Those portraits. Edwin Lemp was the last of William Sr.’s children and the youngest member of the once-proud brewery clan. He began to organize his family’s affairs during his final years. Edwin, his grandfather Adam’s copper brew kettle and small steam engine were donated to the Missouri History Museum by Edwin in correspondence via mail. The employee thanked Edwin and mentioned the stunning view of the Meramec Valley, which was still undeveloped, from the Lemp heirs’ estate at Cragwold. He then mentioned the family portraits in passing, possibly hoping to plant a seed for a future gift.
In 1970, Edwin made this gift and donated four family portraits to the Missouri History Museum. Based on Edwin’s 1971 accession records and the names of the subjects and sitters of the portraits, Adam Lemp and Justine Clermont Lemp were the names of the four paintings that came in. Weimar, who was born in Siegburg in Germany in 1828, is both fascinating and tragic. His family moved to St. Louis in 1843 where he began his artistic training with Leon de Pomerade, a local painter.
Recently, I had the chance to see early examples of Wimar’s portraiture during his “Pre-Academic Period” in St. Louis. This period lasted from 1852 to 1852 when he went to Dusseldorf to study at the art school. Weimar was gifted before his extensive European study. However, his portraiture in the winter of 1856–57 showed the maturity and influence that academic training had on him. You can see a distinct style in Wimar’s portraits of St. Louisans and Lemps from the Missouri History Museum’s collection. He has a much better understanding of the layers of oil paint and glazing. It is worth noting that Wimar was inconsistent at the time in signing and dating paintings. His works at the Saint Louis Art Museum follow the same trend. Some are signed and dated and some are only signed. Many are not signed or not dated at all.
Now, let’s get back to the Lemp paintings. If we believe dates on two paintings, the Justine Clermont Lemp portraits, and the Louise Bauer Lemp portraits, Wimar must have been an efficient painter. Between two long trips west, he completed them in St. Louis.
Charles Wimar signed and dated the Portrait Of Louise Bauer Lemp (pictured above), in 1857, shortly after his return to St. Louis and before his departure up The Missouri River. According to what we know about Adam Lemp’s age, the sitter is shown as a young woman. The painting is in excellent condition and shows Wimar at his peak of portraiture when he depicts luminescent skin, clothes, and drapery. As she holds what appears to be a small white flower, a large stone column rises behind.
Although the Portrait Of Adam Lemp is not signed or dated by the artist, the paint handling is identical to that of Louise. The backgrounds of the paintings create a window. This makes it appear that the two portraits were created to be hung together. Pendant paintings often feature husband and wife portraits. This could explain why Wimar did not sign and date the painting. He could simply have felt that the signature and date on the other portrait were enough for them both. Adam’s composition is clear and forward; his wife’s pose, which is more in line with the gender roles of St. Louis’ in the 1850s, is elegant and turned towards her husband.
The stories of Adam’s and Louises’ two portraits are simple and sweet. This is a natural commission for a successful brewer. The mystery surrounds the two remaining portraits that Edwin Lemp has given.