. LOUIS, September 16, 1999 � Swiss-based Kuoni Travel Holding Ltd. today finalized its $115-million acquisition of INTRAV, the U.S. luxury tour operator, and its subsidiary, Clipper Cruise Line, which are based in St. Louis. Effective immediately, Ian Coghlan will become CEO of both companies, replacing Paul H. Duynhouwer, who has acquired a majority stake in Clipper�s two U.S.-flag ships, the Nantucket Clipper and the Yorktown Clipper. In addition, Duynhouwer will be the majority owner and CEO of New World Ship Management, LLC, formed to operate all four Clipper ships, including the U.S.-flag ships, as well as the Bahamian-registered Clipper Adventurer and Clipper Odyssey. Coghlan was educated in the U.K. and joined Kuoni in 1985 in the finance department. He soon moved to the tour-operations side of the business with responsibility for costings and yield control. Coghlan became deputy managing director of Kuoni U.K. in 1998, and took overall responsibility for finance, information technology, personnel and administration functions for the U.K. subsidiary, which is headed by Managing Director Peter Diethelm. The INTRAV acquisition marks Kuoni�s first major entry in the U.S. market under the newly formed Strategic Business Unit (SBU) for the U.K. and North America. Peter Diethelm, member of Kuoni�s group executive board and head of the SBU, remains executive chairman of Kuoni U.K., chairman of the two Kuoni Caribbean hotels, and president of INTRAV. INTRAV�s founder and former chairman, Barney A. Ebsworth, 65, has retired to devote his time to his collection of art, which is considered to be among America�s best. The Kuoni Travel Group, which also has holdings in nine European countries, Asia and India, is based in Zurich, where the company was established in 1906 by Alfred Kuoni, a Swiss citizen. In 1998 Kuoni won the "World Travel Award" as the world�s leading tour operator, which is awarded based on votes cast by travel agents worldwide. More information on Kuoni can be found on their corporate Web site at http://www.kuoni.com, or on their U.K. Web site at http://www.kuoni.co.uk. INTRAV, founded in 1959, offers discerning travelers a wide array of deluxe, escorted tours, which include "beyond-first-class" private-jet adventures such as Around the World by Private Concorde, small-ship cruises, and African safaris. Clipper, formed in 1982, is known for it substantive worldwide itineraries aboard its comfortably appointed small ships, and has been named one of the top-ten cruise lines in the world for the past four years by the readers of Cond� Nast Traveler magazine. Both companies have a slate of innovative adventures planned for 2000 and beyond. Brochures and more information on INTRAV and Clipper�s programs are available by contacting either company at 7711 Bonhomme Ave., St. Louis, Missouri 63105, INTRAV telephone: (800) 456-8100, Clipper telephone: (800) 325-0010, or on the companies� Web sites at http://www.intrav.com and http://www.clippercruise.com. # # #

TWENTIETH-CENTURY AMERICAN ART: The Ebsworth Collection: Mr and Mrs Barney A. Ebsworth of St. Louis, Missouri, have bought paintings and sculptures to please themselves. More than 70 works from their collection, described as "one of the premier private holdings of American modernist art" tell the story of the development of such art from the 1913 Armory show in New York to the 1960s. From William Glackens to Andy Warhol, via Georgia O'Keeffe, Suzy Frelinghuysen, David Hockney and Jackson Pollock. National Gallery of Art, Fourth Street at Constitution Avenue, N.W., Washington D.C. 20565 USA. Tel. +1 202 737 4215. Until 11 June. k

7/26/99 St Louis Business Journal Ebsworth gets $81 million from Intrav sale to Swiss Cynthia Vespereny Barney Ebsworth will get $81.55 million in the sale of Intrav to a Swiss firm. Intrav, the deluxe travel company Ebsworth founded in 1959, is being purchased by Kuoni Reisen Holding of Zurich, which will pay $21.32 per share for Intrav, or $115 million. Ebsworth controls 3.825 million shares, or 74.8 percent of the company. The deal means an instant bounty of $4 million for Paul Duynhouwer, Intrav's president and chief executive officer, although most of his stake in the company is in stock options that normally vest over a period of years. Duynhouwer owns 46,000 shares valued at $981,000 under the deal and holds options on 260,000 shares. They would be valued at more than $3 million after paying $2.5 million to exercise the options. An incentive stock plan provides for accelerated vesting in the event of a change in control of the company. All options will be vested by the end of September, when the deal is completed, said Intrav spokeswoman Vanessa Tegethoff. The sale means a paycheck of $1 million for Chief Financial Officer Wayne Smith II, who owns just 400 shares but has options for 100,000, valued at $982,000 after paying $1.15 million to exercise them. Richard Hefler, senior vice president of sales and marketing, holds options on 28,000 shares. He can make $60,000 by exercising options granted since 1997 on 8,000 shares. The exercise price on the remaining 20,000, issued in 1995, could not be determined. Officers of Intrav could not be reached for comment. Intrav closed at $20 July 20, far from its 52-week low of $13.50. Among company directors, William H.T. Bush will get $405,000 for his 19,000 shares. Bush, the brother of former President George Bush, is chairman of Bush, O'Donnell & Co., an investment adviser in Clayton. John Biggs Jr., chairman and chief executive officer of Union Bank, will receive $42,600 for 2,000 shares, and Robert Chapman, chairman and chief executive officer of Barry-Wehmiller Cos., will get $12,800 for 600 shares. Ebsworth, who serves as chairman, will leave the company after the sale. Intrav's management will stay, and no layoffs are expected, said Tegethoff. Intrav will remain in St. Louis, she added. Intrav, which owns the Clipper Cruise Line, caters to affluent, sophisticated travelers looking for unusual trips. Among its offerings are around-the-world trips aboard the Concorde and African safaris. The Clipper Cruise Line features small vessels, which are attractive to travelers who already have done big-ship cruises. Kuoni Reisen said it hopes to strengthen its position in the United States through the acquisition. It currently has a sales office in Atlanta. Intrav went public in 1995. It reported earnings of $666,000, or 13 cents per share, on revenue of $25.9 million for the quarter ended March 31, compared to $985,000, or 19 cents per share, on sales of $26.7 million in the year-ago period.

Ebsworth exhibition an American beauty Collection surveys nation's outstanding modernists Thursday, August 10, 2000 By REGINA HACKETT SEATTLE POST-INTELLIGENCER ART CRITIC A cool, silver-gray can opener lined with black shadows rises diagonally across canvas space, its blunt edge buried in the cool, silver-gray lid of a Campbell's soup can. In 1962, when Andy Warhol painted it, its impersonal banality was remarkable. Today, the opposite is true. Far from being banal, Warhol's soup cans have acquired a high art luster, and this example, in casein and pencil on linen, has a vulnerable, homemade quality. Instead of being oddities, Warhol's cans are cornerstones of the contemporary era. "Campbell's Soup With Can Opener" is the first thing visitors see upon entering "Twentieth-Century American Art: The Ebsworth Collection" at the Seattle Art Museum. The exhibit comes to Seattle from Washington D.C.'s National Gallery of Art, where it opened earlier this year. Pam and Barney Ebsworth are St. Louis collectors who spend summers in Seattle and specialize in American modernism. That's a phrase that irritated Jackson Pollock, to whom it certainly applied.

National Gallery gets 2 major works Wednesday, March 1, 2000 The Associated Press WASHINGTON -- The National Gallery of Art said Tuesday that it has received two major 20th century American paintings as gifts. One, Charles Sheeler's "Classic Landscape," is a famous image of the Ford River Rouge plant near Detroit. The other, Arthur Dove's "Moon," illustrates the painter's role as a pioneer of abstract art drawn from nature. They are part of the collection of Mrs. and Mrs. Barney Ebsworth of St. Louis that goes on show at the gallery Sunday. The collection will be on view through June 11 at the gallery and Aug. 10 through Nov. 12 at the Seattle Art Museum. The Ebsworth collection covers American art since 1913 -- paintings, sculpture, and drawings. It includes works from such leading figures as Georgia O'Keeffe, Alexander Calder, Andy Warhol, and Edward Hopper. Ebsworth, a wealthy businessman who has retired from the travel industry, has been collecting art for 30 years. He is a member of the gallery's Trustees' Council. The Ebsworths have given the gallery two other works in the past, and have made a partial and promised gift of another, by O'Keeffe. http://www.bergenrecord.com/morenews/art01200003018.htm

Warhol's soup can among American work on show at National Gallery By Carl Hartman Associated Press WASHINGTON -- Andy Warhol painted dozens of Campbell's soup cans, but the one included in a National Gallery of Art show that opens Sunday may be unique: A can opener sticks boldly out the top. It belongs to the collection of Mr. and Mrs. Barney Ebsworth. He is a retired St. Louis businessman, who for the past 30 years has collected American art from the early 20th century to 1969. Jeffrey Weiss, the gallery's curator of modern and contemporary art, sees the can opener as important. "Part of the point of that is that Warhol sometimes was able to bring a certain kind of emotional impact to these images that seem otherwise completely neutral and deadpan and blank," Weiss said in an interview. "He's got this kind of happy consumer image, but the can opener opening it makes it feel like it's being invaded or violated in a way." Some of Warhol's soup cans are actual size: one series of 32, Weiss said, illustrates each of the Campbell varieties -- but Warhol had no commercial connection with Campbell's. The 32 paintings are designed to be mounted one after another on one wall. Big ones like the six-foot tall painting in the Ebsworth collection are rare. Weiss said he knows of just four or five of them. Ebsworth is giving the gallery two of the more than 70 works being shown. He's keeping the Warhol, which has been exhibited in Britain, France, Italy, Germany and the United States. The gifts are Charles Scheeler's "Classic Landscape," a view of the Ford Motor Co.'s River Rouge plant near Detroit, an up-to-the-minute industrial site when it was painted in 1927. The other is "Moon" by Arthur Dove, typical of his work derived from nature. Dove was a pioneer of abstract paintings, producing them before many European artists. Ebsworth's collection harks back to 1913, the landmark year when a show at New York's Lexington Avenue Armory gave the American art world its first big taste of work by Pablo Picasso and other artists working in France. Except for Briton David Hockney, the current show is devoted entirely to Americans, some heavily influenced by Paris, others determinedly independent. There's Edward Hopper's "Chop Suey," two flappers from the 1920s at a table in a Chinese restaurant; major work by Georgia O'Keeffe, marking her shift from the Atlantic Coast to the colors and forms of New Mexico; and one by Jackson Pollock, the man some called "Jack the Dripper" because of his special technique. Pollack has said the most important paintings of the last 100 years had been done in France, and there couldn't be such a thing as isolated American painting. One of the earliest paintings in the show is William Glackens' "Cafe Lafayette," which looks much like the work of Pierre Renoir. One of the most recent is by Hockney, who has lived in the United States for decades and is closely identified with southern California. ------ "Twentieth Century American Art - The Ebsworth Collection" will be at the National Gallery through June 11. Admission is free. It will be on view at the Seattle Art Museum, Aug. 10 through Nov. 12. from http://www.virtualtexan.com/news/doc/1047/1:ENTNEWS64/1:ENTNEWS640310100.html

Little-known delight A trip to the capital's prestigious National Gallery of Art is very much in order for a quite wonderful exhibition: The little known but delightful collection of 20th Century American art belonging to Mr. and Mrs. Barney Ebsworth of St. Louis. Up through June 11, it includes such cherished pieces as Edward Hopper's "Chop Suey" and Georgia O'Keeffe's "Sunrise," as well as Charles Sheeler's marvelous "Landscape" painting of Ford's River Rouge plant in Michigan, Wayne Thiebaud's tasty pastry painting "Bakery Counter" and O. Lous Guglielmi's surrealist deconstruction of the Brooklyn Bridge, "Mental Geography." The Gallery is at 4th St. and Constitution Ave., N.W.; phone is 202-737-4215. http://cgi.chicago.tribune.com/travel/bits-bytes/story/0%2C1720%2C0003260099%2C00.html

http://ipomaven.123jump.com/rep/t/trav.php3

Outstanding among the many gifts to the collections were . . .a partial gift of a Georgia O�Keeffe painting, Black, White, and Blue from Barney Ebsworth. http://newsdesk.si.edu/annual-reports/smithsonian-year-1999-in-html/08aor.doc/odyframe.htm Smithsonian

They simply must have a Thomas Paquette, and one day they all shall. Of that I have little doubt. It is irrevelant that I know him through cyber-mail and his website - he is worthy on many levels and is well represented in collections thoughout the world. Barney is no collector if he has't at least one. I'd select several of his many styles of painting as it has evolved. *Sigh* If only I didn't have to eat...

What is the Thomas Paquette website, do you have a url, Marica?

I'm not sure how old Barney was when this picture was taken, it looks like around when he was twenty. He graduated from Mizzou, I think, in '59 and I graduated from U of I in '69. I have a few family pictures that I got from my sister when mom passed away last year. This is one of them.

thanks for linking this up with collecting, terry!

Sure, it qualifies!

Sheesh, I thought this was in Art Conference. Sorry for my out-of-place post

It is the art conference, it's linked to collecting.

This topic is linked to art, travel, business and collecting which are all relevant to the topic. Some pictures of Barney's (and my) family from the early days in St. Louis. Here's our whole family (well mostly). Top row. Left to Right. Grandpa Ed Frauenthal. Uncle Alec Ebsworth (Barney's Dad) Middle row: Uncle Harold King and wife Ann (my mom's sister), Aunt Lou, Grandma Frauenthal, Aunt Bern, Aunt Bernice (Barney's mom). Front Row: Alice Ann (my sister), me?, Cousin Carol King, my mom Virginia Walhus holding Corky King, and Barney's twin sister Muriel. Maybe Barney took this picture? I'm thinking that this may have been at the granparents house on Wydown or over at Uncle Alec and Aunt Bern's. I'm not sure.

The above picture shows the Ebsworths, Barney in the front and Muriel in back in white with the reddish shirt (just behind Barney). The white haired gentleman in the back with glasses holding a glass is Uncle Alec, Barney's dad and that's Aunt Bern, Barney's mom on the right. Looks like Aunt Lou peeking out. I'm not sure who the two little girls are in the picture, maybe Muriel's children.

Our family loved to play scrabble. In the back, that's grandma Frauenthal, Gonnie, me and my Grandpa (Barney's Uncle Ed), you can barely make them out but that's my sister Alice and my mom (Barney's Aunt Ginny) in the front. I wonder who's birthday it was? I see Happy Birthday letters laid out on the table. We had great times at these scrabble games, it was moms, grandma and grandpa's favorite game.

Here's one more for now, I've got more! This is Alice Ann (my sister), Gonnie, and Cousin Carol King. Nice shot of them.

Now that I take a second look, it looks more like we might be playing bingo or monopoly.

It is really neat to see your pictures. I remember you and your wagon. Now we get to see Terry as a growing intellectual. I think I would have gotten on with you very well. No one will play Scrabble nor Trivial Pursuit with me!!! *Sigh* Thanks for sharing your illustrious family!

Charles Demuth (1883-1935) Apples c. 1925, watercolor on paper 11 3/4 by 18 in. Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska-Lincoln, F. M. Hall Collection 1944.H-244 "Demuth above all was a master watercolorist for whom line, edge, and the nuance of tone meant most. The influence of Rodin is clear in the scribbled line and loose washes of this early work. Like his close friend [John] Marin, Demuth instinctively felt at home with watercolor and could absorb a wide variety of influences (including Marin's) while finding his own way."2 Demuth's oeuvre has been separated into three categories: one branch involving the human figure in the cabaret and vaudeville theater, and because the artist was an intellectual and an avid reader, "intensely real" illustrations of the characters of novels and stories. A second branch of his art emerged in Bermuda (1916-17) where he made a series of landscapes, representing a purely intellectual approach to the subject using the Cubist device of lines and planes. This method of painting was continued later in his career in architectural subjects. A third major category of the artist's work, the flower and still-life paintings (such as Apples, in this exhibition), seems to combine the two phases. Cubist techniques were utilized in the still-lifes in which "the progression of color intervals follow the firmly penciled linear contour of form."3 http://sheldon.unl.edu/HTML/ARTIST/Demuth_C/TO.html

Very interesting, Terry! You indeed have an illustrious family, and I love seeing those old-time photos of a bygone time.

Terry, did you notice how Autumn called them Old Time Photographs? *sigh* so much for respect for elders from the kids of Spring! *;)

Whoa, whoa. Elders? I'm still just a kid.

Me too!!!

Aw, they just remind me of the photos we have in our photo albums from when we were kids! Dorky clothes and glasses are what always stand out.

Had a brief talk with Barney on the phone, he had open heart surgery about two weeks ago but he's doing well. He's been exercising. He has a new home under construction in Washington. I invited him down for a visit to our place next week and he was going to check with Pam about coming down. I'm hoping he can make it before he heads off to Hawaii for the Winter.

WWF Board to Congress: Keep Defense Bill Focused on Defense U.S. Newswire 25 Sep 15:45 WWF Board to Congress: No Time for Partisanship; Keep the Defense Bill Focused on Defense To: National Desk Contact: Michael Ross of the World Wildlife Fund (WWF), 202-778-9565 Email: michael.ross@wwfus.org Web site: www.worldwildlife.org WASHINGTON, Sept. 25 /U.S. Newswire/ -- The Board of Directors of the World Wildlife Fund, at its annual meeting in Washington D.C., today, unanimously approved the following statement: "Recognizing the gravity of the national security situation affecting the United States and all Americans, we applaud the effort of President Bush and the Congress to mobilize our national response to the terrible events of September 11. "In this time of national need, we should put aside unrelated and divisive issues and focus on strengthening our national security and protecting the safety of all Americans. Now is the time for unity, not the pursuit of narrow ends. "We therefore express dismay at the efforts of some to rush to Senate approval a complex package of energy legislation that has not yet been considered by the appropriate committees of the Senate. This legislation (H.R. 4), approved in the House earlier in the summer, has been proposed as an amendment to the Defense Authorization bill currently under discussion in the Senate. "The terrorist attacks our nation has suffered should not be used to prematurely cut off debate on the many difficult energy policy issues raised by H.R. 4. Increasing subsidies to U.S. energy companies will not increase our safety nor will relaxing environmental rules or drilling the Arctic National Wildlife Refuge. However, these and other provisions of H.R. 4, would, if enacted, result in unnecessary environmental damage to our nation. "As a nation, we hold only 3 percent of the world's reserves of oil, yet we consume almost 25 percent of the world's daily production. As long as this is the case, we will remain dependent on world oil markets, and we will pay the world price for oil, whether it is produced domestically or abroad. The safest and fastest way to increase our energy security is to improve the energy efficiency of our cars, trucks, homes, factories, and offices, and to increase the role of renewable non-petroleum sources of energy in our economy. "We urge the Senate to consider carefully the long-term implications of these energy policy issues as part of an orderly process of the consideration of energy matters, rather than in midst of the present crisis." --- The following is a list of the World Wildlife Fund Board of Directors: The Honorable Bruce E. Babbitt, Mr. Edward P. Bass, Mr. Richard C. Blum, Ms. Julia Carabias, Mr. David Cole, Dr. Jared M. Diamond, Mrs. Barney A. Ebsworth (Pamela), Mr. Marshall Field, Ing. Jose Maria Figueres, Mrs. John H. Foster (Lynn), Ms. Kathryn Fuller (President), Mr. William T. Lake, Mr. Melvin B. Lane, Mr. Gary Larson, Ms. Shelly Lazarus, Mr. Hunter Lewis, Mrs. John F. Mars (Adrienne) (Secretary), Ms. Mora McLean, Ms. Leslie A. Miller, Mr. Paul F. Miller, Jr. (Treasurer), The Honorable Wendell Mottley, Dr. John C. Ogden, The Honorable Hazel O'Leary, Dr. Gordon Orians, Ms. Anne Pattee, The Honorable William K. Reilly (Chairman), Dr. Alison F. Richard, Mr. Gerald E. Rupp, Mr. Alan Seelenfreund, Mr. Roque Sevilla, Mrs. Constantine Sidamon-Eristoff (Anne), Ms. Linda Stone, Mr. George H. Taber, Dr. John Terborgh, Mr. Thomas Tusher, Mr. Rodney B. Wagner, Mr. Robert H. Waterman, Jr., Mr. Stephen Wolf, Mr. Jaime Augusto Zobel de Ayala II, The Honorable Russell E. Train (Chairman Emeritus), Mr. Joseph Cullman 3rd, (Honorary Director) KEYWORDS: ENERGY POLICY, DEFENSE POLICY, POLICY, POLITICAL -0- /U.S. Newswire 202-347-2770/ 09/25 15:45 Copyright 2001, U.S. Newswire

***Hawaii for the winter*** Do tell?! Maui, I'll bet. Too bad he does not like active volcanoes and cool climates. I wish him a speedy recovery and a long and healthy life!

Honolulu, actually. at the very Southernmost tip. about 225 miles from Hilo. Kaalawai Beach is nearby. Waikiki just to the North and a bit West. I believe this may be the Diamond Head area, but I've never been to Hawaii. There's a Diamond Head road that runs along the coast nearby.

check out those pics!!!

the top aerial photo is Diamondhead on Oahu at the east end of Honolulu and Waikiki Beach. Inside those little building is Berkheimer Tunnel from whence issues all of our state-wide civil defense messages. Driving though the crater is not very exciting becuase it is so shallow and you cannot see outside for some sense of where you are. In the photo, to the left of Diamondhead is a grassy park with a bandshell in it. That's where the great rock concerts are held. The little buildings near it are Kapiolani Park Zoo.