Richard Karon Biography, Part 12A

UPDATE ON RICHARD KARON BIOGRAPHY -

A FEW WORDS FROM HIS SON-

     The moment I introduced myself to the artist's son, back in January, I knew we had been destined to meet, and to work together. It was as if I had known him for years. I had even experienced visions of this eventual meeting, one day, and a hunch, there was going to be some writing involved. I write a great deal about the paranormal, in my other line of work, so trust me, this kind of stuff happens a lot. For the past five years, I've had hundreds of requests to appraise Richard Karon paintings, as an antique dealer. Primarily, it all generated from an article, I had written some years earlier, that a painting owner had posted on the internet. I only became aware of this, when I finally asked my son to do a google-search, so I could identify what article these people were quoting, that I'd written many years earlier, for the local press. Right up until the fall of 2011, I was still answering these enquiries. As I've written about before, I was getting so many requests that I finally wrote a standard email to send back, offering what little information I had…..and ball park estimates on painting values. I remember saying to my wife Suzanne, that I should write this biography, just based on the volume of people who are seeking information. Of the many artists I know about, in our region, Karon requests are a hundred times, to each of the others I know a little about. This biography was destined, in many ways, to happen.

     It began two years earlier, when Richard Sahoff Karon contacted me, asking whether I had any biographic information on his father's art career, especially in Muskoka. I knew the story of Richard Karon Sr., but most of it was based on the actuality of numerous events, exhibitions, and contact, while his studio was still operational.

     I realized as soon as we began exchanging emails, that he would benefit from my participation, because there were things I knew, and people I had talked to, shortly after the artist's death, in 1987, that would shed some light on some details, the younger Richard needed to know about. As a newspaperman during the lated 1970's and 80's, I picked up news tips wherever I happened to be…..and for Richard Karon, the artist, that came during his mid-1980's auction sale of his remaining art, and the official closing of his studio. I knew something was seriously wrong that day, and when I talked to the artist's friend, Eva Scheel, shortly after reading a notice of the artist's death, (several years later) there was no doubt in my mind, this story would turn and confront me one day……as I had long admired his landscapes, and wanted his name to remain etched in local history, in respect to his contributions to art and culture in Muskoka. When Eva told me how sad he had been to leave his studio and home, in the Township of Lake of Bays, it confirmed for me, what had happened during the auction sale……when the pall over the event seemed to affect everyone……certainly those who knew the artist.

     Auction goers generally, are very sensitive to the prevailing situation, and why the auction is being held, in the first place. I can't really explain why, but it may be in the fact, that in those days, attending auctions regularly was a social event, as it was business for many of us dealer-kind. The same people showed up at every sale, and it became like a club. There were always newbies but they soon fell in with the regulars, and word went around about the nature and circumstances of the sale. The artist was upset this day, and no one who knew him, could offer any consolation that might have made him feel better. His marriage hadn't worked out. That's not unusual. It's pretty commonplace, in fact. Richard Karon had to be close to his son. That was the bottom line. Art wasn't as important as being close to his family. Being separated was problem enough for the family. He didn't need three to four hours of traveling time between him and his wife and son. Financially it was a necessary move. Emotionally, it was a necessary move. Enduring the stress of the move, was necessary as well.

     It would take me hours to explain to the artist's son, why I knew that we would eventually connect after all these years. In the two years' lapse, between the first time he contacted me, and January of this year, we had zero time to even think about taking on any research projects. My father had a stroke and even before he passed away, we had to close-out his apartment, and make plans for his accommodations in a nursing home. He never made it to that point, and died in hospital. The coincidence here, is that a Richard Karon original hung on the wall above his favorite chair in the apartment. He had worked with the artist in the early 1970's, when he was employed as an estimator and sales manager for Building Trades Centre, in Bracebridge, and had been on his studio property many times, doing measurements for windows, doors and cupboards. I suppose he also arranged for the lumber as well. My dad always told me that I should do a story on Richard Karon one day, when I worked for the newspaper, as he thought he was not only a good artist, but an easy person to talk with. That day of the auction, I purchased a number of framed landscapes off Richard, who was still manning his studio sales desk, and Ed picked the one he wanted for over his chair. Even when they shifted apartments, three times, the Richard Karon original, was always hung above my father's chair. I remember telling him, before he got sick, that I was planning to do some work for Karon's son, at some point, and he seemed quite pleased. "Tell him I enjoyed working with his father, won't you," I recall him saying. And I have. Numerous times. Sometimes fate does stuff like this……things we just can't explain, and just do because it feels right. When Richard got back to me, after a several year hiatus, I was already signed on, before we'd shaken hands. This was a project that had to happen, and being a big believer in the afterlife, I half assumed Richard had met up with Ed in that other dimension, and thought it would be a swell idea to finish what had been a decent plan a long time ago……that I do a story on a Muskoka artist, and the artist's son act as my co-writer and research assistant. As Richard worked with my father on his art studio project, here we were then, decades later, "two sons" with a final chapter to write, as if by providential necessity, to complete some ethereal circle. I warned my associate, that we would make some interesting connections, and have many serendipitous moments throughout the research, and well into the future, that would put people into our lives we could not have anticipated from the beginning. It has already happened in part. My gut feeling is, there's something in Poland that is beckoning the young Karon, and I told him, before I wrote the first word of this biography, that he would one day, be making a pilgrimage to his father's home. He might still think this is outlandish, and impossible at this point in his life, but I'm pretty sure, as the elder Karon had always wanted to return to see his family, he will give some encouragement from the "great beyond," that his son should make the trip he was denied by illness. One day!

     The younger Richard Karon is a frequent flier, as a charter jet pilot. He was away for a number of days, and I had to move on with the biography without his concluding words. I was so happy he still wanted them published on this blog site, to wrap-up the biography of his father. As I promised earlier, and I couldn't deliver because of a computer glitch, I have included this precious photograph of his young daughter Aurora, looking through her grandfather's easel, at the Lake of Bays studio of Muskoka artist, Janet Stahle-Fraser (near Baysville). The artist was kind enough to invite Richard into her studio, to see and photograph his father's easel, that he had given her shortly after closing his own studio / gallery. It was a puzzle piece found, as the younger Richard had asked many times, where the easel had gone, and each lead he followed, had proven wrong. Richard was ecstatic after the visit, and very thankful for Janet's kindnesses bestowed. The photograph, to me, says it all, as a chapter unto itself. That despite what the biography wears, seemingly as only misfortune and displeasure, hardship and suffering, it arrives, with great positivism, at an optimistic outlook for the future; a portal onto great adventures yet to come. From the encouragement of a loving family, this young lady, will come to welcome all the possibilities of a wonderful, remarkable life……and be richer in spirit, knowing more about the grandfather she never met. Being able to feel, for a lifetime, a connection to a beautiful place on earth, a link to Muskoka; feel those enchantments of nature, her artist grandfather thrived-on, and inherit the will and courage that Richard Karon demonstrated throughout his life…..for freedom of art, and liberation of spirit. I must again, thank the Karon family, for having permitted me to work on this important biography, which hopefully will benefit researchers and painting owners for years to come. Now in the words of my associate in this project…..Richard Sahoff Karon.

I have to begin by giving my most sincere, heartfelt thanks to Ted Currie and his wife Suzanne, for their time and effort on my father’s biography.  Words cannot begin to show my immense gratitude for this gift, I have waited a lifetime for.  I would also like to thank Robert, Ted and Suzanne’s son and Dani O'Connor, for their contribution with the video.  The help from family and friends in filling in the details, and their help in furthering my research has been truly priceless.  I also would like to extend my thanks to the many people who so quickly and enthusiastically responded to Ted’s article in the newspaper, seeking any information or comments on my father’s work, including Ms. L, who so warmly invited me into her house to admire, alongside her, two of my father’s paintings. I would also like to thank Baysville artist, Janet Stahle-Fraser, who is the current user of my father’s easel, and who without hesitation offered me the easel.  

Since my father’s death 25 years ago, I have longed to keep his legacy alive in my heart and mind.  There is not a day that goes by that I don’t think of him.  The opportunity to write my father’s biography in conjunction with someone who was himself so enamoured by my father’s work and had actually met him, was something that I simply could not pass up.  The timing of this project also could not have happened at a more opportune time, as I was contacted only late last year, for the first time in my life, by my father’s family members.  They had no idea of my father’s passing or even knowledge of my existence.  I had so many questions that had built up over the years that were finally beginning to get answered.  I finally found out for example that my father was the youngest of four siblings, and the only son.  I saw a photograph of my grandmother, his mother for the first time only a few months ago.  I am now sharing with them the story of my father, a man who through so many unbelievable hardships was able to make a living at what he loved, and in such a peaceful, beautiful setting.

I have always admired my father’s work, and am so pleased to see that it is at last getting the recognition it deserves.  As Ted mentions, not only does his work capture the spirit of the beautiful locations which he painted, but his story of how he got to where he did is astounding.  I have met some people recently who are still awe struck by his paintings, and it really is wonderful to hear.  To me he was simply my father, and he was an artist who painted beautiful paintings; I didn’t think there was anything uncommon about it.  Of course to many young boys, their father is larger than life.  I am no exception to this rule, and continue to admire his work and accomplishments.  I have nearly 40 pieces of his work, many of them hanging on my walls at home.  I feel like they’re watching over me.  About 10 years ago I was given 3 of his paintings by a co-worker, Peter Freake, whom I worked with at Air Canada in Toronto.  Through conversation it was determined that he had 3 of my father’s pieces, and that I was his son.  He told me how his mother had an art gallery in Toronto, and had sold several of my father’s pieces.  I believe they knew each other, as my understanding was, that she came up to the studio in Baysville to buy them.  These particular paintings hung in Peter’s home.  When he determined my relation to the artist, he had no hesitation in giving me the paintings.  Sadly Peter passed away a few years ago, but I will never forget his generosity and cherish these paintings which now hang in my home.  He spoke of all the years those paintings hung on his wall, and the joy they brought him and his family.  

I don’t know how to begin to thank all the people involved in helping with this biography.  It has been such an amazing few months, with new discoveries and stories about my father surfacing regularly.   It is difficult to lose one’s parents at any age, but as my father’s only child, and having him pass away at such a young age, without knowing very much about his life story, it has left a huge hole in my life.  My mother tells me of how her father passed away when she was in her thirties, but that he was never there for her and she reminds me of how lucky I was to have a father who loved me so much, regardless of how little time I had with him.  I remember him as a good father, with lots of love for me, although I do remember him having a temper as well.  My mother and father’s relationship was not an easy one.  She puts a lot of blame on the events that shaped him during WWII.  Although I would say that I can see how each one of them might be difficult to live with, I cannot image the horrors my father witnessed during that time and what kind of a man he would have been if he did not go through that.  In this regard I can side with my mother, that what is now known as post traumatic stress disorder, was evident in his life and how he reacted to the world around him.  My mother also mentions that I brought great joy to his life, as since he had lost contact with his family in Poland, I was now his only blood relative.  He was very protective of me for this reason; my mother also claims in her opinion that he spoiled me.  Of course I don’t remember things that way!  Looking back, and as I learn more of his character and the events that shaped his life, I can see how he did become a very reputable artist; in fact he was able to do many things well.  I remember that he was a good cook, a skilled carpenter, he spoke several languages Polish, English and I’m quite sure French and German as well, unfortunately he never taught me.  This is beginning to be evident, I regret, with the raising of my daughter, as I speak Spanish and French and have not taught her as much as I should have, but I am trying to improve.  

Although I did not experience the hardships that my father went through, I am his son, and as I learn more about him I am beginning to see more of myself in him.  I miss him tremendously.  I hope that those of you who have his pieces continue to cherish and enjoy them.  A piece of my father is in each one.

RICHARD KARON BLOGSITE WILL BE IN PLACE BEFORE THE FIRST OF JULY 2012

     While this concludes the formal blog-biography, we will be transferring all the chapters and graphics to a new site in the near future, that will continue to be inter-active, offering painting owners and admirers the opportunity to submit comments and critiques, and connect with this biographer and Richard Karon. We will make changes to information when it becomes available, as we are sure it will, and make corrections accordingly where required to improve the story's accuracy. We invite those who have recently purchased a Karon original, to submit the price they paid, and we can do this confidentially. The reason this is important, to the dynamics of this reference resource, is that we require a "traded valuation" of his work, in order to establish the market value for various sizes of his paintings. If you are aware of one of his paintings, having sold at auction, we would like to know the price it reached. This, over several years, can provide some foundation for future valuations. We can not, as authors of this biography, influence the price of paintings, by making appraisals, as it can be considered a conflict of interest, or perceived that we are purposely inflating prices, because of our own personal holdings of his paintings. Establishing a "traded" value, from sales in antique shops, estate sales, and auctions, with validation of the transaction, will be offered as a guideline only. A qualified art appraiser, who must establish a market value of Karon's original paintings, for insurance purposes, may also benefit from a listing of these past sale records. Asking prices are irrelevant. Selling prices set the traded valuations.