by Jo Rector, City Editor
In Etna Green there is a drawing room fit for the footsteps of
Marie Antoinette. Nestled under the southeastern overhang of a
pale yellow two-story home, the drawing room is a dazzling reflection
of the tastes and life of Theodore Good.
An artist in his own right, Good has devoted a great portion of
his life to buying, selling and collecting antique treasures in
furniture, painting, porcelain and crystal.
Many pieces of the Good collection originated in France and ring
around the room atop a copy of a pale, patterned carpet in the
Louvre today. A Flemish tapestry one of two Good owns, blankets
the north wall with its subtle green background and textured figures.
In a narrow niche beside a draped archway, Good's gathering of
miniature paintings on porcelain and peeled ivory snuggle into
the east wall where an Italian Renaissance original of Madonna
and Child hangs in a gilded frame.
A Ruby Dillman LaRue portrait of Good's wife Gladys, seated in
one of the room's chairs is one of the newer additions to the
drawing room, where Good twinkles with the crystal chandeliers
casting a softly sparkling glow on rosy brocade draperies and
lace-like glass curtains at the sun-washed windows.
He is the drawing room master curator, cherishing every precious
object for its own beauty and its legacy for the future.
Miniature Armoire
Dainty ladies calling card cases, encased with mother of pearl
designs and cast silver, crowd a glass-topped, tabled case. Arranged
in a curved-front, miniature armoire, legends in glasswork peek
around each other for viewing attention.
Wedgwood and Limoges are among the more famous producers represented
in Good's extensive collection of fine porcelain figurines, bowls,
cups and saucers and vases. A serpentine and rippled Lalique vase
is the pride of his crystal possessions along with a magnificent
chandelier hanging shimmery and cloud like over the drawing room.
In the dining room an early American chest with rich paneling
and a corner hutch contrast with the drawing room's splendid formality,
accented by a floral and fruit still-life painted by the master
of it all, Good himself.
Some of the flowers in the gilded frame around an oval canvas
came from Good's formal backyard garden. Others, he confesses,
were figments of his imagination. But all were painstakingly brought
to life as Good placed first one flower in a vase, exchanging
it for another until the bouquet on canvas was complete.
Russian Candlesticks
A pair of Tsarist Russian candlesticks corner the dropleaf maple
dining table, emphasizing Good's ability for somewhat incongruous
but pleasing mixtures.
Oriental lamps in the drawing room, needlepoint originated by
his wife throughout the house, a Greek mirror and the second Flemish
tapestry in a room used for music, an office and chair repairs
combine with Good's own creations.
They are all complimentary. Two of Good's French Trumeaux mirrors,
each unique in construction, design and ornamentation, grace the
drawing room-a room that is Theodore Good as much as any room
can be a man.
A deep green frame and gilded carving surround the oil on canvas
of a Frenchman in a pastoral setting in the first Trumeaux mirror
Good created in 1931. The mirror is bracketed by double crystal
wall sconces and miniature paintings, and nearby is a Baroque
plant stand, intricately carved and nearly ebony in color.
In the mirror construction Good starts with a sheet of plywood,
intact except for openings for the mirror itself and the canvas
he will paint above the mirror and within the wood border. Pre-formed
molding, which he orders from suppliers, are attached to the frame
before the wooden portions are covered with a clay gesso Good
makes especially for the mirror assembly.
Ready For Mirror
Sprayed with a fixative coating, the mirror frames are then subjected
to a number of coats of paint and fixative along with an application
of gold sizing. A day later, Good lays on 23-carat gold, burnishing
it, and the frame is read to accept the mirror.
Canvas in the frame is painted from Good's memory and imagination
or from Old Master artists, which he has studied extensively in
his life as an artist.
In the 43 years that Good has been originating the French Trumeaux
mirrors on orders from throughout the nation, he has never made
a duplication. Each is distinctive, unique and a true collector's
treasure.
The mirrors and his impressive collections are part of his larger
plan to assure that today's artistic jewels will remain in the
future, retaining or increasing in their value of man's appreciation
for fine arts.
A painter of realism, working mostly with landscapes and floral
stilllifes, Good began his art study at age 13 with a private
tutor in Etna Green, Mrs. H. L. Thomas. As he mastered the brush
and colors, Mrs. Thomas said he surpassed her technique.
Good has an explanation: "All of the Good family is artistically
talented. It was born in me. My father was a cabinet maker of
great skill, and I have one cousin who designed all of Lillian
Gish's costumes when she was on stage and another who authored
several books."
Noting that all of his close relatives are accomplished at sketching,
Good reflects that the Good art penchant passed by his son, Donald,
who is an electrical engineer in South Bend. "My son and
his friends used to love to play in the drawing room with their
shoes off because they liked the soft carpet. When he was young,
they had a train track running around the floor under all that
priceless antique furniture." the father shudders.
Near Disastrous Fire
A 1950 fire in the home nearly destroyed the artist's residence
for the past 65 years, and 28 truckloads of charred furniture,
melted crystal and cracked porcelain were carted away from the
rubble along with all of Theodore and Gladys' clothing.
While reconstruction of the home was undertaken, Good's mother,
the former Cora A Leffel, fell and broke her leg and later died,
to return to the nearly completed house for her funeral.
After Good's father passed away,
Good and his mother had operated a funeral parlor in the house
as assistants to a Bourbon undertaker, who was later to become
Good's father-in-law.
"I worked for the father, finally met the daughter, married
her and worked for free after that," Good says with a chuckle.
He later hired out as director of posh society weddings in the
area north from Indianapolis, and he recalls a particularly large
wedding in South Bend that tested his mettle for three days, required
eight servants and blazed the church with 200 glowing candles.
"That was not the prettiest wedding I ever did," Good
recalls, "but it was the largest. I've staged weddings with
electrically wired cakes that light up, and I have directed the
weddings of both mothers and daughters, but I gave it up after
I broke my leg a few years ago."
Wedding Consultant
Good was sought after for wedding consultation and assistance
for his theatrical flair and for something far more basic. "I
knew enough to keep these grand events with good taste. My major
point of advice to the wedding party simply was to start down
the aisle when they were supposed to," Good explains.
A mixture of drama and propriety must course through enigmatic
Theodore Good. His taastes are expressed in formality through
his artistic creations, his furniture and his dinner parties,
destined for fame in the small town of less than 1,000.
But his lifestyle, from childhood to age 66, has been a friendly,
informal turn of jobs from undertaker to wedding designer to buyer
for some of the nation's most reputable antique dealers to upholsterer,
artist, teacher and stage dresser for all the theatrical productions
at Warsaw Community High School.
Good is past stage master for the Wagon Wheel Playhouse in Warsaw,
but he still hosts the annual opening night summer stock party
in his Etna Green garden, a partially walled retreat into a fluff
of blossoms, water-spouting cherubs, pools and brick paths.
In the summer water lilies laze on the ponds where Good and his
wife once dyed the water a shimmering blue for one of their galas.
He is a patron of the Lakeland Community Concerts Association,
hosting its officers in an annual dinner party that spreads from
the drawing room into an adjoining living room decorated with
more Renaissance art, his own Ruby Dillman LaRue portrait and
displays of more porcelain and crystal.
Opens Studio
In a backyard adjoining the garden, Good has designed, constructed
and opened a studio for his many projects in painting, mirrors,
upholstering and furniture construction.
The two-room Victorian studio looks into the world from leaded
glass windows and two ornate wood porches. For the studio opening
last fall, Good lined the walls from floor to ceiling with his
painting which were quickly purchased by the 400 invited guests
at the show and reception.
"I have a show once every two years," Good explains,
"and of course I am busy painting, completing a new mirror,
building new furniture and reupholstering older pieces all the
time."
With a studio packed with furniture frames, which he orders for
the new French chairs he finishes, puffy rolled batts of cotton
furniture padding, unfinished chests and side chairs for reupholstering,
Good still finds time to complete the orders and teach adult education
classes at area schools as well.
Interior decorating, oil painting and upholstery are courses Good
conducts as part of Warsaw Community High School's adult education
program. In addition, he teaches similar classes two evenings
a week at Triton High School at nearby Bourbon. He holds art classes
two hours each week at his studio, lectures to clubs and has recently
been invited to lecture in the Fountain Park Chautauqua in Remington.
Strives for Realism
Striving always for realism in his art, Good still appreciates
some modern art. "A lot of it is just plain junk," he
says, "turned out by painters who aren't talented enough
to paint things as they are and manage to make a living by just
glopping some colors around.
"But I have no objection to modern or abstract art if there
is a rhyme or reason to it. For instance, I happen to like the
painting "Nude Descending a Staircase," which one art
critic claimed looked like a cyclone in a shingle factory.
"Still, there is meaning in that painting even though it
created quite a furor in the art world when it was first exhibited,"
Good says.
What does Good think of those who are not as enamored as he of
realism, formality and the Renaissance influence? "I believe
every man is entitled to his own tastes, and I would hesitate
to try changing anyone's mind about that."
He is satisfied enough with his own artistic Renaissance in a
small Midwest town to channel his realistic approach into his
total philosophy.
Spotlight section March 31-April 6, 1975 Saturday Warsaw Times
Union
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