Robert Earl Burton founded The Fellowship of Friends in the San Francisco Bay Area in 1970.

Burton modeled his own group after that of Alex Horn, loosely borrowing from the Fourth Way teachings of Gurdjieff and Ouspensky. In recent years, the Fellowship has cast its net more broadly, embracing any spiritual tradition that includes (or can be interpreted to include) the notion of "presence."

The Fellowship of Friends exhibits the hallmarks of a "doomsday religious cult," wherein Burton exercises absolute authority, and demands loyalty and obedience. He warns that his is the only path to consciousness and eternal life. Invoking his gift of prophecy, he has over the years prepared his flock for great calamities (e.g. a depression in 1984, the fall of California in 1998, nuclear holocaust in 2006, and an ominous, yet unspecified new threat late in 2018.) While non-believers shall perish, Burton and his followers, through the direct intervention and guidance from 44 angels (including Burton's divine father, Leonardo da Vinci) will be spared, founding a new, and more perfect civilization.

Many regard Robert Earl Burton a narcissist and sociopath, surrounded by a largely greed- and power-driven inner circle. The following pages offer abundant evidence supporting that conclusion.

This archive draws
on official Fellowship publications and websites,
news archives, court documents, cult education and awareness forums, the (former) Fellowship Wikipedia page, the long-running Fellowship of Friends - Living Presence Discussion, the Internet Archive, the (former) Fellowship of Friends wiki project, and the editor's own 13-year experience in the Fellowship.

Presented in a reverse chronology, the Fellowship's history may be navigated via the "Blog Archive" located in the sidebar below.

Saturday, September 21, 1996

Museum of Classical Chinese Furniture featured in International Herald Tribune

[ed. - This is an Internet Archive capture of the Fellowship webpage. It is odd that the Fellowship would feature this article, as it suggests that Burton was swindled when liquidating the museum. The closing quote points to the likely reason for the sudden "deaccessioning": to pay the costs of settling the lawsuit brought against Burton by Troy Buzbee.]

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International Herald Tribune 1996
NEW YORK - Many strange stories can be heard in the small world revolving around the art market. But none quite matches that of the Museum of Classical Chinese Furniture collection scattered to the winds at Christie’s when its 107 lots sold for an aggregate $11.2 million, lifting Chinese Ming furniture as a whole to unheard of heights. Its improbable beginnings go back to the mid-1970s when a schoolteacher called Robert Burton founded a spiritual community, the Fellowship of Friends, in Oregon House, in Northern California. According to Curtis Evarts, curator of the defunct museum who became a member in 1975, its aim was “the spiritual enhancement of the individual parts through a system of psychological development, ” inspired by the writings of George Gurdjieff and Piotr Ouspensky.

One of the basic tenets of the psychological system, Evarts says, “is to bring refinement to the moment. ” Hence the attention they brought to “the dining experience. ”

One thing leading to another, a large collection of 18th-century porcelain was built up at the instigation of Burton, followed by silver plate. Eventually, both collections were sold off.
Burton then turned to Old Masters. Some very substantial pictures were bought, including such works as a “stable scene ” by Terborch now in the J. Paul Getty Museum, “Jesus as the Man of Sorrows ” by Morales, or the portrait of Countess Kaganek painted in 1792 by Elisabeth Vigee-Lebrun. The Old Masters, too, were resold in order, Evarts says, to release funds for the acquisition of Chinese furniture.

This abrupt change of orientation came about as the community remodeled the Renaissance, California, vineyard house in which it had its headquarters. French domestic architecture of the Louis XVI period served as a model. In order to match the 18th-century whiff of the interior design, they bought porcelain commissioned to Chinese manufacturers by 18th-century French merchants, the so-called “Compagnie des Indes ” or “China Trade ” porcelain.

Burton was looking for porcelain in 1987 when he walked into a Paris shop and caught sight of two Chinese armchairs. Burton who, by all accounts, has a remarkably good eye, was struck by the beauty of the smooth linear structure and the toned wood with purplish hues called zitan. After consultations with the board of directors of the Fellowship of Friends, Evarts assures, Burton bought them and took them back to Oregon House.

The armchairs, which they later found out were of the 18th century, were greatly admired. Evarts, who was running the architectural workshop producing the interior designs for the Neoclassical decor in progress, was ecstatic. It was decided that a matching table was needed. One was found.

Burton, the born art hunter, began to look hard for Chinese pieces. He bought a wonderful 17th-century carved table in Jichimu wood, which sold at Christie’s on Thursday for $44,750.
Enthusiasm grew rapidly within the Fellowship. Evarts, in earlier days, had mastered the skills of joinery after dropping out of school (he could not bear the tedium of his engineering studies). He became fascinated. He restored the furniture and gazed at it at length in the studio where he directed the photography required by the installation of the works of art for which he was responsible.

It was decided to set up a Museum of Classical Chinese Furniture. In January 1990, Burton asked Evarts if he would consider becoming the curator of the collection in the making. He would, indeed.

Whereupon, Burton dispatched him on a world tour of museums holding significant groups of Chinese furniture - the Philadelphia Museum of Art, the Metropolitan, the Boston Museum of Fine Art in America, the Victoria & Albert Museum and British Museum in London, and a few more. Evarts returned with a rich store of visual and tactile knowledge and proceeded to learn Chinese in order to gain direct access to literary sources.

The Fellowship of Friends was dead serious about its Chinese collection. A Classical Chinese Furniture Society was founded in 1990 and a quarterly Journal of the Classical Furniture Society launched in the winter of 1990. Over the next four and a half years, pioneering research work was published in the superbly laid-out magazine, illustrated with outstanding photography - it was the first and only one of its kind in the Western world.

The systematic buying campaign entrusted to Evarts began.

Part of it was inevitably a process of learning through trial and error. The Fellowship of Friends probably acquired three times as many pieces as the 107 lots included in Thursday’s sale. The timing was good. A relatively large amount of the Ming furniture that had escaped the destruction of the Cultural Revolution tumbled on to the Western market between 1990 and 1993.

One of the first acquisitions made by Evarts was a pair of 17th-century drum stools in the hard wood called huanghuali. Often seen in woodcuts and hand scrolls of the period, few such stools have survived. Evarts had some qualms when he found the first stool in Hong Kong, but felt reassured by a technical detail when he succeeded in finding the second piece in the pair a year later. His craftsman’s instinct had served him in good stead. Estimated to be worth $30,000 to $50,000 in Christie’s catalogue, the pair soared to $190,000 - $211,500 with the sale premiums.

Soon after, he laid hands on a table with low cabriole legs, also of the 17th century. On Thursday the table exceeded by half its high estimate as it brought $51,750.

But all that pales into insignificance by comparison with the large screen on stand carved with openwork panels to serve as a monumental frame for a marble slab - the natural veins of the marble suggest a mountainous landscape.

Again, while the type of screen can be seen in hand scrolls, set behind the seats of dignitaries, only one other example is known to survive, in the Palace Museum in Beijing. Evarts at first received photos of the dismantled panels, with accompanying dimensions. He made drawings which he assembled to have an idea of its appearance. The screen looked fabulous. Evarts flew out to Hong Kong where the splendor of the carving confirmed his first impression. The Fellowship rallied to his views.

So did the New York attendance on Thursday. At $1.1 million, the screen has become the most expensive piece of Chinese furniture in the world. It will shortly grace the Minneapolis Institute of Art through the generosity of a benefactor of many years, Bruce Dayton.

For Evarts, the Chinese furniture saga should have culminated with the exhibition of Chinese Classical Furniture held from June 1995 to March 1996 in the Pacific Heritage Museum in San Francisco.

It was accompanied by a catalogue that will stand as a reference book for years to come. Written jointly by Evarts and the great Beijing scholar Wang Shixiang, now in his 80s, the catalogue is referred to throughout in the Christie’s sale catalogue.

Alas, in 1994, the Fellowship, advised by Burton, decided to part with the collection in order to switch to French decorative art. The journal abruptly ceased publication in the winter of 1994. A planned exhibition project at the Arthur M. Sackler Museum in Washington had to be dropped after the decision to proceed with the sale became known.

Mysteriously, trade sources report, a Taiwanese businessman called Johnny Chen appeared, bought the collection en bloc, and consigned it to Christie’s. The estimate given by Christie’s before the sale, $6 million to $8 million, implies that Chen’s investment was $6 million at the most. The difference with the end result primarily reflects the phenomenal marketing campaign conducted by Christie’s.

The Far East, they say, is good at learning fast. It apparently excels at playing the Western art market.

But of the two, it is the Western party that comes out as the most inscrutable. Bets are still open on the real reasons that led to the sale of the delightful, if short lived, “museum” collection.

Souren Melikian

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