19 th century Saratoga Springs Renaissance Man

WRITTEN BY BILL ORZELL

Some individuals are incredibly fortunate in displaying innate talents, apparently present from birth. One such Saratoga native of the nineteenth century was noted local artist George M. Crane, who was born in 1855. Mr. Crane grew up in Saratoga Springs, at the time when Maple Avenue was known as Front Street, and was the son of Judge John W. Crane, who had also served on the planning committees for two Saratoga Springs landmarks, Convention Hall and the present City Hall. The family of the Saratoga County Judge had relocated from the stony fields of New England, drawn by the more fertile soil of eastern New York. He began his study of law in 1847 and married Mary E. Martin of Washington County in 1852; their union produced their son George.

As early as 1876 The Saratogian described young George as, “equally at home in the biting caricature of cartoons, in the delicate touch of landscapes and of sunsets, and in the bold sketches of animal life.”

His parents recognized their son’s intrinsic talents, and added a room to their home on Front Street for use as his studio.

His talent for capturing likeness, landscape and animal form, combined with living in Saratoga Springs, led to his easy progression into equine art. Following the 1878 death of John Morrissey at the Adelphi Hotel, Charles Reed was the operating partner of the Saratoga Race Course, and owned the popular veteran steeplechaser Trouble This legendary timber-topper was often ridden by jockey Pat Meaney, who tended his garden on Stratton Street in the Spa City, and was captured in motion by the work of George Crane. In early 1882 The Saratogian wrote, “There is on exhibition in the Broadway show window of Chas. Hall Adams' furniture store an oil painting, the very clever handiwork of Mr. George M. Crane, whose skill as an artist is well and favorably known here. It is handsomely mounted, and the painting has already today been viewed by a large number of people. The title of the picture is "The Two Champions, P. Meaney and Trouble.” The scene represents the Saratoga racing park...”

This report was followed by another one month later detailing an oil painting Mr. Crane produced from photographs and placed in the same exhibition space, of the race horse Foxhall, whom James R. Keene bred in Kentucky and raced in Europe. The transpontine Ascot Gold Cup winner was named for his son, famous Gentleman Rider and U.S. Olympic Gold medalist (polo) Foxhall Keene. George Crane’s easel also produced a wonderful image of the legendary Hanover, a

Belmont Stakes winner, who previously won the United States Hotel Stakes at Saratoga. In 1884 George Crane painted the Empire State seal in the auditorium of the new high school designed by Alexander Patterson on Lake Avenue, site of the present central Fire Station.

In the late 1880’s Mr. Crane produced an oil painting for the Hon. Michael N. Nolan of his celebrated steeplechaser, Bourke Cochran, again with Saratoga’s favorite transplanted son of Erin, the famous Jockey Pat Meaney, in the irons. This work hung for decades in Mr. Nolan’s Saratoga residence at 24 Circular Street. At this same time George Crane was painting new scenery for the Putnam Music Hall on Phila Street, in support of their popular performances.

In addition to art, George Crane was also a musician and played the cornet in the 77th Regiment band, where he served as secretary. He would be frequently called upon to solo, his rendition of “The Last Rose of Summer,” was especially poignant for Saratogians. George went on to join Doring's band of Troy, with whom he frequently traveled. He was an acquaintance of James H. Riley, the Saratoga Lake sculler, and voyaged with his contingent to London for the World Regatta to be staged on the River Thames. The folks back in the Spa City anxiously awaited George’s telegrams detailing the success of Riley’s “git thar” stroke, and the outcome of wagers. He became involved with organizing the successful rowing regattas on Saratoga Lake. George was also instrumental in bringing the renowned Australian oarsman, Edward Trickett who was for many years the "Champion of the World," to Saratoga Lake, where he established quarters and a training camp at Charles Reed’s Meadow Brook thoroughbred farm near Snake Hill.

George followed the lead of his father Judge Crane, and was active politically; campaign posters he produced enlivened Broadway for many election seasons. He also would create merchandizing art. Local businesses such as Garside’s butcher shop on Caroline Street, displayed an excellent rendering of the proprietor’s Fat Cattle, the title of the work which hung behind the scale.

In 1892 Mr. Crane completed a six by nineteen foot oil painting of the memorable naval duel between the Monitor and the Merrimac, to be placed in the drill room of the New York State Armory recently constructed on Lake Avenue by master local builder Andrew Robertson, from the plan of State Architect Isaac Perry. Saratoga Springs had long been a favorite location for Civil War Regiment reunions, with some of the most famous old soldiers Generals Sheridan and Grant taking part. This perhaps was the inspiration for a companion piece created for Armory display, the equally large “Pickett’s Charge at Gettysburg,” completed in 1893.

The father and son duo were involved with one of Saratoga Springs primary industries, as directors of the Congress Spring Company. The artesian waters were the felicitous inspiration for George Crane’s entry in the 1894 inaugural Floral Fete event. Summer resident Franklin W. Smith of Boston considered Saratoga Springs a model launch pad for his idealistic principles of expression, one of which was a floral fete and parade, celebrating the essential goodness of nature linked to the best efforts of mankind. George compassed the float sponsored by the Congress Hall hostelry, which honored the Fountain Primeval of Saratoga Springs origin. The Floral Fetes were planned for September, after the track season ended. His second effort in the 1895 renewal bestowed further éclat upon the artist, again underwritten by the Congress Hall Hotel.

The Saratogian reported, “The float was of unusual size, drawn by six powerful horses, bedecked with nodding plumes and gaily jingling bells. Mounted on three of the animals were, men dressed in the picturesque costume so often seen upon the streets of Saratoga during the winter season. From the rear of this float there sloped forward a toboggan slide, from the top of which a toboggan was just starting. On one side, near a grotto, from which hung glittering icicles, was a boy on snow shoes. In marked contrast to the other floats in the procession, the decorations were icy-clad pines and cedars, emblems of YuleTide, which against the shining snow made a picture of crystal beauty. When the signal for "Bataille des Fleurs" [Battle of the Flowers] was sounded, most appropriately from this float was thrown snowballs, instead of flowers, which would have been anachronous from such a frost suggestive representation. It is impossible adequately to describe the effective beauty of this picture, which could only be appreciated by those who were so fortunate as to witness the parade.”

The evening would conclude with a gala held at the Spa Community’s new Convention Hall on Broadway, decorated by George Crane. This ‘funding-mechanism’ appealed to so many of the sensibilities of Gilded Age ladies and gentlemen.

George Crane died in his home in Saratoga Springs on September 11, 1900 at the young age of 45. Inconsolable, only 16 days after the death of his beloved father, he took his own life. It is easy to historically piece together a timeline of human events, and yet nearly impossible to understand thoughts, emotions and motivations of others, especially when separated across time by several generations. The members of the Crane Family are permanent residents of Saratoga Springs, in the family plot at Greenridge Cemetery. SS